The Forgotten Artists

It is hard enough to keep up with all the famous artists in history. So finding time to learn about the forgotten artists seems like a stretch. However, after attending a lecture last night by Rose Balston of Artscapes UK (think art history warrior extraordinaire), my mind has been churning. The lecture, entitled Old Masters Mistresses: Forgotten Women Painters of the Middle Ages has got me thinking, questioning and challenging everything I have ever been told or led to believe about art, history and everything else. It seems that nothing is as it seems!

The lecture was part of an International Women’s Day presentation and networking event that has left me both outraged and fascinated. Certainly I want to know more.

Set against a background of intense disadvantage, women artists are rare in history. They had to be both particularly talented and lucky to have been recognised at all, let alone to be remembered.

Sofanisba Anguissola v Michelangelo

Sofonisba Anguissola (c. 1532-1625) was an Italian Renaissance painter known for her portraits, which were highly regarded for their realism, sensitivity, and psychological depth. She was one of the few female artists of her time. And in particular, one of the few to achieve recognition and success in the highly male-dominated art world.

Anguissola was born in Cremona, Italy, and received training in painting from her father. Unusually for the times, her father recognized her talent, both supporting and encouraging her to pursue her passion. She went on to become a court painter for the Spanish royal family. Here she painted portraits of the nobility as well as members of the royal family.

Anguissola’s portraits were notable for their ability to capture the individuality and personality of her subjects, as well as their mastery of light and shadow. Her paintings often depicted women and children, and she was particularly skilled at capturing the expressions and gestures of children.

In addition to her portrait work, Anguissola also painted historical and biblical scenes, as well as still lifes and genre scenes. She was highly regarded by her contemporaries, and her work is now understood to have influenced many other artists of the time.

Although they may have never met directly, it is even possible that Sofonisba Anguissola and Michelangelo knew, or at least knew of, each other. There may even be evidence to suggest that Michelangelo was impressed by Sofanisba’s work. Michelangelo was older and worked primarily in Florence and Rome while Sofanisba’s work was centred around the Spanish court of King Philip II. However, Sofanisba studied with Bernardino Campi, a prominent painter and art theorist who was associated with Michelangelo’s artistic circle in Florence. From this, it’s likely that she was familiar with Michelangelo’s work. It is also understood that her father and Michelangelo corresponded and from this he was aware of her work and had commented on her talent.

Today, Michelangelo is a name known the world over. Anguissola is remembered only in sty circles as one of the most important female artists of the Renaissance, and her work continues to inspire and influence artists around the world. It could inspire and influence more was she to receive broader recognition.

Clara Peeters v Ruebens

Clara Peeters (c. 1580 – after 1621) was a Flemish Baroque painter known for her still-life paintings, which depicted intricate arrangements of food, flowers, and luxury objects. She was one of the few female artists of her time to specialize in this genre, which was highly popular in the Netherlands during the 17th Century.

Peeters was likely born in Antwerp, and little is known about her life or training as an artist. She was active in Antwerp and Brussels during the early 17th century, and her still-life paintings were highly sought after by collectors and patrons throughout Europe.

Peeters’ paintings were notable for their precise, detailed rendering of the objects depicted, as well as their use of light and shadow to create a sense of depth and realism. She often included exotic items in her paintings. Chinese porcelain and Turkish carpets are examples of these symbols in her compositions. They are symbols of the growing international trade and commerce of her time. Her extraordinary skill is evident n her Still life with flowers and goblets (above) where she hides self portraits in the reflections of one of the goblets.

Peeters’ work is recognised as being highly influential in the development of still life painting as a genre. She is known as one of the first artists to incorporate a sense of narrative into her compositions. Today, she is considered one of the most important still life painters of the Dutch Golden Age. Her work is celebrated for its technical mastery, beauty, and symbolism.

Her work has been compared to that of (and even passed off as) other Flemish Baroque still life painters, including Jan Brueghel the Elder and Peter Paul Rubens.

Like Brueghel and Rubens, Peeters often incorporated highly detailed, realistic depictions of objects into her still life compositions. These emphasize the richness and variety of the natural world. She also frequently employed the technique of tenebrism, which uses dramatic contrasts of light and shadow to create a heightened sense of drama and emotional intensity.

Peeters’ work has also been compared to that of other female artists of her time. These include the Dutch still-life painter Rachel Ruysch and the Flemish painter Clara van den Bosch. These artists, like Peeters, were celebrated during their lifetimes for their ability to capture the beauty and intricacy of the natural world in their paintings. Their work was highly prized by collectors and patrons of the arts during the Baroque era. More recently, their contributions to art and art history are being re-recognised. In particular, in light of their specific challenges during their initial rise to fame.

