Ann Sutherland Harris | |
---|---|
Born | Ann Birgitta Sutherland 4 November 1937 Cambridge, England |
Nationality | British |
Education | PhD Courtauld Institute of Art, London Honorary Doctor of the Arts, Eastern Michigan University Honorary Doctor of Humanities, Atlanta College of Art |
Spouse | William V. Harris |
Awards | Women's Caucus for Art Lifetime Achievement Award 2005 |
Ann Birgitta Sutherland Harris (born 4 November 1937) is a British-American art historian specializing in Baroque art, Modern art, and in the history of women's art. [1]
Harris is an educator, having held her first position in 1965 as an assistant professor in the department of Art and Archeology, Columbia University. [2] She was then appointed Assistant Professor of Art History at Hunter College, City University of New York (1971–1973). Harris was next hired as associate professor at the State University of New York, Albany. Following that she held the Arthur Kittridge Watson Chair for Academic Affairs at the Metropolitan Museum of Art from 1977–1981. Harris received a Senior Research Fellowship in 1981-82 from the National Endowment for the Humanities and in 1982, was named the Amon Carter Distinguished visiting Professor of Art History at the University of Texas at Arlington before accepting the position of Mellon Professor of Art History at the University of Pittsburgh. [2] She is now professor emerita of Italian Baroque art at that institution. [3]
Harris and the feminist art historian Linda Nochlin co-curated the exhibition Women Artists: 1550–1950 at the Los Angeles County Museum of Art in 1976. There was a book written by Harris and Nochlin that accompanied the exhibition, in which Harris proposed that art produced by women from the time of the Middle Ages to the French Revolution was infrequently written about or collected. [4] She argues that an aspect of bias was that women did not have access to the same academic training as men, thus causing their dismissal as "dilettantes". [5]
The American art collector Wilhelmina Cole Holladay sought advice regarding placement of her private collection of works by women artists; it was Harris who suggested Holladay found the National Museum of Women in the Arts. [6]
Harris has received several honors and awards for her work, including a Women's Caucus for Art Lifetime Achievement Award; grants from the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts, the National Endowment for the Humanities, the Metropolitan Museum of Art, and the J. Paul Getty Museum. [3] [10]
Eirene or Irene was an ancient Greek artist described by Pliny the Elder in the 1st century. She was the daughter of a painter, and created an image of a girl that was housed at Eleusis.
Levina Teerlinc was a Flemish Renaissance miniaturist who served as a painter to the English court of Henry VIII, Edward VI, Mary I and Elizabeth I. She was the most important miniaturist at the English court between Hans Holbein the Younger and Nicholas Hilliard. Her father, Simon Bening, was a renowned book illuminator and miniature painter of the Ghent-Bruges school and probably trained her as a manuscript painter. She may have worked in her father's workshop before her marriage.
Timarete, was an ancient Greek painter.
Iaia of Cyzicus, sometimes (incorrectly) called Lala or Lalla, or rendered as Laia or Maia, was a Greek painter born in Cyzicus, Roman Empire, and relatively exceptional for being a woman artist and painting women's portraits. She was alive during the time of Marcus Terentius Varro. In De Mulieribus Claris, his book of women's biographies, Boccaccio refers to her as "Marcia", possibly confusing her with the Vestal Virgin of that name. According to Pliny the Elder: "No one had a quicker hand than she in painting".
Herrad of Landsberg was a 12th-century Alsatian nun and abbess of Hohenburg Abbey in the Vosges mountains. She was known as the author of the pictorial encyclopedia Hortus deliciarum.
Linda Nochlin was an American art historian, Lila Acheson Wallace Professor Emerita of Modern Art at New York University Institute of Fine Arts, and writer. As a prominent feminist art historian, she became well known for her pioneering 1971 article "Why Have There Been No Great Women Artists?" published by ARTnews.
Mary Frank is a British and American visual artist who works as a sculptor, painter, printmaker, draftswoman, and illustrator.
Clara Peeters was a Flemish still-life painter from Antwerp who worked in both the Spanish Netherlands and Dutch Republic.
Fede Galizia, better known as Galizia, was an Italian painter of still-lifes, portraits, and religious pictures. She is especially noted as a painter of still-lifes of fruit, a genre in which she was one of the earliest practitioners in European art. She is perhaps not as well known as other female artists, such as Angelica Kauffman and Élisabeth Vigée Le Brun, because she did not have access to court-oriented or aristocratic social circles, nor had she sought the particular patronage of political rulers and noblemen.
