Tag: Women in History

Women of the Art-istocracy

On By ResaIn Making Her Mark137 Comments

They were not royalty, but may have painted for royalty.

Their parents worked for royalty, were politicians, acclaimed artists or important clergy. These aristocrats wielded economic, political, and social influence. They were fortunate ones, before and during the rise of a European middle class due to the industrial revolution.

Louise-Adéone Drölling

French – 1797 – 1831

Young Woman Tracing a Flower – Circa 1820-22

Louise-Adéone‘s father, Martin Drölling, and older brother, Michel Martin Drölling, were celebrated artists in their day. At the age of 15 she was encouraged to begin painting.

In 1819, Louise-Adéone married architect Jean-Nicolas Pagnierre. Widowed in 1822, she remarried Nicholas Roch Joubert in 1826. Joubert, chief tax officer of Paris, was the son of politician and former bishop Pierre-Mathieu Joubert. They had two daughters, Adéone Louise Sophie, and Angélique Marie.

Louise-Adéone Drölling, aka Madame Joubert won a Gold Medal from Salon des Amis des Arts, for her above painting; Young Woman Tracing a Flower. Thought be a self portrait, it later became part of the distinguished collection in the Gallery of La Duchesse de Berry.

I have found conflicting dates of her Gold Award – 1824, 1827 or 1831.

Marguerite Gérard

French – 1761 – 1837

Motherhood Circa 1795-1800

Marguerite Gérard attained much wealth and real estate during her life, despite remaining unmarried.

In 1775 she moved from Grasse to Paris and lived with her sister’s family. Her sister was married to the popular Rococo painter Jean-Honoré Fragonard. Here she had financial freedom and was trained in art as Fragonard’s unofficial apprentice.

By her mid 20’s, Gérard had achieved a signature style. This involved precise details made with subtle and blended brush strokes, inspired by 17th-century Dutch genre paintings. However, she made it her own by focusing on females in intimate domestic settings.

Young Woman Embroidering – Circa 1815-20

In the 1790’s, once the Salons were opened to women, she exhibited often, winning three medals.

Over the course of her successful fifty years, Gérard survived the French Revolution and Napoleonic Wars.

Her paintings were acquired by luminaries such as Napoleon and King Louis XVII.

Her small-scale, portable canvases appealed to many wealthy collectors, who preferred to display her small scale still life and genre paintings in their homes, over large historical canvases.

The numerous engraved versions of Gérard’s paintings made them accessible to less affluent art lovers and helped increase her reputation.

Gérard did not always follow convention, turning down a place at the French Royal Academy.

Catherine Lusurier

French – 1753 – 1781

Portrait of a Woman Drawing

Catherine Lusurier died at the young age of 28 years old. There is not a lot known about her, and only a few known signed paintings are accounted for.

Her mother, Jeanne Callot, was a dressmaker, while her father Pierre was a milliner. Apprenticing under her uncle, Hubert Drouais (1699-1767), her work bears his stylistic influence. Her paintings are predominantly portraits of children and artists.

A Catherine Lusurier work recently headlined Christie’s Old Masters and 19th Century Paintings, selling from a Private Collection. Sold Without Reserve at 3.11 million dollars, it exceeded the pre-sale high estimate.

Amélie Legrand de Saint-Aubin

French – 1797 – 1878

Portrait of an Artist Drawing a Landscape in her Sketchbook – 1831

Amélie Legrand de Saint-Aubin, the eldest daughter of Pierre Jean Hilaire Legrand de Saint-Aubin (1772–1839) and Denise Marie Claudine Legrand (1772–1855), was born in Paris. After training and studying in the Women Only Studio with Charles Meynier, Amélie Legrand de Saint-Aubin‘s Rococo style portraits and history paintings grew in popularity.

Portrait of an Artist Drawing a Landscape in her Sketchbook is of a long standing tradition of women artists picturing women painting art.

Political changes from the French Revolution resulted in women being allowed to exhibit in the French Salon. Amélie Legrand de Saint-Aubin went on to exhibit at 17 salons over the course of her career.

Around 1831, she began teaching, offering private lessons. She never married.