Judith Leyster v Frans Hals

Judith Leyster (1609-1660) was a painter of the Dutch Golden Age. A painter known for her genre paintings, which depicted scenes of everyday life, as well as her portraits. Again, she was another of the very few women artists of her time to achieve recognition and success in the male-dominated art world.

Leyster was born in Haarlem, Netherlands, and received training in painting from the artist Frans Hals. She established her own studio in Haarlem and became a master of the Haarlem Guild of St. Luke, an organization that regulated the practice of painting in the city.

Leyster’s genre paintings were notable for their lively, naturalistic style and their ability to capture the expressions and gestures of her subjects. She often depicted scenes of musicians, drinkers, and other figures engaged in everyday activities, and her work was highly regarded for capturing relaxed humor and realism.

In addition to her genre paintings, Leyster was also known for her portraits, which depicted individuals and families in a naturalistic, informal style. She was highly respected by her contemporaries, and her work was collected by art collectors and patrons throughout Europe.

Leyster’s work was rediscovered in the 20th century after being mistakenly attributed to other artists for many years. Only now is she celebrated as one of the most important Dutch painters of the 17th century. Her work continues to be admired for its technical skill, naturalism, and sensitivity to the human condition. This is despite her being largely forgotten, unlike her male contemporaries, for so long.

It is likely that Judith Leyster and Frans Hals knew each other. Both were Dutch Golden Age painters who lived and worked in Haarlem during the early 17th century. Leyster was a student of Frans Pietersz de Grebber, who was a contemporary of Hals and part of the same artistic circle. It is also possible that Leyster studied under Hals himself.

Certainly their styles are similar in their use of loose brushwork and preference for painting genre scenes. These feature lively, naturalistic figures. Additionally, Hals was known for his informal, convivial personality and his reputation as a convivial host. It is even possible that Leyster may have encountered him at social events or in his preferred selection of taverns. Unlike Hals, since her death, her popularity diminished. It is only more recently that her talent is being re-recognised and forgotten or obliterated art is being re-attributed to her.

Angelica Kauffman v Sir Joshua Reynolds

Angelica Kauffman (1741-1807) was a Swiss-Austrian Neoclassical painter who is famous for her historical and mythological paintings, portraits, and decorative works. She was one of the few women artists of her time who achieved international acclaim and recognition. Again, however, having to fight much harder than her male contemporaries for that recognition she so rightly deserves.

Kauffman was known for her elegant and refined style, which reflected the classical ideals of harmony, balance, and proportion. She was also highly skilled in drawing and had a talent for creating lifelike portraits of her clients.

Kauffman’s paintings often featured classical or mythological subjects. These include the Greek and Roman gods and goddesses, as well as historical figures like Queen Elizabeth I of England. Her work was highly sought after by wealthy patrons throughout Europe, and she was a prominent figure in the art world of her time.

In addition to her paintings, Kauffman was also known for her work as a decorator and designer. She created designs for furniture, textiles, and other decorative objects. She was a founding member of the Royal Academy in London and was highly respected by her contemporaries for her talent and contributions to the arts.

Angelica Kauffman’s work has been compared and contrasted with Sir Joshua Reynolds. These two were also contemporaries and, in fact, knew each other personally. They were both prominent 18th-century artists and were active in the same circles in London. Both were founding members of the Royal Academy of Arts, which was established in 1768. They served as its first professors. This is despite the fact that she only receives, along with Mary Moser, a cursory nod to her status in Johan Zoffany’s The Academicians of the Royal Academy (1771-72). Her and Reynolds’s also received commissions from many of the same patrons. These included members of the British royal family and collaborated on a number of projects. Another of the almost forgotten artists.

Good To Know

Now I’m inspired to look closer. Not just at the narrative of women in painting and the art world but at history in general. I feel better equipped to question the accepted narratives.

The talk kicked off may more questions than it provided answers and is designed to have this exact effect. Afterwards there is much discussion regarding some basic questions that have been posed: What more can I do? What more can we do?

This addresses not just an historic concern to ensure that theses forgotten women artists receive the recognition they deserve but to ensure that history does not continue along the same path. It is now up to our generation to disrupt the narrative, ensuring that women in art gain an equal footing. Just like women in any career.

After all, the aim in feminism is not recognition for recognition’s sake, but simply equality in opportunity.

Would I Return?

Yes. Artscapes UK offers talks and lectures on various subjects. I’ll be signing up for some of the online options unless I’m lucky enough to get another live opportunity.