Resa – So, Rebecca we travel back to the 1600’s Netherlands and find this amazing woman, Anna Maria van Schurman.Are you dizzy from our time travel globe trotting, and your research homework, yet?
Rebecca – Our journey back to the 1600s in the Netherlands was nothing short of extraordinary. Meeting Anna Maria Van Schurman, a remarkable figure of her time, left a lasting impression on me. Her intellect and artistry were truly inspiring, and I felt privileged to witness the world through her eyes. Resa, you orchestrated this incredible adventure, taking me on a whirlwind exploration of history and culture. I am deeply grateful for the memories created during this remarkable experience.
Resa – Aw, thank you Rebecca! Without further ado, here is Anna Maria van Schurman.
“No Pride or Beauty”
Anna Maria van Schurman (November 5, 1607 – May 4, 1678) was a remarkable figure in Dutch history, known for her diverse talents and her advocacy for female education. She was a painter, engraver, poet, classical scholar, philosopher, and feminist writer. She is best remembered for her exceptional learning and her defence of female education.
With outstanding proficiency in multiple disciplines, including art, music, and literature, Van Schurman’s remarkable intellect and dedication to learning set her apart. She left a lasting legacy as the first woman to unofficially study at a Dutch university.
Self Portrait – Age 33 years
No pride or beauty prompted me to engrave my features in eternal copper; But if my unpractised graver was not yet capable of producing good work, I would not risk a more weighty task the first time.
Education and Achievements
Anna Maria van Schurman received a strong classical education from her father, establishing herself as a child prodigy. By the age of seven, she demonstrated exceptional proficiency in reading and translating Latin and Greek. Impressively, by age eleven, she had also acquired proficiency in German, French, Hebrew, English, Spanish, and Italian. Furthermore, she delved into the study of art, ultimately becoming a distinguished artist in the disciplines of drawing, painting, and etching, albeit with few surviving examples of her artwork.
Following her years of fervent advocacy for women’s education, van Schurman was finally extended an invitation to attend the University of Utrecht at the age of 29, marking a significant milestone as the first female student. However, her presence in the university was subject to the stipulation that she conceal herself behind a curtain during classes, a measure taken to prevent any potential distraction for her male counterparts. Despite these challenges, she graduated with a degree in law, consequently becoming the first female to achieve this educational feat.
A polyglot adept in fourteen languages, her linguistic abilities encompassed Latin, Ancient Greek, Biblical Hebrew, Arabic, Syriac, Aramaic, Ethiopic, as well as various contemporary European languages.
Van Schurman’s journey exemplifies her relentless pursuit of knowledge and her groundbreaking contributions to female education.
In an 8 x 10 frame next to a 6 X 8 frame in the AGO, one can see how tiny the self portrait is.
Advocacy for Female Education and Intellectual Contributions
Anna Maria van Schurman’s unwavering commitment to advocating for female education and her active participation in intellectual discourse significantly contributed to the advancement of women’s rights and intellectual equality in the Dutch historical context.
One way Anna Maria van Schurman advocated for equal education for women, was through her prolific writings during the 1640s and 50s. In her notable work “Whether the Study of Letters is Fitting for a Christian Woman,” published in 1646, she passionately argued for the educational rights of women, upholding that individuals with aptitude and principles should have the opportunity to pursue learning. She ardently believed in the importance of women receiving comprehensive education across all subjects, provided that it did not impede their responsibilities within the domestic sphere.
Resa – Were you surprised to get an email, while working on this post, with a link to Anna van Schurman’s book The Learned Maid (1659)? I know I sure was.
Rebecca – It was indeed a surprise, Resa! I read that Anna van Schurman’s “The Learned Maid, or, Whether a Maid may be a Scholar” emerged from her extensive correspondence with theologians and scholars throughout Europe, focusing on the crucial topic of women’s education. She argues that educating women not only enriches their lives but also benefits society as a whole! I was astonished by Anna’s progressive stand in a time when women’s education was often discouraged. To state boldly that knowledge is not limited by gender was a courageous endeavour.
