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Period: 1000 to 1200
Week 1- The Middle Ages
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1070
Ælfgyva and a Cleric – Bayeux Tapestry
The Bayeux Tapestry, an 11th-century embroidered cloth, was likely sewn by women. In one scene, a woman named Ælfgyva appears in an arched frame being touched by a cleric. Her identity and the scene’s meaning remain debated.
She stands as a symbolic mystery in a male-centered narrative, reflecting both the presence and marginalization of women in medieval storytelling. The tapestry shows that women were part of the historical moment—even if ambiguously portrayed. -
1150
Vision of the Universe
Hildegard von Bingen was a 12th-century German abbess, visionary, composer, and artist. She created illuminated manuscripts as part of her religious visions, including Scivias.
In “Vision of the Universe,” Hildegard portrays concentric circles of divine order using bold colors and symbolic forms. The image reflects her unique theological insights and asserts spiritual authority in a time when women were rarely recognized as intellectual or artistic leaders. -
Women Artists and the Rise of Still-Life Painting
In the 17th-century Dutch Republic, women artists gained more visibility through still-life painting. Because they were often excluded from formal training in anatomy, they focused on subjects that required observation and technical skill rather than figure drawing. The Protestant culture of Holland reduced the demand for religious art, allowing secular works like still-lifes and genre scenes to thrive in the open market. -
Phryne before the Areopagus, by Jean-Léon Gérôme
Phryne before the Areopagus depicts the Greek courtesan Phryne being unveiled in court. The painting is highly detailed, with classical architecture framing the central figure of Phryne, her nudity bathed in light while male judges remain in shadow. Though technically masterful, the painting reinforces the objectification of women, using her body as a moral and erotic spectacle. -
The Cradle by Berthe Morisot
In The Cradle, Morisot captures an intimate scene of her sister watching over her newborn. Using soft brushwork and pale, light-filled tones, she creates a tender, contemplative atmosphere. The delicate veil over the cradle symbolizes both protection and the quiet emotional labor of motherhood. It is a compelling example of how female artists turned the domestic space into a site of artistic innovation. -
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Week 4 - The 19th Century
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Week 6 – 20th Century (Europe)
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Abstract vs. Nonobjective Art
Description:
• Abstract art modifies real forms (e.g., people or landscapes), often simplifying or distorting them.
• Nonobjective art has no subject matter—only line, shape, color, etc.
Women artists led both approaches, using new styles to challenge tradition.
Abstract examples in Chadwick: Münter (fig. 144), Modersohn-Becker (fig. 163)
Nonobjective examples: Popova (fig. 151), Hepworth (fig. 182) -
Cut with the Kitchen Knife Dada… – Hannah Höch
Hannah Höch (1889–1978) was a German Dada artist and one of the pioneers of photomontage. Her feminist critique of Weimar politics is evident in this chaotic collage of mechanical parts, newspaper clippings, and women’s imagery. This work satirizes the gender and political chaos of her era, and it symbolizes female resistance using fragmented, absurd visual storytelling. -
Georgia O’Keeffe – “Black Iris III”
This painting became emblematic of the tension between artistic intent and feminist interpretation—many critics saw the flower as a metaphor for the female body. The painting thus sparked conversation about female identity, autonomy, and visibility. O’Keeffe’s style and subject matter reflect the early 20th-century shift in American society, where women were asserting more independence and demanding recognition beyond traditional roles. -
Portrait of Ubu – Dora Maar
Dora Maar (1907–1997) was a French Surrealist artist who worked with photography to explore identity, fear, and the unconscious. Portrait of Ubu depicts a strange, ambiguous creature and reflects the surreal, often disturbing feelings beneath the surface of modern life. Unlike many male Surrealists, Maar’s lens captures tension without objectification. -
Women Leading the Modernist Movement
Women like Lyubov Popova, Barbara Hepworth, and Eva Hesse helped define 20th-century modernism. Their work challenged not only artistic boundaries but also gender roles, blending fine art with applied arts. These artists opened new spaces for feminist expression and innovation in design, sculpture, and painting. -
Betye Saar – “The Liberation of Aunt Jemima”
Saar reclaims this demeaning image, transforming it into a bold political statement that asserts agency, defiance, and strength. Created during the Civil Rights and Black Power movements, the work reflects both racial and gender liberation struggles in 20th-century America. Saar’s piece is an early and powerful example of intersectional feminism in visual art, pushing boundaries and redefining cultural narratives. -
Judy Chicago – “The Dinner Party”
Judy Chicago (b. 1939) is a key figure in feminist art, best known for The Dinner Party, a monumental installation created between 1974 and 1979. The work consists of a triangular table with 39 elaborate place settings, each commemorating an important woman from history or mythology—from Sappho to Sojourner Truth. Each setting features embroidered runners and sculpted plates with forms evoking female anatomy, celebrating women’s contributions in a bold, unapologetic style. -
Mickalene Thomas – “Portrait of Mnonja”
Thomas’s work responds to the historical absence or stereotyping of Black women in Western art. By placing her subjects in lush, self-possessed settings, she re-centers them as icons of beauty and strength. This work reflects 21st-century concerns around identity, representation, and intersectionality in the art world, combining glamour, cultural commentary, and visual empowerment.