Docent’s Corner | Historic Challenges for Women Artists
Image credit: Theresa Ferber Bernstein (American, 1876-1949). Brighton Beach, Summer, Brooklyn, New York, 1915. Oil on board. On loan from the Janet H. Wilson Collection.
Becoming a successful artist is difficult for anyone, but for women in the 19th and early 20th centuries, it was even more challenging. Historically, women had been encouraged by society to be artistic, but only to enhance social and family life. Art was not considered to be a valued profession for women.
The first art schools for women in the United States highlighted industrial design, primarily for textiles and wallpaper, to compete with European production. This was the first time that women could consider art a profession. Schools that taught fine arts, both in the United States and in Europe, did not accept women until the later part of the 19th century. Women attended classes segregated from men and often paid more for their instruction. The curriculum was basically the same for men and women, stressing a classical and rigorous education based on fundamentals. One exception in women’s education was the drawing and painting of nudes. A fundamental of a classical art education, women art students were not allowed to be exposed to nude models. Eventually women gained access to models with strategic draping. Women art students also had to contend with cumbersome social obstacles such as appropriate housing, and the ability to move easily within locations without proper accompaniment. Even the style of dress hampered movement and access for women.
One of the major obstacles for women artists was the bias of the formal art institutions which controlled exposure and thus commercial success. Art societies and critics were dominated by men who had specific opinions about how and what women artists should produce. It was widely accepted that there was a gender style. Some critics felt that one of the highest compliments that they could bestow upon a woman artist was to say that the work was masculine. Unfortunately, this was also a criticism. Women artists often signed their work with only their last name or used initials to tamper the bias. Society placed heavy expectations of domesticity upon women, so it is no surprise that many successful women artists chose not to marry or have children. Many talented women artists eventually sacrificed their art for their families.
Change began for women (and men) artists in American with the growth of industry when the middle class began to rise and seek out art for home and pleasure. Subjects deemed most suitable for women artists, portraits, still life and landscapes, became marketable subjects. Art choices for the home were also being influenced by women consumers. Change came as the public view became more important than the critical view. Male artists broke away from the rigid art societies and formed groups such as The Ten and The Eight to exhibit their work. Women grouped together to strengthen their ability to showcase and market their art. The Philadelphia Ten was one of those groups.
As the influence and popularity of modernism grew, women artists were slower to embrace this new style than their male counterparts, mainly due to financial stability. Historically, art produced by women artists sold for less than that by men. They needed to produce what the public wanted to buy. Gradually, as the style became more popular, more women artists adopted modern techniques.
Becoming a successful artist requires focus and sacrifice. For women of the late 19th and early 20th centuries it was even more demanding. Many successful women artists, past and present, are represented in the exhibits currently on display at BRAHM. Come explore to appreciate and to learn more about these talented artists.
This Docent’s Corner is brought to you by Eilleen Dempsey