“This stunning portrait recently joined the AGO’s permanent collection and made its debut as part of the exhibition Making Her Mark: A History of Women Artists in Europe 1400 – 1800. “

Marie-Guillemine Benoist

French – 1768 – 1826

Portrait of a Lady Circa 1799

Marie-Guillemine was born in Paris. Her mother was Marguerite-Marie Lombard and her father, René Laville-Leroux, a royal administrator for the ancien régime state. Marie and her sister, Baroness Larrey, (1770–1842), studied art from Élisabeth Vigée-Lebrun. Later they studied under Jacques-Louis David.

Her first exhibition was in 1784, at an annual 1 day show in Paris – Exposition de la Jeunesse. 

Until the Louvre Salon became open to all exhibitors in 1791, where Benoist was one of 22 women presenting, she showed yearly at the Exposition de la Jeunesse. 

At the Salon in 1804, she won a medal, whereby France’s new Emperor, Napoleon Bonaparte, ordered multiple commissions.

Other than her Salon successes, which are in the French state collection, Benoist’s work, including Portrait of a Lady was attributed to a man; in her case, Jacques Louis David.

Like many women artists of her day, their posthumous fate was to be overlooked, forgotten and/or effaced.

Mary Beale

English – 1633 – 1699

Portrait of a Woman with a Black Hood -Circa 1660

Mary Beale was the daughter of a clergyman, John Cradock, so it seems natural that much of her portraiture is of churchmen. It is not sure who she trained under, but she received considerable guidance from Peter Lely

In London, she moved in intellectual circles. By, and into the 1670s she was in demand as a portrait artist, earning enough money to support her family of four.

After several years of mundane civil service; Mary’s husband, Charles Beale, left his monotonous job to become her full time studio manager.

Much has been learned from the many notebooks he kept.

One example: Charles recorded that in 1677 Mary completed 90 commissioned portraits. There were 31 female sitters and 34 male. The women and girls were mostly either titled or gentry. Men and boys were gentry or of “middling sort.” 

Rosalda Carriera

Italian – 1673 – 1757

Portrait of a Woman – Circa 1720’s

Rosalba Carriera was born in Venice to Andrea Carriera, a lawyer, and lacemaker, Alba Foresti. Taught to make lace by her mother, little is known of her artistic training. She is renowned for pastel portraiture and allegories.

In 1720, during a stay with French banker Pierre Crozat in Paris, Rosalba created portraits of Louis XV as a child, and members of the French aristocracy. Here she developed a friendship with Antoine Watteau, who influenced her work.

Rosalba is one of the originators of the Rococo style in Italy and France.

Her greatest patron, Augustus III of Poland, collected more than 150 of her pastels. He also sat for her in 1713.

In 1746 she lost her sight, but her work continued to influence many other artists.

I’ve merely highlighted these women’s lives. There is so much more to know about our trailblazing sisters, who went before us.

Click on Making her Mark above to view sources.

All photos taken by © Resa McConaghy – May 14, 2024

Making Her Mark exhibition – Art Gallery of Ontario

Making Her Mark – Self Portraits VI

On By ResaIn Making Her Mark204 Comments

Welcome to the final instalment of Making Her Mark – Self Portraits. I’m here with Rebecca Budd, curator of Chasing Art. 

Resa – So, Rebecca, in this last Self Portraits post, we are headed to the Netherlands, 17th century, to visit another artist that I had never heard of. Had you heard of Judith Leyster before this post?

Rebecca – Yes – just recently. I discovered her when I travelled virtually to the Rijksmuseum. Judith Leyster was featured in their Women of the Rijksmuseum exhibit two years ago. It was an eye-opening experience to discover her work.

Resa – Very Cool, I’m excited to se what you’ve dug up!

Once Forgotten Dutch Master

Judith Leyster, the once-forgotten Dutch master, has experienced a resurgence in recognition. She was commemorated in a  Google Doodle, her artwork achieved higher- than-expected prices at auction, and she was featured in the most prestigious chamber of the Rijksmuseum.

Who Was Judith Leyster

A remarkable Dutch painter of the 17th century, Judith Leyster was born 1609, in Haarlem, Netherlands. The daughter of a brewer, she displayed a precocious talent for painting from a young age.

