Gender Roles, Subject, and Power- Tanvi Singh

Looking back in time to the middle ages in Europe, we are able to see the inequality between men and women and how women were essentially undermined on so many levels. To give a bit of background, during the middle ages there existed a Feudalist economy, in which there was a hierarchy of rulers and roles. Class system and highest control was based on land control and ownership. To add on, religion was in control by the Pope and had much influence on the society. The church was an essential part of the society. How women played into this society was very limited. In Women, Art, and Society by Whitney Chadwick, it states, "While women's social roles remained circumscribed by a Christian ethic that stressed obedience and chastity, by the demands of maternal and domestic responsibility, and by the feudal legal system organized around the control of property, there is evidence that their lives, as those of men, were also shaped by economic and social forces outside ecclesiastic control, at least during the period of the early Middle Ages" (Chadwick 44). Women were not recognized as part of the economic structure, were limited with voting rights, could not be "public figures", and at many times, had to hide their talent. In layman's terms, women were oppressed. Women were treated almost synonymous to animals; they were treated as property and were expected just to reproduce. 

In art, such oppression caused many problems and struggles for women. For one, although women were making advances with their talents and presenting them, their success was mirrored to, dependent on, and subjective to significant male influence. In Bedside Companion to the History of Western Art by the Guerrilla Girls, it states, "Many of these artists were women, either working in business owned by male family members or living as nuns in convents" (Guerrilla Girls 19). The work that women did and advances that they tried to make were dependent on (family member) men as overseers and promoters. Also, as stated by the Guerrilla Girls, "In most cities, women were barred from painters' guilds or academies (except for the lace and silk-makers' guilds). They couldn't receive commissions or legally own an atelier. Most were illiterate. One of the few ways a women could work as an artist was to be born into a family of artists that needed assistance in the family workshop" (Guerrilla Girls 29). 

The Renaissance brought forth much progression in the careers of women artists. A big contribution to such progression was the willingness and support of fathers. Women artists who grew up in a supportive, feminist household were able to confidently aspire to be exceptional artists and express their talents and thoughts. One such artist is Sofonisba Anguissola. Sofonisba Anguissola was daughter of Amilcare Anguissola, who believed in women being educated and progressing. He very much so supported Sofonisba and her purpose. Sofonisba did not like how women were portrayed and painted with a purpose. She noticed that women were always painted in lavished clothing, looking away from the viewer. Women were painted avoiding the male gaze and adorned as if they were some kind of property. To challenge this, Sofonsiba painted a self portrait that portrayed her staring right at the spectator and in more realistic/common clothing. She gave character, emotion, and human characteristics to her paintings. 

Sofonsiba Anguissola 
Self Portrait
1554

Moreover, another painter who expresses her views about the truths and roles of women in society is Edith Haylar. In her painting, as shown below, Feeding the Swans, Edith Haylar demonstrates the truths of the cycle of the female life. She demonstrates how at a young age women were taught to be nurturers and were taught to develop motherly attributes. As women got older, they were taught to want the attention of a man, for they needed to eventually get married. When at a good age, marriage was a must. Then, of course, with marriage there must come children. Finally, Edith Haylar shows how at the last stage, women end up as widows (common due to wars during the time). Haylar shows how these women lived their entire life trying to learn how to be a good mother, get married, revolving their lives around their husbands and children, and eventually end up as widows helping out with their grandchildren; a tormenting cycle. She includes many symbols in her art work as well, expressing more her feelings and emotions. For instance, the swan is to represent beauty, for women were meant to be the incarnation of beauty and elegance. 

Edith Haylar
Feeding the Swans
1889

Another artist that I must mention is Anna Blunden. Anna Blunden painted a very famous painting called The Seamstress which depicted a humble, yet exciting glorification of a seamstress, who normally would not be glorified. She painted a seamstress who is stuck in the lower class but is hopeful. The poverty in the painting is quite evident due to the condition of the apartment and the seamstress's clothes and hope is presented in the form of praying. In the painting the woman seems to have been sewing a man's shirt, which is symbolic of woman's labor, and is praying, which is symbolic of hope and aspiration. The painting depicts a woman with challenges who seems to be begging for a break. Not to mention, she is sitting by the window, which in itself is symbolic of hope/escaping reality. Anna Blunden painted the harsh truths of many lower class women of her time. It was the harsh reality and fate of many women and Anna Blunden so bluntly expressed it. Talk about art that speaks volumes. 

Anna Blunden
The Seamstress
1854

Works Cited:

Chadwick, Whitney. Women, Art, and Society. 4th ed. New York, N.Y.: Thames and Hudson, 1990. Print.

The Guerrilla Girls' Bedside Companion to the History of Western Art. New York: Penguin, 1998. Print.

By: Tanvi Singh