The Progress of Women Through the Eras

   

            For thousands of years, women have suffered oppression, abuse, and social injustices as a result of patriarchal values established in societies. From the cultural decline of one era to another, specifically targeting the Middle Ages, to Renaissance, and finally the 19C, one is able to observe the shifts of societal roles experienced by women in Western Europe. The modernizing changes affected women’s social, religious, political and economic status. Fortunately, works of art produced during such time periods holds enough clues to the internal (emotions) and external (circumstances) worlds of women living in those times. The use of symbolisms, choice of colors, styles, materials, and subject, gives the viewer information of how life was like in the past for the sexes. By comparing the qualities of art works, the viewer is able to engage in the various life perspectives/experiences of women, and the attitude of men towards the female sex during different time periods.
            The middle ages, also known as medieval times, is often depicted by modern fantasies (popular culture) as a world of vulnerable, weak women who were confined to their domestic life. Although women were seen as inferior to men, and had their lives determined by male figures such as fathers, husbands, and brothers, their responsibilities and place in the medieval society went far beyond the maternal and domestic life. In the early Middle ages, much of the art works produced, emphasizes the hard labor performed by women in the fields, mostly lower-class women who worked side by side with their fathers or husbands (Chadwick 43). There is also evidence that women managed the finances of the family home (44), and women who operated businesses, worked on masonry, and who also mastered the delicate arts of embroidery and manuscript illumination (The Guerrilla Girls 22). However, despite all the contributions made by women, they were barely recognized for their work, and nearly had no rights.

Illustration in a Bodlelian Library manuscript, Ms 764, f. 4IV

            The Catholic Church, a dominant force in the political and social aspects of medieval life, had a detrimental impact in the society’s view of the female sex. Heavily based on biblical texts, churches and medieval scholars such as Thomas Aquinas (influenced by Aristotelian thought) emphasized the “natural inferiority of women” as beings of physical, mental and emotional weakness (Chadwick 58). In the article ‘Women in the Middle Ages’, author Joshua Mark notes that women were denied any form of a compassionate view embracing them as individuals, and were rather judged according to the rigid opposite ideas of Eve and Mary, in other words, “evil temptresses or virginal goddesses”. The obsession surrounding women’s sexuality and its’ attached ideas to impurity, caused men to demonize women and see them as a threat to their chastity, and therefore, were forbidden any form of power in the church. Within the nunneries, women were allowed to learn and access a higher education, however, it only granted them the right to learn but never to teach. Although incomparable to the level of education received by men, the learnings from the convent allowed women to play significant roles in the Medieval arts and science by writing books on medicine, science and music. The works of tapestry, and illuminated manuscripts were also of great importance for the construction and popularization of the catholic church/ Christianism. 

               The end of the middle ages in the mid 1400’s led to the birth of a new era known as the Renaissance. This time period is marked by the overwhelming growth in knowledge, and change in the arts, science, and politics. Leaving from the dark ages, a term used to refer to the time period marked by ignorance and lack of any social, political, cultural advancement, the Renaissance is often thought as a time of rebirth not only in the academics, but also in the shape of society. However, that assumption is now challenged by women historians who examines the question if women did in fact have a Renaissance, or if it was whether only attributed to and achieved by men. To answer this question while also examining the impact of the movement in the roles of women, one must consider the vastness of European cultures, and how different regions and societies incorporated these changes in various ways, ultimately some more than others. A movement that was initiated in Florence, Italy, and eventually spread throughout Europe, particularly had a far greater impact in the city of Bologna, where women’s professional, and learning careers advanced drastically compared to any other Renaissance society. Bologna’s progressive nature granted the right for women to teach and attend university, and became “Italy’s most famous center of legal studies” (Chadwick 90).  Women were no longer restricted to the traditional learnings of religion, paintings, and other arts mostly taught in convents, but the learnings expanded to philosophy and law, which the city took great pride in. Guilds for painters (a kind of union which later became academies) were also one of the main creations during that era, however, with the exception to Bologna, most cities restricted the participation of women, and even forbit them from receiving commissions or owning a studio. During that time period, female artists were also beginning to express rebellion against the patriarchy, and social injustices through their art. One of the greatest Renaissance painters, Artemisia Gentileschi, is recognized till this day for her impeccable quality of work, and her continuous line of 