By the age of 24, Leyster had achieved the remarkable feat of becoming a member of the Haarlem painters’ guild, marking her official recognition as a masterful artist. She was one of the rare professional women painters of her time, being one of only two women accepted as a master in Haarlem’s painters’ guild during the entire 17th century Netherlands.

Leyster’s artistic talent quickly gained recognition, and she became known for her lively and expressive compositions, often depicting genre scenes, portraits, and still life paintings. Her work radiated a sense of spontaneity and skillful use of light and shadow, showcasing her technical prowess and innovative approach to painting.

Leyster’s artistic pursuits defied conventions, as she ventured beyond the typical subject matter embraced by Dutch painters of her time. Her work encompassed a diverse range, and she was among the pioneering artists who explored and popularized the domestic genre scene, portraying everyday life with a fresh perspective.

In the early 1630s, before her marriage to the lesser-known artist Jan Miense Moleanaer, Leyster produced some of her most significant works. However, despite her talent and dedication to her craft, her contributions to art history remained largely unrecognized until the late 19th century.

Judith Leyster Rediscovered

The rediscovery of Leyster’s significance in the art world came about during a lawsuit between an art dealer and his vendor.

It was revealed that many works attributed to her contemporary and rumoured rival, the great Dutch painter Frans Hals, were, in fact, Leyster’s creations that had been incorrectly credited. This significant discovery brought long-overdue attention to Leyster’s remarkable talent and her influential role in shaping the Dutch Golden Age of art.

It is remarkable how the true authorship of artworks can be uncovered through careful examination and historical investigation. The discovery of Leyster’s initials hidden beneath a faked signature of Frans Hals in “The Happy Couple” (aka The Carousing Couple) serves as a testament to her enduring impact on art history and the need for ongoing reassessment of attributions.

This revelation not only sheds light on Leyster’s artistic contribution but also prompts a re-evaluation of artworks attributed to her contemporaries. It further underscores the significance of ongoing research in uncovering the often overlooked achievements of pioneering artists.

Resa – When searching for other female artists from the past whose art has been misattributed, I found an intriguing article (July/2024) in  Daily Art Magazine. The article cites 5 female artists.

“This systematic misattribution essentially meant the erasure of women from the art historical canon, which eventually resulted in their erasure from history itself.”

Rebecca, do you think it’s possible that as art experts and historians uncover yet more misattributed art that we could see some famous paintings by famous artists, the Rembrandts, Da Vincis, et al being reattributed to women?

Rebecca – You have asked a very insightful question, Resa! It’s certainly possible. As more art is studied works that have been misattributed may be finally recognized as contributions of women artists. It would be a significant shift in how we view art history. I truly believe that we are now embarking on an extraordinary exploration of art history. It gives me great comfort that we are seeking to foster a richer and more equitable understanding of the artistic legacy we inherit. I am glad that you mentioned the Daily Art Magazine. It is one of my go-to places to learn about art.

Judith Leyster’s Self Portrait: A Glimpse into the Artist’s World

Judith Leyster’s self-portrait offers a glimpse into her life and artistry. Created before her admission to the guild in 1633, the portrait encapsulates a moment of confident creativity and engagement. Leyster’s self-assured expression, characterized by a confident smile and parted lips as if to speak, exudes a sense of self-assurance and mastery. The casual pose, with one arm nonchalantly resting on the back of her chair, hints at the artist’s ease and comfort in her own studio.

It is difficult to photograph art. I captured many works beautifully. However, this painting was the finale of the show, and was heavily lit with warm light. 

Shot on an angle, the lighting was evaded, and it seems to be closer to many photos of it. Still, it seems no 2 photos are the same.
Photos in this post © Resa McConaghy

The liveliness and freedom evident in Leyster’s brushwork mirror her spirited approach to art, capturing a fleeting pause in her work as she glances toward a potential visitor. This subtle interaction suggests a moment of connection with a viewer, possibly a patron, inviting them to share in the experience of a work in progress.

In this self-portrait, Judith Leyster not only presents herself as a skilled artist but also provides a glimpse into the vibrant and dynamic world of creativity that she inhabited.

