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• W8565592 abstract "[ILLUSTRATION OMITTED] Introduction In keeping with Hegel's idea of a struggle to the death between two consciousnesses, Beauvoir's Le Deuxieme Sexe (1949) characterises the relationship between the two halves of humanity as a painful conflict, a bloody battle, one in which men have hitherto been irrefutably victorious. They have conquered the territory of human existence, they have now achieved sovereign rule. And what is more, the casebook seems to have been closed: women do not fight back; they have long been resigned to their destiny as second-class citizens (or at least this was the case for Beauvoir's contemporaries). Beauvoir is outraged: 'Pourquoi les femmes ne contestent-elles pas la souverainete male?' (1949i, 17). (2) But fortunately for generations of women doomed to a dreary domestic quotidian, to mediocre marriages, to second-rate educations, one woman was prepared to contest this sovereignty. In her groundbreaking oeuvre Le Deuxieme Sexe, Beauvoir not only declares war against male dominion of Western civilization, she also provides women with the weapons necessary to recommence the fight. In this essay I would like to characterise the trajectory of woman's visual art as one of the battles launched as part of Beauvoir's war, one that she implicitly opens in her discussion of women in art and literature in the section Vers la liberation: 'Tant qu'elle a encore a lutter pour devenir un etre humain, elle ne saurait etre une creatrice' (1949ii, 640). (3) As a defiant middle finger up to the long-standing bastions of Western society, such as Catholicism, State, law and family, Le Deuxieme Sexe provoked scandalised reactions across Europe, and especially in France, whose institutions had been subjected to a thorough cross-examination and had fared rather badly. As critic Claire Duchen points out, the ideas of Le Deuxieme Sexe were considered 'too new and too threatening' even for the grassroots women's rights groups of the 1950s, thus it 'remained without immediate influence on existing feminist organisations' (in Rodgers 1998, 61). Yet amid the uproar, thousands of isolated women were avidly reading by lamplight. Alice Schwarzer, a friend of Beauvoir and later an active feminist, summarises the nature of its immediate impact: 'In the darkness of the Fifties and Sixties, before the new women's movement dawned, The Second Sex was like a secret code that we emerging women used to send messages to one another' (1984, 13). Although perhaps not immediate, a profound legacy of Beauvoirian concerns can nevertheless be traced in vast swathes of French life and culture. Visual art and its capacity to pre-empt or capture l'esprit du temps, to seize upon revolutionary ideas, makes for a fascinating study of this legacy. If Le Deuxieme Sexe was 'too new and too threatening', this was probably to do with its nature as a lengthy cerebral breakdown of what had previously been considered rather trivial. Making extensive use of existentialism and the Hegelian master-slave dialectic, it was perhaps best adapted to an academic audience. Visual art is a much more accessible medium, available to a huge populace and easy to reproduce in mass media. Furthermore, the power of the visual to shock is immense; colours, forms, textures and movement have a more incisive, immediate impact than the written word. Art and performance can convey a multiplicity of ideas in just seconds and can create a dynamic relationship between the viewer and the viewed, which is especially interesting in light of the existentialist ethic of inter-subjective freedom (Beauvoir 1949ii, 604). Prior to Le Deuxieme Sexe there had been no coherent movement for the emancipation of woman in the art world. Works of isolated individuals did anticipate some of Beauvoir's ideas: Man Ray's Cadeau (1921) and Le Violon d'Ingres (1925), along with Meret Oppenheim's Object (Le Dejeuner en fourrure) (1936), were somewhat violent protests against the objectification of woman and her domestic confinement. …" @default.
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• W8565592 date "2013-12-01" @default.
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• W8565592 title "The Legacy of Simone de Beauvoir on Modern French Visual Art" @default.
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