#arh272

People’s expectation influences/distort (?) how they perceive and interpret both the paintings created by female painters as well as the Salon des femmes. For instance, someone who believes that women are inferior artists would think deviation from traditional or mainstream visual techniques shown in women’s artwork does not reflect modernity but justifies the incapacity of women. People also expect the exhibition to exemplify the gender difference. 

What is even more interesting to me, though, is despite its connections to all the above, people used naturalistic language to describe the photograph’s process. So while some saw it as being a ghostly medium that could reveal the supernatural, others saw it as nature’s imprint, which then “undermined the role of the photographer.”

 The Impressionist painters believe in the idea of “innocent eye,” and considers creating art as a “simple mindless operation.” However, the approach adopted by Impressionists requires the artists’ subjective interpretation of the subject matters. Interesting question: faithful realistic depiction vs. impressionist approach, which one should be considered as “mindless” and simple?

The idea that the artist intends to convey through his or her painting is different from viewers’ interpretation. Even though Delacroix might want to convey a different message through Women of Algiers, the unveiling of the secret and intimate harem is interpreted as a symbol of colonial gains. 

I am curious about Boilly’s decision to paint what looks like the objects on his desk, since most of his paintings appear to be morally effusive portraits. Why the change in subject matter?

Several paintings here are highly orientalist and even disturbing. I am interested to see how cultural appropriation and racism play out in these types of paintings, and to what effect.

The sources are all listed if you zoom in. This post features Cassat and the Four Seasons paintings, as well as other must-sees. I liked the setup of the four seasons and how they were intended to function as a whole, and were credited as one work on four canvasses. I wonder if they could be easily and correctly identified by their respective season without the giant words? Does that add or take away from the work?

Sir Lawrence Alma-Tadema, British "The Women of Amphissa" (1887) The buildings which surrounded the stage-like setting of the portrait are reminiscent of the "architectural exactitude" of the neoclassical style. Both the clothes the women wear and the building's style seem inspired by the Greeks and Romans.