Gender Roles, Subject and Power

European women in the earlier years had limited rights in terms of economic and social sectors. They were expected to act and dress in certain ways that adhere to societal norms and expectations. In The Guerilla Girls’ Bedside Companion to the History of Western Art, Linda Nochlin addressed inequality between women and men and how it was addressed through art and women’s roles in the Middle Ages that range from the 5^th to 15^th century. During that time, feudalism was exercised, the social system divided the society based on social and economic status. Not only was the society divided between social classes, but it also established the value of individuals based on gender. The church also had a big impact on the beliefs and values of the society, since there was very limited access to education. According to the bible, “…The head of every man is Christ, and the head of the woman is the man. for man was not made from woman. But woman from Man. Neither was man made for woman, but woman for man.” (New Testament, Corinthians 11:3-10). This biblical teaching did not help the perception about women being inferior to men. The bibles powerful statement that changed the lives of women forever: that women were made for men. Women were created to serve men’s needs, no matter what they might be. In fact, “…women were rarely allowed to attend art schools, join artists’ guild or academies, or own atelier. Many were kept from learning to read or write. For most of history, women have, by law, been considered the property of their fathers, husbands, or brothers, who always believed women were put on earth to serve them and bear children.” (Nochlin, 8) This prohibited women to progress with their education and career because of their so-called unconditional obligation to serve men. Luckily for Christine de Pizan, she became the very first female writer and a single mother during the Middle Ages. With the support of her father, she obtained her education despite her mother’s disapproval. Her strength to carry on with her career as a writer was even fueled when she became a widow at the age of 25 in order to support her children. It was mesmerizing to see an outspoken woman in a male - dominated society, where everyone thought that women were incapable of logic and reason. She was also proven to be a strong woman because she provided for her children without a husband. She inspired women to embrace their femininity and their abilities that make them bold and brave by writing a long allegory called The City of Ladies (1405) inspired by three fearless female characters that symbolized “Reason, Rectitude and Justice” (Nochlin 26) .

The Bricklayers, From The City of Ladies, Christine De Pizan 1405 

Susanna and the Elders, Artemisa Gentileschi (1610) 

Judith with her Maidservant, Orazio Gentileschi ( 1621 ) 

With the permission of the British library, an illustration of The City of Ladies was shown. Pizan’s artworks embodied the accomplishments of women despite all the criticisms that they received from the past (Chadwick, 36).

Entering the Renaissance period from 14^th century to 17^th century, innovations in art, literature, politics and science start to progress. One may be familiar with Italian Renaissance men such as Raphael, Michaelangelo and Leonardo, but not the women artists. This is due to the fact that women were not allowed to participate in painters’ guilds or academies, receive commissions and own an altier, just like the Middle Ages. However, some women were fortunate to be given an opportunity to develop their talents in painting which was made possible because of their nobility. For example, Sofonisba Anguissola’s noble father provided her education, and allowed her to work in the family workshop. Another example is Maria Robusti, the daughter of Jacopo Tintoretto. However, her identity as a woman was hidden so that the father could take credit. It’s saddening to think that women had no right to own anything, even their artwork. Men constantly take credit of what they believe was theirs. Therefore, women were still objectified even in the Renaissance period. A perfect example of this was a painting called Susanna and the Elders by Artemisa Gentileschi. In the painting, the two elders were collaborating to sexually abuse Susanna, but she refuses the male gaze. 

Another painting that might have demonstrated incredibility against women was Orazio Gentileschi’s Judith with Her Maidservant. In the painting, Judith was a heroine cutting off a man’s head, but it did not seem like she got the credit for it. In fact, Judith looked clueless in the painting, and it seemed like the murder was fake because there was no blood on the sword. This left the viewers with an assumption that the painting was created based on myth, thus, discrediting Judith’s power to kill the man.

In conclusion, the Middle Ages was an onerous period for women to achieve equality, but so was the Renaissance period. Some efforts had been made to improve women’s quality of life through equal wage, education, and civil rights in the both Middle Ages and Renaissance period, but women remained hidden and silent. However, empowering women should continue to work together to eliminate social injustice.

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.