Artemisia Gentileschi Sussana and the Elders 1610

work portraying the subject of sexual abuse and trauma suffered by women through the use of biblical stories. In her piece ‘Susanna and the Elders’, the artist outstands herself by portraying the viciousness of men and the disturbance suffered by the victim “rather than simply using it as an excuse to show a young woman bathing as many contemporary artists did” (Conlife). As a rape victim, who was almost married to her rapist in order to have her reputation saved (a common practice in the Renaissance period), Artemisia creates daring pieces of fearless/dangerous women killing men as a form of protest against men and urge to change women’s submissive/fragile image, an unusual and risky behavior for her time. Despite the many laws undermining women, and traditional gender roles which still persisted, women were learning, creating, and working in different fields, while some even chose to never get married. The Renaissance era was the start for the autonomy of women in their social, professional, and economic life. 

         

       The eager for social reform didn’t take a drastic flight until the beginning of the 19^th century. Along with the women’s movement, black and white women artists fought together in the antislavery cause. With the rise of industrialism, women’s ability to produce cloth were used in massive industrial productions. Their skills with needlework quickly trespassed the “domestic sphere” and workplace to a “world of collective social action” (Chadwick 207). Quilts which had previously been displayed in art galleries, now took a much greater form and significance by containing patterns that identified safe houses for slave fugitives. They were displayed in front of slave friendly houses, and contributed to saving thousands of lives. Artists like Harriet Powers, produced quilts which offered visual narratives from local legends, biblical examples, and current occurrences. The new art form also became of popular use for advocating for the women’s right movement by portraying the new “radical activities” taken by the female sex in the rapidly transforming society (Chadwick 211). Besides the great artistic innovations, and social movements which women were involved, female artists from Europe and America advanced in their artistic careers, while some even beca

Rosa Bonheur in her studio 1893 George ACHILLE-FOULD France

me more prominent than male artists. Artists such as Rosa Bonheur is one of the most fascinating examples of her time, not only for her impressive skills with the brush, but for achieving such a high ladder of recognition in the art world although living a complete unconventional lifestyle. While being a lesbian woman in a lifelong relationship with another woman, she also crossed dressed, smoked cigars, hunted, rode horses, and even painted in the outdoors disregarding the societal prejudice against women in public spaces (Guerrilla Girls 48). Among other female artists, we can also find photographers, sculptors, and female painters who were challenging traditional paintings styles and subjects. The 19^th century was a remarkable time of women fighting for social equality, and they did not fear to use their divine power of creativity as their main weapon. 

               From generation to generation, women have been expanding their power at an accelerating rate. By exploring the roles of women in the past, one is able to have an amplified perspective of how much sacrifice, daring, and determination was required in order for us, women of the 21st century, to have freedom and rights. However, this does not blind us from the social inequalities still need to be addressed. Issues from past centuries, such as economic inequality, objectification of the female body, the lack of women in positions of power, and sexism are still present in modern day societies. It is only under our control, and duty to continue the progress. 

Works cited

Mark, Joshua J. "Women in the Middle Ages." Ancient History Encyclopedia. Ancient History Encyclopedia, 18 Mar 2019. Web. 10 Oct 2019.

The Guerrilla Girls' Bedside Companion to the History of Western Art. New York: Penguin Books, 1998. Print.

Chadwick, Whitney. Women, Art, and Society. New York :Thames & Hudson, 2002.

Conliffe, Ciaran. “Artemisia Gentileschi, Renaissance Painter.” HeadStuff, 5 June 2018, www.headstuff.org/culture/history/artemisia-gentileschi-renaissance-painter/.