Click on the book to read it, photographed page by page!
Notably, van Schurman actively engaged in the dissemination of articles elucidating the intellectual equality between men and women, countering the prevalent notion that women were solely suited for roles as wives and mothers. Her contributions to contemporary intellectual discourse were expansive, involving exchanges with influential cultural figures such as philosopher René Descartes, philosopher Marin Mersenne, and writer Constantin Huygens . These interactions further solidified her influential presence within the intellectual circles of her time.
Later Life and Involvement with Labadism
Toward the end of her life, Anna Maria van Schurman became involved in a contemplative religious sect founded by the Jesuit Jean de Labadie known as Labadism. This mystic offshoot of Catholicism preached the significance of communal property and included the directive to raise children communally. Van Schurman, deeply involved in the sect, became de Labadie’s primary assistant and journeyed with the sect as it traveled. Her association with de Labadie facilitated the publication of her final book “Eucleria,” in 1673, which is considered one of the most comprehensive explanations of Labadism.
Her engagement in Labadism at the later stage of her life showcased her continued pursuit of spiritual and intellectual endeavours, further enriching her diverse legacy.
Resa – I’d never heard of Labadism, until this article. Interestingly, Van Schurman refers to herself as “that incomparable Virgin” on the opening page of “The Learned Maid”. Do you find it odd that such a scholar would join up with a religious offshoot? It sounds like a cult.
Rebecca – That is a very good question, Resa! In her 60s, Anna van Schurman became a prominent figure among the Labadists, a religious group that emerged in the 17th century, characterized by their communal living and strict adherence to a mystical interpretation of Christianity.
While some critics labeled the Labadists as a cult due to their unconventional beliefs and practices, including their rejection of mainstream religious authority and emphasis on personal revelation, supporters viewed them as a genuine spiritual community seeking to live out their faith in a more profound way. The debate over their classification often hinges on the definitions of cult versus legitimate religious movement, reflecting broader societal attitudes towards alternative spiritual paths.
Resa – Rebecca, thank you, thank you for joining me in this series on self-portraits from the MHM exhibition!
Rebecca – This has been a marvellous series, Resa. Your innovative approach entices us all to enter the“rabbit hole”of creativity. When we go back to honour artists, we give honour to our time. And when we give honour to the “now”, we become more creative and give our voice to the future.
Click on the above banner to see Rebecca’s research links!
Welcome back everyone! Today Rebecca Budd curator of Chasing Art and I are going to present and discuss the 18th century artist, Anne Guéret!
Resa – Rebecca, how wonderful to have you back! I know it is believed that this is a self portrait of Anne Guéret but no one can verify it. Still, I have included it in this series. I hope you are good with that?
Rebecca – I am delighted that you have included Anne Guéret’s Portrait of an Artist with a Portfolio, Resa! This painting revolutionized the portrayal of women artists. I believe that it is an essential addition to your“MHM”* series.
Resa – Well, let’s get to everything you found out!
Mlle Guéret the Younger
Anne Guéret (1760–1805), also known as Mlle Guéret the Younger, was a notable French painter who was active at the end of the 18th century and the beginning of the 19th century. Despite being orphaned as a child, she and her sister Louise Catherine Guéret were fortunate to be adopted by the renowned dramatist and librettist Michel-Jean Sedaine.
His act of adoption not only provided the sisters with a stable upbringing but also served as a catalyst for their artistic pursuits, shaping their future as prominent figures in the art world of the late 18th and early 19th centuries. Under Sedaine’s care, they were introduced to esteemed painters Henri-Pierre Danloux and Jacques-Louis David, who provided them with valuable art lessons.
Salon Debut
Anne Guéret’s debut at the Salon in 1793 marked the beginning of her successful exhibition career. She continued to showcase her work in Salons until 1801, focusing primarily on presenting portraits of notable individuals. Her dedication to portraying prominent figures through her artwork and her lasting impression on the cultural heritage of France have solidified her status as a noteworthy figure in art history.
Portrait of an Artist with a Portfolio”
Resa – This particular “Salon” she first showed at is very famous. I’m just hearing about it now, and I think other female artists of the era presented there?
