During our class discussion on December 2nd, when we were comparing differences in paintings by male and female artists, I was particularly interested. In class we discussed how women artists attempted to show womanpower and to increase a woman's status in female portraits through the establishment of a large, more life-like forehead, the use of a three-dimensional background, a contemplative gaze, and poses that seemingly reach out more to the viewers, as opposed to those in Dante Gabriel Rossetti’s paintings. Appreciating their work, I found that in addition to the previous points, there are other elements in Marie Spartali Stillman’s paintings that work against the conventional understanding of women.
When Stillman was first introduced in class, we saw her works after Rossetti and at that time her half-length figures made a lot of sense to me. Yet when her Mariana (Figure 1, 1867-9) was shown on the screen, I could not help but wonder why she maintains this half-length figure rather than a full-length one like that in John Everett Millais' Mariana of 1851 (Figure 2). We may argue that this is her preference but why was she so insistent about this? Thinking back on both readings and in-class discussions, artworks in the Victorian period significantly focused on a woman’s fertility. One particular way to do this is to show her hips. Therefore, I would argue that Stillman’s often avoidance of the lower body would be likely to shift viewers’ attention to the figure’s emotions rather than her fertility. In Stillman's Mariana, the woman has her hands crossing under her chin, with eyes looking out of the window, through which the viewer can easily tell that she is contemplating. Her reintroduction of this figure challenges the viewers perception of women, unlike Millais’ depiction. Stillman presents a figure of Mariana that is not restricted to only household chores like tapestry creation, but rather argues that women can also be independent thinkers. Furthermore, there are not as many details in the background in Stillman's paintings as in others, which continues to serve for her goal of focusing on the model.
At this point, one might suggest that the large emphasis on the figure in Stillman’s painting lack understanding of the story and the purpose of the painting. Yet this might be the reason why Stillman has done a fair amount of paintings after male artists. In the end, drawing upon subjects that have already been introduced to the viewer, Stillman is able to fill the gap between the figures and the viewers that often exists in the work of male artists.
When Stillman was first introduced in class, we saw her works after Rossetti and at that time her half-length figures made a lot of sense to me. Yet when her Mariana (Figure 1, 1867-9) was shown on the screen, I could not help but wonder why she maintains this half-length figure rather than a full-length one like that in John Everett Millais' Mariana of 1851 (Figure 2). We may argue that this is her preference but why was she so insistent about this? Thinking back on both readings and in-class discussions, artworks in the Victorian period significantly focused on a woman’s fertility. One particular way to do this is to show her hips. Therefore, I would argue that Stillman’s often avoidance of the lower body would be likely to shift viewers’ attention to the figure’s emotions rather than her fertility. In Stillman's Mariana, the woman has her hands crossing under her chin, with eyes looking out of the window, through which the viewer can easily tell that she is contemplating. Her reintroduction of this figure challenges the viewers perception of women, unlike Millais’ depiction. Stillman presents a figure of Mariana that is not restricted to only household chores like tapestry creation, but rather argues that women can also be independent thinkers. Furthermore, there are not as many details in the background in Stillman's paintings as in others, which continues to serve for her goal of focusing on the model.
At this point, one might suggest that the large emphasis on the figure in Stillman’s painting lack understanding of the story and the purpose of the painting. Yet this might be the reason why Stillman has done a fair amount of paintings after male artists. In the end, drawing upon subjects that have already been introduced to the viewer, Stillman is able to fill the gap between the figures and the viewers that often exists in the work of male artists.
(Figure 1)
(Figure 2)
Thank you, Mikayla. I like the way you re- arranged my sentences :) It is so happy to work with you this semester. Good luck in finals and papers!
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