Though far from complete, the modern history of women in art can be seen as beginning with Linda Nochlin’s article “Why Are There No Great Women Artists?” published in 1971. Many exhibitions, books and articles soon followed. We will navigate this history, beginning in the Renaissance with Sofonisba Anguissola, the first Italian woman artist to become an international celebrity; followed by Lavinia Fontana, the first known woman painter to have a “normal” artistic career, working in all genres, leaving over 100 documented works. From then on, the known number of women artists steadily increases through the 17th century with Artemesia Gentileschi in Italy and Judith Leyster in Holland. The 18th century sees a further increase in both successful and famous women artists such as Rosalba Carriera, and Élisabeth Vigée-Lebrun. The 19th century development of modernism sharply increases the possibilities for women artists through the 20th century with many significant figures such as Käthe Kollwitz, Paula Modersohn-Becker, Lyubov Popova, and Georgia O’Keefe, to name but a few. The contemporary scene abounds with major women artists, too numerous to list here. As always, this course will be extensively illustrated with, as usual, many little-known and rarely seen works major women artists, too numerous to list here.
The concept of the solitary artist, supported by a devoted wife or by a series of devoted but slightly more fickle female muses, be they models, mistresses or both, is well documented in the history of art. But there are also a number of remarkable artistic couples, where both partners were artists in their own right, and a number of these will be the subjects of our discussion. We will consider artists from many countries and different time periods and investigate the complexities of their special relationships. Did they support and inspire each other, did they work in the same manner, or were they competitive? How did they handle success and failure, and most importantly, how did their relationship define their work? The couples we will consider are William Bouguereau and Elizabeth Jane Bouguereau, the master of French academic realism and his American wife, a former student; the Danish Impressionists Michel Peter Ancher and Ann Brødum Ancher; Vassily Kandinsky, the Russian member of the Blue Rider group of German Expressionists, and Gabrielle Münter; the French Expressionist Robert Delaunay and his Ukrainian born wife, Sonia; Pablo Picasso and Dora Maar, painter, photographer, mistress and muse; Diego Rivera and Frida Kahlo, the great Mexican muralist and his extraordinary wife.
There are no winners or losers when it comes to being nominated for an academy award. The red carpet and the designer gowns are just as much a part of the evening as receiving the most recognized trophy in the world. Students of this class will screen this year’s nominations and gain understanding of what it takes to win an Oscar. Let’s go to the movies!
Join us for an exploration of the hows and whys of music in film. We will be discussing a wide range of films encompassing everything from the early silent German expressionist works to the blockbusters of today. Come prepared to analyze and discuss some of your favorite films, and leave humming a tune each week.
At the beginning of the 19th century progressive artists began to recognize that the Greco-Roman, Renaissance tradition had become depleted. This coincided with colonial expansion bringing closer contact with the Islamic world and influencing artists such as Delacroix, Ingres, and Chasseriau; the opening up of Japan in the 1840’s and Japanese prints arriving in Europe which became influential in the development of Impressionism; Gauguin working outside of Europe in Tahiti as well as French colonial expansion into sub-Saharan Africa bringing many superb African artifacts to Paris which influenced artists such as Picasso and Braque; and, later in the 20th century American artists looking to indigenous tribal art for inspiration, most notably Georgia O’Keefe, Marsden Hartley, and Jackson Pollock—without these non-European influences the development of western modernism would have been profoundly different.
At the beginning of the 19th century progressive artists began to recognize that the Greco-Roman, Renaissance tradition had become depleted. This coincided with colonial expansion, especially French into North Africa, and closer contact with the Islamic world. Artists such as Delacroix, Ingres, and Chasseriau introduced Arabic subject- matter into their paintings. With the opening up of Japan in the 1840’s, Japanese prints arrived in Europe and became influential in the development of Impressionism, indeed, the influence of Japanese wood-block prints on Manet, Whistler, Degas, Monet, and Renoir had a profound influence on Impressionism. A third influence begins with the work of Gauguin, working outside of Europe in Tahiti. French colonial expansion into sub-Saharan Africa brought many superb African artifacts to Paris where they were collected by the turn of the century. Picasso, Braque, and many other artists incorporated African imagery into their works, not only in France but beyond, as in the works of the German Expressionistists, such as Nolde and Kirchner. Later, in the 20th century, American artists looked to indigenous tribal art for inspiration, most notably Georgia O’Keefe and Marsden Hartley, followed by Jackson Pollock and other Abstract Expressionists. Without these non-Europea influences the development of western modernism would have been profoundly different. This new course will examine this topic, using many unusual rarely seen images.
Is it possible to have a favorite movie? Well, Dennis Huston has one but he is keeping it a secret until these two classes in May. You won’t want to miss this!
These two sessions offer an introductory look at the extraordinary work of contemporary British artist Lucian Freud and German artist Anslem Keifer.