Rebecca – Indeed, they did! The Salon aka Paris Salonhad its debut in 1667. It was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890, it was arguably the greatest annual or biennial art event in the Western world. The Salon played a significant role in the exhibition and recognition of artists during the 18th and 19th centuries.
While the official inclusion of women artists in the Salon was a gradual process, it did eventually provide opportunities for them to exhibit their paintings. Contemporaries of Anne Guéret, Anne Vallayer-Coster and Adélaïde Labille-Guiard, also participated in the Salon. Their contribution marked progressive attitudes towards women artists during that period.
Portrait of an Artist with a Portfolio
Anne Guéret’s “Portrait of an Artist with a Portfolio” was prominently displayed at the Salon of 1793, marking a significant moment in her exhibition career.
From a 21st-century perspective, the portrait of a young woman drawing by Anne Guéret (possibly a self-portrait) may appear unremarkable at first glance. However, upon closer examination, it represents a significant turning point in the history of women artists in Europe.
Click on pic to better see the nude drawing
The depiction of the seated woman drawing a nude male figure, albeit likely from a print or sculpture rather than a live model, signifies a progressive shift in attitudes towards women artists in the late 18th century.
Resa – Yes, the nude figure is remarkable for that era. Very few women dared.
Rebecca – According to historical records and analysis, Anne Guéret was not the first woman artist to paint a nude figure. Previous female artists, including Artemisia Gentileschi and Lavinia Fontana, portrayed nude figures in their artwork.
However, Anne Guéret positioned herself drawing a nude male figure, which holds significance in the context of late 18th-century art. Anne Guéret’s choice to depict herself engaging in this subject matter challenged traditional gender roles, contributed to the evolving status and recognition of women artists and carries symbolic weight to the changing perception of women artists during that era.
This remarkable piece of artwork, executed with black chalk, stumping, pen, grey ink, and grey wash on buff paper, measures 320 x 404 mm (12 5/8 x 15 7/8 in.) and reflects Anne Guéret’s distinctive artistic style and technical versatility.
The Evolving Status and Recognition of Women Artists
Anne Guéret’s relatively limited body of work available to us today can be attributed to several factors. As a female artist during the late 18th and early 19th centuries, she faced societal and institutional barriers that restricted her artistic opportunities and recognition. The historical context of the French Revolution and its aftermath created a turbulent environment that may have impacted the production and preservation of her artwork.
These combined factors may have contributed to the scarcity of paintings attributed to Anne Guéret. Despite the scarcity of paintings attributed to her, Anne Guéret’s enduring impact and revolutionary artistic vision continue to inspire and enrich the cultural heritage of France and Europe.
Anne Guéret’s indelible mark on the art world of the late 18th and early 19th centuries transcends the limitations she faced as a female artist during that era. Her dedication to her craft and the symbolic weight carried by her artworks serve as a testament to the evolving status and recognition of women artists.
Currently held in a private collection in France, this portrait serves as a monument to Anne Guéret’s enduring impact on the art world of the late 18th century.
Resa – I’m so glad we’ve shared this portrait by Anne Guéret, especially since so little of her art survived.
Rebecca – Resa, thank you for the invitation to join you on “MHM” series of posts. This experience has truly been a transformative journey of self-discovery for me. Anne Guéret challenges us to embrace boldness in our creative pursuits, urging us to push boundaries and explore new possibilities without fear of failure. Her message serves as a powerful reminder to step outside comfort zones and unleash creativity without reservation.
For Rebecca’s research links not included in the text, click on the above banner.
A wall was painted for a scene in a movie. After the scene was shot, the wall was painted over. I knew from the first piece, that something was off. Let me know which one you thought was fake in comments. Answer at end of post.
Street Art #1
Street Art #2
Street Art #3
Street Art #4
Pics taken by Resa – 2023 & 2024
Toronto, Canada
They shot a movie once, in my hometown Everybody was in it, from miles around Out at the speedway, some kind of Elvis thing Well, I ain't no movie star But I can get behind anything.
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