![]() ![]() While the recent upsurge of feminist activity in this country has indeed been a liberating one, its force has been chiefly emotional-personal, psychological and subjective-centered, like the other radical movements to which it is related, on the present and its immediate needs, rather than on historical analysis of the basic intellectual issues which the feminist attack on the status quo automatically raises. A version of this story originally appeared in the January 1971 issue of ARTnews. ![]() Additionally, the popularity of "choice" paintings at the time suggests an early interest in exploring individuality and psychology. Unlike her male contemporaries, who typically portrayed women as weak and subservient, Kauffman's paintings feature strong and empowered female protagonists. This self-portrait is unprecedented in its depiction of a female artist making important decisions for herself. ![]() Despite criticism that her paintings lacked the virility and manly strength typical of history paintings, Kauffman's decision to create a picture similar to a revered work demonstrates her astute understanding of the art market. ![]() The allegorical nature of the painting invites comparisons with Annibale Carraci's Hercules at the Crossroads Between Virtue and Vice, a popular image of the time. However, in the eighteenth century, female singers were often viewed as promiscuous, so Kauffman sought advice from a priest who recommended painting as the more virtuous option. It shows the two possible career paths that were available to her as a young woman - music and painting. Commissioned by Princess Holstein-Beck of Russia, this self-portrait by Kauffman is both vibrant and revealing. ![]()
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