DRAFT: This module has unpublished changes.

Women In Impressionism


DRAFT: This module has unpublished changes.

Bibliographic List:


Benard, Bruce. The Impressionist Revolution. Boston:

       Little, Brown and Company, 1998


Hollein, Max and Pfreiffer, Ingrid. Women Impressionist. London:

       Schirn Kunsthalle Franfurt, 2008


House, John. Impressionism Paint and Politics. New Haven and London:

       Yale University Press, 2004


Lucie-Smith, Edward. Impressionist Women. New York:

        Artabras, 1993


Sondergaard, Sidsel Marie. Women In Impressionism. Italy:

        Skira Editore S.p.A, 2006

DRAFT: This module has unpublished changes.

Annotation: "Women in Impressionism" by Sidsel Marie Sondergaard

 

        On my journey throughout the Museum in phase one of the e-portfolio project I found the Impressionist paintings to be the most interesting.  As I explored this topic more in depth I realized that many impressionist artists used women as their subject matter.  From there I began to wonder why this was and exactly how large a role did women play in the impressionist movement.  I soon found out however, that it wasn’t so much the role women played in the impressionist movement, but rather the role impressionism played in the feminist movement of that era.   Out of the five books I found, I choose to annotate Women in Impressionism by Sidsel Sondergaard. 

        I found this book to be extremely helpful with my topic on how impressionist painters portrayed the change of women’s attitudes during the Modernist era.  This book first provided historical background information, which is always needed when writing a long research paper.  It clarified the connection impressionism had with women’s rights; one connection was Paris as the common birthplace for these movements.  Whenever the book states a thesis or argument it is then supported by informative and detailed examples, including quotes from famous men and women impressionist artist.  For example it contains a quote from Mary Cassatt, which states “Women should be someone and not something.”  Women in Impressionism allowed me to visually acknowledge the change in women with good quality photos of painting done by an array of impressionist.  The book provides clear descriptions of the images.  The author compares similar paintings, one by Renoir, one by Mary Cassatt and the other by Eva Gonzales, in order to illustrate different artists approach to the same topic.  For example all the artists create similar paintings, while Renoir portrays the man in his painting fading and the woman as the prominent figure who is lavishly dressed, Cassatt portrays her women as “appropriately” dressed, and Gonzales paints the couple side by side in the same tone (no fading) as to represent equality.

        Sondergaard uses these interpretations to represent the tension of that era.  She also provides other types of works that show how women impressionist painters were looked at as rebels by society.  The author gives a great insight into the paintings with helpful commentary.  Her writing is easy to understand, especially when she delves into complex thoughts.  This book could be used by anyone who wants to learn more about this topic.  Sondergaard is careful to point out the small details, therefore allowing the reader to get a better grasp on her argument.  Sondergaard adds at least three pages worth of works citied at then end of every essay, giving me the opportunity to continue my research beyond her book.  Women in Impressionist was extremely helpful in understanding my topic better.

DRAFT: This module has unpublished changes.