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• W3118376461 abstract "Reviewed by: Women Artists in Paris: 1850–1900 ed. by Laurence Madeline James P. Gilroy Madeline, Laurence, ed. Women Artists in Paris: 1850–1900. Yale UP, 2017. ISBN 987-0-300-223934. Pp. 277. This is the catalogue of an exhibition mounted by the American Federation of Arts and shown at the Denver and other art museums. There are color illustrations of all the paintings displayed, preceded by five essays by art critics and historians. The essays explore the difficulties faced by women artists in the second half of the nineteenth century in their pursuit of access to the art world and recognition of their achievements. These artists had to fight against the prejudice that women were intellectually inferior to men and did not share the latter's talent and scope of vision. Intellectuals like Ruskin, Schopenhauer, and the playwright Strindberg fostered this condescending opinion of women. The major art schools were long open only to male students. The École des Beaux-Arts did not admit women until 1897. Women who wanted a career in art had to pay for private lessons or attend one of the unofficial schools, like the Académie Julian or the Académie Colarossi, that did accept women students. Even when critics demonstrated a willingness to acknowledge women in the arts, they thought that females should limit themselves to depicting the limited world to which women then had access, namely children, domestic scenes, still-lifes, and portraits. Such grand genres as historical/religious/mythological painting were considered beyond them. If a woman did gain recognition in such ambitious subjects, the supreme compliment was to say that she painted like a man. Some women artists were held back by their own artist husbands, like Marie Braquemond and Victoria Dubourg, the wife of Fantin-Latour. Rosa Bonheur was the great success story in being able to attain liberation in both her painting and her lifestyle. Realism and Impressionism offered women a new opportunity, for now male artists were turning away from the traditional grand subjects and devoting their interest to the same everyday, domestic, and landscape themes to which women artists had been relegated. In addition to Braquemond, Berthe Morisot and the American expatriate Mary Cassatt participated in the eight Impressionist salons between 1874 and 1886. At the same time, women [End Page 279] increasingly exhibited and obtained prizes at the official Salons put on by the government. They also formed their own organization, the Union des Femmes Peintres et Sculpteurs in 1881, with the intention of exhibiting their works in a salon devoted exclusively to women. They were encouraged in this ambition by intellectuals like John Stuart Mill, in his essay The Subjection of Women (1869), and Georg Brandes, a Danish critic who translated Ruskin's essay and expanded its themes. Anticipating Simone de Beauvoir, Brandes asserted that women and men are born with the same talent and potential, and that it is only because of historical and social contingencies that women have been limited to a secondary role. Brandes's ideas are of great relevance since several of the works in the current exhibition are by women artists from Scandinavia. They went to Paris to seek inspiration, freedom, and an opportunity for training they could not find at home. James P. Gilroy University of Denver Copyright © 2018 American Association of Teachers of French" @default.
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• W3118376461 title "Women Artists in Paris: 1850–1900 ed. by Laurence Madeline" @default.
• W3118376461 doi "https://doi.org/10.1353/tfr.2018.0156" @default.
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