Gender Roles, Subject & Power: By Amber Torres

Over the course of several chapters, author Whitney Chadwick opens up the discussion of the changing roles and lives of women from the medieval ages through the Renaissance and into the 19th century in her book, “Women, Art and Society.” As discussed, women were given a plethora of obstacles that have barred them for centuries the ability to actively participate in their societies. It was these obstacles that later provided them the foundation to break multiple barriers and push forward for a more equal environment. Through the lens of artists, though, the oppressive nature of the realities of their world was documented and it is these female artists whose work solidifies the notion that the gaze of the women is not to be simply disregarded in its entirety. Rather, it is one that is filled with emotion and thought, a viewpoint illustrating the deeper truths of what it meant to be a woman through the eyes of a woman.

The Middle Ages in Europe brought with it a specific role in which women during this time were expected to adhere to. As to what could be seen, the majority of the lives of women during Medieval times was based primarily on their work inside and outside of their homes. As organized by both the church and the feudal system that remained prevalent in society during these times, women had strict roles in which they were expected to fulfill. The hierarchy that was pressed upon European women by the church held a very patriarchal attitude to it, thus women were assumed to be the obviously inferior gender and as such were beseeched with a lesser status than what their male counterparts were given. As the printing press had not been invented yet, women were typically illiterate and unless you came from an affluent background or lived as a nun or abscess in a monastery, reading and writing were not commonplace studies. The social lives of women strictly followed a Christian code of ethics which encouraged that these  females remained obedient in a patriarchal sense, though they were still able at this time to be able to perform essential tasks such embroidery and masonry, among others. Despite the many limitations pressed upon them by those who assumed higher power then them, women still expressed considerable talents in these rather artistic fields.  

The Bayeux Tapestry is an excellent example of woman's craftsmanship during the Middle Ages.

Chadwick writes that the Middle Ages were, “...a period in which anonymity was the norm, if not the rule,” (Chadwick 62). This exact pretense is one that is seen repeatedly not only within the women's individuals lives, but in the ways that their art was represented. The Bayeux Tapestry is an excellent example of early medieval art that not only holds a strong significance in its cultural and artistic narrative, but because it was created entirely by women. Thus, it opens a broader discussion of the capabilities of women needleworkers of the time and, like Chadwick highlights, no specific names of these women needleworkers were ever recorded leaving that exact air of anonymity magnified for the world to see.  

The European Renaissance Movement brought with it extensive advancement in the fields of art, literature, math and science among other subjects. A literal time of, “rebirth,” as its name insinuates, the time period provided a stark contrast to that of the dark Middle Ages. Despite being known for the works of Da Vinci and Raphael, the lives of women and women artists are important to note for their contribution to Renaissance art, as well. During this time, women were still not allowed to participate in any type of government proceedings. On the other hand, there was an increase in literacy rates amongst all men, women and children alike, again evoking the rebirth of society that was currently being felt. Florence, inarguably the center of the Renaissance movement, still encouraged a divisive nature between the public and private sectors of society. Thus, due to its ongoing patriarchal attitudes that continued to persist, this division encouraged the relegation of women to the back end of this major arts movement. At this point in time, the arts in a public sense was all male dominated. Regardless of this continued oppression that had been enforced onto them, women artists managed to prevail with their work whether it be even through the monasteries of Church.

"Self Portrait," by Sofonisba Anguissola  

Chadwick writes, “Woman’s position on the fringes of the new system of representation mirrored her place in society generally. Not only was public space associated with the arts… it also became the site of vision[.]...the gaze became a metaphor for the worldliness and virility associated with public man and women became its object,” (Chadwick 74). This gaze as aforementioned by the author is a reflective quality seen in the works of Sofonisba Anguissola whose paintings showcase a range of emotion and depth not unlike her contemporaries. Her painting entitled, “Self Portrait,” from 1561 depicts the artist herself dressed modestly playing a musical instrument accompanied by what perhaps could be regarded as an overseer or chaperone of some sort. Steady eye contact is held with the viewer, her gaze outwardly soft. In this presentation of herself, Anguissola is reinforcing the Humanist belief as held by Renaissance artists that the artist themselves is to be viewed simply as any other everyday individual.

Likewise, by the 19th Century, women and art molded in a way that reflected how steadfastly the times had changes, but also how much they had remained firm and stagnant to their beliefs in a patriarchal society. Women's roles during this time began to separate themselves from the atypical lifestyles that had been implemented up until then. The introduction of textile mills brought women into the work world and that in itself was a huge transition point for society. Art schools and universities were beginning to pop up as ways to cater to women's art during this progressive time, including the Cincinnati School of Design and The Female School of Art & Design in England. Specialty programs such as these allowed women the opportunities to gain access into what was originally a predominantly male art scene, though their work was limited to more female-esque work, such as sewing, etc.

"Wounded Feelings," by Alice Walker

In this patriarchal sense, the art of women was still viewed as unimportant in comparison to male artists of the day who were heralded as geniuses, etc. This encasing of a male grasp firmly secured around a female is reflected brilliantly in Alice Walker's painting, “Wounded Feelings,” from 1861. In it, Walker depicts a young lady consoling another as they flee some type of dance or party, as seen in the interior in which couples are dancing together in a happy and giddy moment. The inconsolable woman shown is a clear representation of the female sexuality as it has been created under the pretense of a dominant male gaze and perspective. The female would be considered weak and it is implied that her reaction is due in part to an issue most likely involving unrequited love of some sort from a man. The role of female friendship is heightened here under this sympathetic perspective, casting a light on how these gender roles have constrained woman into a very vulnerable corner in which it is their art that provides a saving grace from the very dark realities of their world.


Works Cited:

Chadwick, Whitney. Women, Art, and Society. Langara College, 2016.