Women in art. From the invented figure to their own bodies

 

Women in art. From the invented figure to their own bodies

 

Women in art. From the invented figure to their own bodies

Everything that is habitual seems natural. The subjection of women to men being a universal custom, any departure from it quite naturally appears unnatural

Harriet Taylor and Stuart Mill, The subjection of women (1869)

 

We know that the history of art is full of oblivion with a woman's name and that the historiographic exclusion of women, as cultural producers, is the result of an interested forgetfulness perpetuated by the patriarchal system.  Our world is full of intentional fictional constructions which still today work as established truths. The philosopher Michel Foucault dedicated a large part of his work to the effects of power and the production of truths in different historical periods.  In this sense, artistic objects become fundamental tools for the study and visibility of the production of some of these fictions, as transmitters of the values, imaginaries and discourses made in each past era. This virtual itinerary proposes a feminist interpretation of the collections, which attends to the changes in the role and the condition of women, by trying to identify some of the mechanisms of this construction. This work by Casas, which was never sold because the Catalan bourgeoisie of the moment found it to be scandalous that a woman would be alone in the street, in leisure time, pointing to the power of images to show other possible realities.    

 

Plein Air, Ramon Casas, 1898

 

Concept and text by Julia Lull Sanz

Art historian, specialist in gender studies