Gender and Painting during the Period Between 1870 And 1900

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Genderand Painting during the Period Between 1870 And 1900

InParis, gender had a great impact on the male and female artist.During the period between 1870 and 1900 for example, the male artisthad freedom to wander throughout Paris while their femalecounterparts had their movements restricted by the social conventionsof the day and could only stay at home. The style used by maleimpressionists` depicted women as an object that can be looked andcoveted. Female Impressionists, on the other hand, portrayed theirfrustration on the lack of freedom affecting their movements.

Artisticmovement during the period between 1870 and 1900 involved thedepiction of male a superior being and male and female as theirsubjects. According to Baudelaire, the male artists viewed a woman asan invitation to happiness (p. 1). The viewpoint meant that maleartists treated the female during painting with a scopophilic eye.These pictures portrayed men as the masters and women as thesubjects. For example, in Renoir`s La Loge art, the female figure isplaced on the forefront meaning that she only displays (p. 1). She isdepicted as an object to be looked at while her male companion who isin the background has freedom.

Forwomen, the restrictions placed on them determined what they couldpaint. Women had limited access to artistic training during theperiod thus limiting their ability to paint certain subjects (p. 2).Although some of the women such as Cassatt used other means to learnpainting, society’s view on gender also limited their artisticwork. Because their movements were restricted, most of their work isset in the ‘domestic sphere.` The Cassatt’s painting known as theFive O’clock Tea illustrates how women felt bored of therestrictions imposed on them (p.3). Therefore, artistic work duringthis period can easily be identified by gender because of the levelof freedom expressed on them.


Eyers,Zozia. &quotReclaiming Impressionism: How female Impressionistpainters challenged the status quo.&quot Kaleidoscope6.2 (2014): 89-94.