Today, Judith Leyster is celebrated for her creative spirit, artistic innovation, and lasting impact on the history of art. Her legacy continues to inspire and engage art enthusiasts and scholars around the world.

Resa – Well, Rebecca, so ends our series on Self Portraits. It’s been a pleasure and an honour having you here with me. Thank You!

I look forward to your return, to discuss some engravings on paper by Catherine Brandinn and Geertruydt Roghman. These are of utmost interest as the images depict the working poor, not a big subject of artists in those times.

Rebecca – Thank you, Resa! It has truly been a privilege to explore these amazing women through “Making her Mark” with you. Your photographs allowed me to virtually experience the joy of viewing these paintings. Thank you for celebrating and honouring these artists. Their resilience and creativity continue to inspire and empower us today, even as they provide a vital legacy for future generations of women in the arts.

I’m eagerly anticipating our next discussion on the engravings by Catherine Brandinn and Geertruydt Roghman, as the portrayal of the working poor offers a unique and important perspective that, I believe, deserves more attention in the art world.

As you say so eloquently, “Art Remembers Us.”

Click on X to see research links & a fabulous video on her

Making Her Mark – Self Portraits II

On By ResaIn Making Her Mark169 Comments

Resa – Welcome back to “Making Her Mark” – Self Portrait Series! I’m your host, Resa with special guest host Rebecca Budd – curator of Chasing Art.

Resa – So Rebecca, today we’re shining the spotlight on another accomplished female artist once buried by history, Amalia von Königsmarck.

I “fell in love” with our last artist, Sarah Biffen. Amalia von Königsmarck does not inspire the same “fell in love” in me, yet hers is nonetheless a valuable contribution to the world of art, and art remembering us. Can you speak to that?

Rebecca – Amalia von Königsmarck’s contribution to the world of art is indeed remarkable, especially considering the complex, perilous and politically charged environment in which she lived. The intricate dynamics of the royal court, especially during the Great Northern War, as well as her spouse’s involvement in the service of Augustus II the Strong, led to dire consequences. Given her status as a dilettante painter and her involvement in painting as a hobby or pastime, it is likely that her primary motivation for creating art was personal enjoyment and creative expression.  I believe that in the midst of uncertainty, Amalia chose to follow her creative spirit, which is a reminder to me that art generates positive outcomes.  That thought resonated with me when I viewed your photographs.

Resa – Okay, now I’m “fell in love”with Amalia, too! So, Rebecca, let’s check out the details on what you’ve said and what else you have discovered about Amalia von Königsmarck!

Amalia von Königsmarck – A Dilettante Painter

Amalia von Königsmarck (1663–1740) hailed from a distinguished German-Swedish noble family. Her paternal grandfather, Field Marshal Hans Christoff von Königsmarck, notably served on the Swedish side in the Thirty Years’ War and was subsequently honored with the title of a Swedish count. Meanwhile, her father, Conrad Christoff von Königsmarck, held notable roles in the Swedish possessions of Bremen and Verden, among others.

Amalia von Königsmarck married Carl Gustaf Lewenhaupt, a Swedish nobleman, in 1686. Their union was a significant aspect of her life amidst the complex dynamics of the royal court.

Allegory with Self Portrait and Profile Portrait of Queen Eleonora – 1689

Resa – The above photo I took is from the “Making Her Mark” exhibit. I was lured in by its richness. This painting was not behind glass, and on close inspection I gasped when I saw the 335 year old cracks in the oils. I thought – Rebecca would love these cracks.

Rebecca – I do love those cracks, Resa!!  This is a 335-year-old painting!!  I believe that those delicate cracks add to overall aesthetic appeal of the artwork by providing a sense of history and authenticity. The cracks, also known as craquelure, can be seen as a unique feature that showcases the passage of time and the natural aging process of the artwork. I find that the presence of cracks enhances the texture and visual interest of the painting, giving it a distinct character that sets it apart from newer, flawless pieces.

Amalia von Königsmarck’s Artistic Pursuits

Amalia von Königsmarck was known for her literary and intellectual achievements as well as for her artistic endeavors. As a member of the royal court, she delved into the world of painting and portrayed various notable figures of her time. One of her renowned paintings is a self portrait dating back to 1688, offering a personal glimpse into her life and artistic expression.

