ACL1001: Reading Contemporary Fiction Lecture 9: The Portrait of the Artist as a Young Woman.
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Transcript of ACL1001: Reading Contemporary Fiction Lecture 9: The Portrait of the Artist as a Young Woman.
ACL1001: Reading Contemporary Fiction
Lecture 9: The Portrait of the Artist as a Young Woman
Art - the expression or application of creative skill and imagination, especially through a visual medium such as painting or sculpture
Aesthetics - a set of principles concerned with the nature and appreciation of beauty, especially in art
(oxfordreference online, 2007)
Women and Art History
Female artists in 16th century e.g Artemisia Gentileschi
Often their fathers were painters Female painters at this time painted biblical
scenes, still lifes, and portraits Their names are not well known; they were
overshadowed by male artists
Gentileschi’s Judith Slaying Holoferneswww.artemisia-gentileschi.com
Women Artists Today
Linda Nochlin (ARTNews, 2007)
‘The problem is to make collectors, museums, and curators who aren’t really up on things see that there are many great women artists. There are collectors and curators who – out of habit, laziness, or even misogyny – simply don’t bother with women. But that’s happening less and less frequently as women begin to occupy the most prominent places in the art world as creative artists’ (pp. 114-115).
Atwood’s Influences
Margaret Atwood acknowledges the influence of the following artists in the beginning of Cat’s Eye
Joyce Wieland, Jack Chambers, Charles Pachter, Gail Geltner, Dennis Burton, Louis de Niverville, William Kurelek
She also acknowledge the Isaacs Gallery as an influence.
Joyce Wieland 1931-1998
First woman to have solo exhibition at the Isaacs Gallery, Toronto
Her exhibition was met with criticism from her male contemporaries
Initial works were abstract geometric shapes. Later she used quilts, constructions, embroidery, cartoons etc. Was preoccupied by disasters, death and loss
1987 – first living female Canadian artist to have a retrospective at the Art Gallery of Toronto (www.cybermuse.gallery.ca)
Louis de Niverville (1933-)
Worked in Toronto 1957-1963 Famous for art works that explored childhood
memories Lives and works in Vancouver
(www.thecanadianencycopaedia.com)
Representations of the Woman as Artist
The woman is assertive, unconventional and physically assured whereas the male is sensitive and passive
The woman must choose between her womanhood and her work
The woman’s novel contains a sexually conventional foil for the protagonist
The woman lacks a muse, whereas the man’s is Woman;
The woman’s novel is inevitably radical(Huf, 1983)
The Artist in Cat’s Eye
Elaine’s career as an artist sheds light on the position of female artists in Canada.
Art Gallery of Toronto refuses to do Elaine’s retrospective: ‘Their bias is towards dead, foreign men’ p. 16
Many of the Canadian artists who influenced Atwood were students at the Ontario College of Art in the 1960s and were based in Toronto.
Sub-Versions, a woman-run gallery, is holding the retrospective.
Linda Nochlin: ‘Women tend to run alternative spaces or small museum galleries and the like’ (ARTNews, 2007, p. 116).
Women and the Toronto Art Scene – 1960s
Mr Hrbvik – art teacher; shows the young female artists ‘the ropes’ – artistically and sexually.
‘You are an unfinished woman’, he adds in a lower voice, ‘but here you will be finished’ p. 273
Art and Archeology – University of Toronto: all the lecturers are men, all the students are women
‘lady painters’
Art and Marriage
Jon does not support Elaine’s art – thinks it is ‘irrelevant’
Art regarded as a hobby for married women e.g Cordelia’s mother
Feminism provides a space for Elaine’s art – female artists in the exhibition referred to as ‘the girls’ by Jon; male journalist makes derogatory remark about ‘bra-burning’.
Ben supports Elaine’s art financially; doesn’t interfere with it; is not competitive.
Narrative
Elaine Risley’s retrospective initiates some retrospection: people, relationships, places, objects
Novel is concerned with death, loss, aging, memory, and sight.
Two narrative personas: the young Elaine and the older Elaine.
Connections between trauma and art: many of Elaine’s paintings are representations of people from her past e.g the collection of paintings of Mrs Smeath
Motifs
Cat’s Eye – sight; the gaze
Mirrors – reflections of the self
Costumes – disguises, conformity
Landscape and People
Elaine sees the landscape and people in terms of shapes and colours.
Present home: Vancouver is contrasted with her former home: Toronto
Speaking of Vancouver:
‘I can’t take it seriously. I suppose these things are as real and as oppressive, to the people who grew up there as this place is to me’ (p. 15)
Vancouver
Toronto
Science and Art
Influenced by her father’s drawings of biological specimens
Decides to become an artist whilst sitting her biology exam.
Studies painting techniques used in the Renaissance e.g Egg tempera
Influenced by Leonardo da Vinci – artist and architect
Stephen’s theories of physics influence her thoughts about art
Egg Tempera
‘What I want instead is pictures that seem to exist of their own accord. I want objects that breathe out light: a luminous flatness’ p. 326
‘The first object of the painter is to make a flat plane appear as a body in relief and projecting from that plane’ (Leonardo da Vinci, www.ibiblio.org)
Egg Tempera – used by Leonardo da Vinci to achieve the style of painting described above.
Mona Lisa
Van Eyck, The Arnolfini Marriagewww.lawrence.edu.au
Elaine’s Art
Paints memories e.g household objects; sofas; virgin mary
Objects are a source of anxiety but Elaine doesn’t know why
During retrospective, Elaine feels empathy for Mrs Smeath: ‘An eye for an eye leads only to more blindness’ p. 405
Feminist Readings
Interview with Journalist regarding the retrospective
Elaine wants to burn her paintings
‘Because I can no longer control these paintings, or tell them what to mean. Whatever energy they have came out of me. I’m what’s left over’ p. 409