Wilhelmina Cole Holladay was an American art collector and patron. She was the co-founder of the National Museum of Women in the Arts, and was awarded the National Medal of Arts in 2006.
Marie-Thérèse Reboul, commonly called Madame Vien, was a French painter and engraver of natural history subjects, still lifes, and flowers.
The Women's Caucus for Art (WCA), founded in 1972, is a non-profit organization based in New York City, which supports women artists, art historians, students, educators, and museum professionals. The WCA holds exhibitions and conferences to promote women artists and their works and recognizes the talents of artists through their annual Lifetime Achievement Award. Since 1975 it has been a United Nations-affiliated non-governmental organization (NGO), which has broadened its influence beyond the United States. Within the WCA are several special interest causes including the Women of Color caucus, Eco-Art Caucus, Jewish Women Artist Network, International Caucus and the Young Women's Caucus. The founding of the WCA is seen as a "great stride" in the feminist art movement.
Women were professionally active in the academic discipline of art history in the nineteenth century and participated in the important shift early in the century that began involving an "emphatically corporeal visual subject", with Vernon Lee as a notable example. It is argued that in the twentieth century women art historians, by choosing to study women artists, "dramatically" "increased their visibility". It has been written that women artists pre-1974 were historically one of two groups; women art historians and authors who self-consciously address high school audiences through the publication of textbooks. The relative "newness" of this field of study for women, paired with the possibility of interdisciplinary focus, emphasizes the importance of visibility of all global women in the art history field.
"Why Have There Been No Great Women Artists?" is a 1971 essay by American art historian Linda Nochlin. It is noted for its contribution to feminist art history and theory, and its examination of the institutional obstacles that prevent women from succeeding in the arts.
Jeanne-Philiberte Ledoux was a French painter. Ledoux was born in Paris and took lessons from Jean-Baptiste Greuze. Her work was first seen in public in 1793, when she showed three paintings in the Salon: Painting at Rest, Little Girls at a Crossroads, and Concealed Love. She is known for miniatures and portraits and exhibited in the Paris Salons from 1793 to 1819, in which she was a frequent exhibitor. Only one work attributed to Ledoux is signed, and none are dated.
Edith Hayllar (1860–1948) was a British artist born to James Hayllar, an acclaimed Victorian artist known for his genre paintings. Edith Hayllar had four brothers and four sisters, of whom, Jessica Hayllar (1858–1940), Mary Hayllar (1863–1950), and Kate Hayllar, also became notable artists in their own right; all received their training from their father and exhibited at the Royal Academy. Together, residing in an estate in Wallingford, England, all four girls followed a Victorian system of four to ten art classes a day to ensure proper mastery of basic art techniques such as proportions. In addition to their rigorous training schedule, the girls spent the rest of their time at the estate engaging in relaxing activities such as outdoor sports, plain air painting, and gardening. These leisurely domestic scenes became the subject of the sisters’ most renowned paintings.
Women Artists: 1550–1950 was the first international exhibition of art by female artists. The exhibition opened on December 21, 1976, at a time when the Feminist Art Movement was gaining in support and momentum. The show was curated by Professors Ann Sutherland Harris and Linda Nochlin and included eighty-three artists from twelve countries. The four-city exhibition was organized by the Los Angeles County Museum of Art and was on view there from December 21, 1976 through March 1977. The exhibition went on to show at the University Art Museum in Austin, Texas and then to the Carnegie Museum of Art in Pittsburgh, Pennsylvania, after which it completed its run at the Brooklyn Museum in New York. The Alcoa Foundation and the National Endowment for the Arts provided grants for the exhibition. The show became an important event in the history of art, introducing viewers, who were accustomed to a history of art dominated by men, to the important contributions of women artists. However, the show consisted almost entirely of white female artists. The show included only one artist of color, Frida Kahlo, and no black artists.
Global Feminisms was a feminist art exhibition that originally premiered at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, New York City, United States, in March 2007. The exhibition was co-curated by Maura Reilly and Linda Nochlin and consists of work by 88 women artists from 62 countries. Global Feminisms showcased art across many mediums, all trying to answer the question "what is feminist art?". The show was visually anchored by the installation of Judy Chicago's Dinner Party.
Bourgot Le Noir was a French female illuminator in the mid-fourteenth century who assisted her father, Jean Le Noir, with his work.
Portrait of Massimiliano II Stampa is a c.1558 oil-on-canvas painting by the Italian Renaissance painter Sofonisba Anguissola, now in the Walters Art Museum, Baltimore, USA. It was previously misattributed to Giovan Battista Moroni, possibly due to stylistic similarities with Moroni's The Knight in Black.