Join Tabitha Barber, curator of the Tate Britain exhibition Now You See Us, as she reveals the profound impact of nudes on Victorian England. Discover how the 1894 rights for women to draw nude models sparked a cultural shift towards female artistic expression. Tabitha discusses the historical neglect of women artists and their fight for equality, and celebrates icons like Rosa Bonheur. The conversation uncovers the intersection of art and activism, illustrating how these women bravely challenged societal norms in a male-dominated art world.
The establishment of the Slade School of Art marked a significant shift in providing equal access to artistic training for both men and women.
The challenge of depicting nudes in women's art symbolized their struggle for legitimacy and recognition in a male-dominated artistic landscape.
Deep dives
The Price of Progress: Women in Art
The discussion highlights the long-standing struggle of women artists to gain access to professional training and recognition within the male-dominated art world. Women were historically excluded from life drawing classes, which were essential for mastering anatomy and figurative art, often relegated to private or amateur status instead. A significant portion of the conversation focuses on the establishment of the Slade School of Art in 1871, which offered men and women equal access to life models, marking a progressive shift. However, the Royal Academy was much slower in allowing women access to these important artistic resources and training.
The episode emphasizes the critical need to acknowledge and celebrate the contributions of female artists throughout history, many of whom have been marginalized or forgotten. A key point made is that numerous women artists existed from as far back as the 16th century but remained largely unrecognized in art history narratives. The curator mentions Ellen Clayton's 1876 publication that documented hundreds of women artists, illustrating the extensive yet often overlooked artistic heritage they left behind. This historical oversight reflects a broader societal issue where the contributions of women were devalued and minimized.
Controversy and Creativity: The Nude in Art
A significant theme discussed is the controversy surrounding the depiction of the nude in women’s art, historically considered improper and taboo. The exhibition showcases how women artists faced backlash and moral outrage when they ventured into painting nudes, illustrated by Henrietta Ray's notable works in 1885 that sparked public debate on morality. The conversation reveals that for women, the ability to paint nudes symbolized a claim to artistic legitimacy and professionalism in an environment that often saw them as less capable. The narrative connects this fight for representation and acceptance as a parallel to the broader women's rights movement.
Art as a Mirror: Reflection of Societal Norms
The podcast delves into how the work of women artists mirrored the societal expectations and limitations imposed on them, particularly in the realm of subject matter. The distinction between 'genteel accomplishments' and serious artistic endeavors is highlighted, showcasing how women were often pigeonholed into creating 'appropriate' art that adhered to traditional norms. Artists like Laura Knight exemplified this struggle, using the freedom available to them in their personal work to create more expressive and bold pieces. This societal pressure remains evident today, as contemporary discussions continue to stress the need for equitable representation in the art world.
Why were nudes so significant in Victorian England? What role did painting them play in wider social change at that time? And why didn't men think that women had the capacity for genius?
Joining Kate today is Tabitha Barber, curator of the Tate Britain exhibition Now You See Us, which explores women artists in Britain over the last 500 years.
You can also watch Kate in a documentary all about this, called The Fight To Paint, over on History Hit - simply follow this link.
This episode was edited by Tom Delargy and produced by Stuart Beckwith. The senior producer was Charlotte Long.
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