Dress for Her!

                Why do we separate the genders? Underneath it all, we are all built the same way. We all have a heart beating and a brain calculating those beats. Put aside the physical differences for a minute: we all are connected in some ways or the other; whether it is through our thoughts or it is through our actions, we are connected. However, no one person can replicate another person completely. That is where the separation comes: we are all individuals. Yet we focus all our attention on isolating the individuals into sects and mainly, those sects consist of commonalities rather than equivalency. Then we proceed to create a surrounding based on these sects known as society. Within that society, we excrete our last drop of sweat into promoting individualism; the irony.

            Now let us take a step forward, or back—however you approach the issue, and examine one of these major sects we have created for ourselves. The sect of gender differences—male versus female; the XX against the XY’s, and so on and so forth. From the moment the genders stepped out of the caves, one instinctively went on to venture the world with a bark in hand while the other decided to turn back around and stay in the confines of the caves. So does this mean separation of genders is a precognitive idea planted within our brains since the moment light touched our eyes? Perhaps, it is. Or perhaps our morals began to narrow as our feet began to slowly roam the world. 

                Shall we fast forward a little to the many years following the spread of civilization? Now assuming that due to it being the early stages of civilization, human minds were constricted. We were less exposed to other human beings, hence our thoughts were limited. But, unfortunately, that is not the case. As humans began to explore out of their realms, their minds slowly began to become restricted. And that restriction never ceased to exist to this day. Let’s examine the Middle Ages for instance; the Age when freedom for women meant just stay within the house and look after the children. And the only means of entertainment was provided if the dominant male figure gave permission. So, it is safe to assume that for a woman to have connection to the world of arts was next to none. But surprisingly enough, many woman during this time period chose art as a method to express and reveal the prejudice created against women.

Sofonisba Anguissola Self-Portrait 1561

                 Women’s success in art during a time period when the definition of success itself meant all things done by men is astonishing. Despite all the restrictions and boundaries, women made sure their voices were heard. Let’s take Sofonisba Anguissola for instance; an artist, luckily enough, born into a humanist mindset family which allowed her to pursue education. But despite her social status, she was unable to publicly distribute her artwork and earn recognition. However, because of skilled understanding of portraiture, she soon began to be compared to masters such as Durer and Rembrandt (Chadwick, 78). She, understanding that the moral codes during the Middle Ages required women to be domesticated, took a step further and began including her talents outside of art within her artworks. Unlike the rebellious artists during that time period, Anguissola chose to work around the social prejudices and in the mean time, become acknowledged. As stated by Chadwick, “as long as she stressed her status as a gentlemen, [her] actions as a professional painted did not conflict with the ideology of Renaissance” (Chadwick, 83).

  But not every woman was capable of manipulating the society’s views.

Artemisia Gentileschi Judith with Her Maidservant c 1618

            Artemisia Gentileschi is a prime example of another method of attacking audiences’ consciences. Her personal conflicts affected her artworks so greatly that even the viewer would feel a personal connection once they see her work. Due to her own personal experience with a man’s leering gaze, Artemisia’s depiction of Suzanna and the Elders captures the real essence of the story (Chadwick, 107). Unlike Tintoretto version of the painting where Susana held an inviting posture, Artemisia delved deeper and brought the true nature of the situation to light, and through the body language of Susana, Artemisia portrayed the realistic thoughts that could have been occupying Susana’s mind. Not only did she catch the attentions of the viewers with her emotion-heavy paintings, she portrayed women to be almost as equal to men. One example would be her personal story influenced painting called Judith with Her Maidservant (Chadwick, 111). Instead of revealing the very moment after Holofernes’ death to be of terrifying and confusing like her father, Orazzio Gentileschi did, she portrayed the situation more of in a confident sense of style. From her posture, down to her stance—the full photo screams strength which was unlike for women to have during that time.

               Moreover, if paintings could not catch society’s attention, then the artists decided to expose themselves via how they carry themselves in public. One of the well-known techniques of expressing oneself was dressing like the male counterparts. A great example would be Rosa Bonheur who ever after acknowledging the strict rules of her surroundings was willing to go through the “permit from the French police, signed by her doctor” every time she wanted to go out in public dressed in men clothing (Guerilla Girls, 48). She promoted self-image for the majority of her life and even to this day, her words hold true.

                 It is true that self-image is, in fact, more important than expected. Even though the male dominated society will do its best to tarnish that image, it is still required for women to stand their ground and not let societal prejudices stop them from achieving greatness. Now comes the era of cooperation; we have passed the Stone Ages, the Bronze Ages, the Middle Ages, and now it is time for us to finally break free  of the barriers set by the males.

Bibliography:

Chadwick, Whitney. Women, Art, and Society. Thames & Hudson-1990-2007

The Guerrilla Girls. Bedside Companion to the History of Western Art. Penguin Books-1998