In addition to her accomplishments in visual arts, Amalia participated in the amateur theatre of the royal court, an endeavor encouraged by Queen Ulrika Eleonora of Sweden. This involvement in the theatre highlighted her multifaceted interests and contributions to the cultural life of the royal court.

In the painting, Amalia holds her portrait of Queen Ulrika, a bold nod to her relationship with the queen.

One of her hands holds paintbrushes, depicting herself as a painter. (see full painting)It is the first known image of a Swedish female painter.

Although Amalia had studied under David Klöcker Ehrenstrahl, a Swedish nobleman and portrait painter, Amalia was a dilettante painter. This refers to an individual who engages in painting as a hobby or pastime, without pursuing it as a serious or professional occupation.

Dilettante painters typically approach art with enthusiasm and interest but may not have undergone formal training or dedicated extensive time and effort to develop their skills to a professional level. Their works are often created for personal enjoyment or as a form of creative expression, without the intention of displaying or selling them in a professional art context.

Amalia and the Great Northern War

In 1695, amidst the intricate dynamics of the royal court, Amalia Lewenhaupt (Königsmarck) persuasively influenced her spouse to enter into the service of Augustus II the Strong, who was at that time engaged in a romantic relationship with her sister Aurora. However, this decision led to dire consequences, as her spouse faced the confiscation of property and a sentence of death in his absence by Charles XII of Sweden in 1703, during the tumultuous Great Northern War. Tragically, her spouse passed away in exile in Hamburg, Germany, in the same year.

The other 2 women in this allegorical portrait:

Left – winged and holding a trumpet is likely Fama, goddess of rumour and fame.

Right – The woman points to the queen while gazing out of frame.

Resa – So Rebecca, I add the thought here that the pointing indicates that Amalia is saying that Queen Eleonora is of rumour and fame?

Rebecca – While the specific meaning of the painting, “Allegory with self-portrait and profile portrait of Ulrika Eleonora the Elder” is open to interpretation, the inclusion of the self-portrait alongside the profile portrait of the queen suggests a significant personal connection between Amalia and Queen Ulrika Eleonora. The portrayal may convey Amalia’s admiration for the queen and her acknowledgment of the queen’s reputation and prominent status. Queen Ulrika Eleonora was renowned for her religious devotion, patience, mild demeanor, and charitable nature, which endeared her to the public. Her modest beauty and dignified presence further enhanced her image as a symbol of hope and lasting peace. Embraced with enthusiasm by the public, she was perceived as a beacon of optimism, and her personal merits bolstered her popularity, solidifying her status as a beloved and influential figure in her time.

Amalia’s Return to Sweden

Following the upheavals and challenges she encountered, Amalia Lewenhaupt eventually journeyed back to Sweden in 1722. Notably, her return to her homeland was accompanied by the fortune-teller Höffern, perhaps seeking guidance and solace after the tumultuous events she had endured.

In 1740, at the age of 76, Amalia Lewenhaupt peacefully passed away in Övedskloster, thereby transcending the trials and tribulations of her lifetime. Her final years were marked by the tranquility of her surroundings, providing a contrast to the tumultuous events she had previously experienced.

Regrettably, Amalia Lewenhaupt’s poignant story was further shadowed by the tragic fate of her firstborn son, Charles Emil Lewenhaupt, who faced condemnation for treason and was ultimately executed in 1743, thus adding another layer of sorrow to her enduring legacy.

Resa –  Rebecca, I can’t thank you enough for being here with me to present Amalia von Königsmarck. It’s somewhat jolting to realize that she was on earth 361 years ago.

Rebecca – Thank you, Resa, for this extraordinary opportunity to collaborate with you on “Making Her Mark”. It is truly fascinating to unravel the multifaceted contributions of remarkable women from past centuries and to witness the enduring impact they have on the world of art and culture. These women have left a profound legacy that continues to inspire and shape our artistic landscape today. By delving into their lives and artistic endeavors, we gain invaluable insights into the richness of history and the enduring influence of these visionary individuals.

Thank you again and again Rebecca!

You can visit Rebecca on Chasing Art! Also for links on the research, just click on the above banner!