Construction of the New Femininity in 18th Century France Term Paper

The Construction of The New Femininity In 18th Century France
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Introduction
It is essential to comprehend that the development of art developed by women, including drawings, paintings, sculptures in France in the eighteenth century was critical in conveying the various depictions that the society has about women. Additionally, women artists at the time were keen on developing art that showed the social role of women. Critical analysis of the art produced by French women during the eighteenth century would help comprehend how females were trained to be women and the various roles that they were encouraged to adopt to reflect their position in the society, as well as, the behaviors that were considered appropriate for women. Many women in France in the Eighteenth century also attained impressive heights of artistic achievement, and this was crucial addressing the various issues that affected women in the society; this was despite that the high competition women faced from other artists. The literature examines and evaluates how the new femininity was constructed in the eighteenth century in France.
It is critical to comprehend woman was regarded as the commanding voice, directing reason and the governing principle of the eighteenth century. France was the first place in Western Europe that many women received public prominence in both the art and intellectual life and this provided an ideal platform for the women artists to not only expand their works but also addressed the various issues faced by women through the art. During the time, the culture which was focused in pursuit of qualities was later mocked and ridiculed as feminine. The works of various women artists of the century such as Vigee-Lebrun, Angelica Kauffmann and Elisabeth-Louise among others were completely focused on changing ideologies of representation, as well as, sexual differences that are present after changing from a courtly aristocratic culture to a prosperous capitalist society.[Whitney Chadwick, 2007. Women, Art, and Society. 4th. Thames & Hudson.]
Besides, the emergence of women painters with professional status in France such as Vigee-Lebrun, Labille-Guiard, and Anna Vallayer-Coster in the Eighteenth century was crucial given the stiff and inflexible construction of sexual differences restricted and limited women’s access and participation in the public activities. However, women painters effectively managed to negotiate between the preferences of their aristocratic clients plus the effects and impacts of the enlightenment and awareness of the ideas about the woman’s place in the bourgeois social order. It is crucial understanding that whenever women artist presented works that presented a self-image highlighting beauty, gracefulness and modesty and that the painting confirmed these constructions she would slowly manage to negotiate for her role in the world of public art. The efforts made by female artists in France in eighteenth-century were critical in ensuring that they managed to construct, manipulate and reproduce new ideologies about the representation of femininity.[Whitney Chadwick, 2007. Women, Art, and Society. 4th. Thames & Hudson.]
It is also critical to understand that the painting of “The Toilette of Venus” in the 1750s by François Boucher, a female artist based on France was critical in addressing and spreading the power of women through the artwork. This artwork presented Madame de Pompadour a mistress of the Louis VX, and it played a huge role in commissioning Rococo painting and sculpture. The painting provided art that formed a part of the integrated decorative scheme of an intimate, luxurious and private interior and was acquired by the king. The artists, Boucher, managed to give an overdoors depiction of the bath and toilette of Venus, which belonged to the royal mistress. The painting of this work at this time mainly represented the position of women in society. The nubile and young mistress was considered to be attractive and desirable, and she represented the women’s position in society. The painting promoted feminist attitudes that were linked to the female nude.[François Boucher, 1751. "The Toilette of Venus."]
Additionally, the artwork produced by women artists in France in the eighteenth century provided a deeper meaning to the issues that were happening in society. It is critical to understand that not only were the paintings pleasant to look at; they also presented vital messages and moral issues. Additionally, the efforts made by individual artists also helped in promoting feminism by changing different institution, such as traditional family relationships. The art provided opted a new ideal of the family where parents were expected to have affectionate relations with their children. Ordinarily, although the artists portrayed the man as the head and had the final authority, relationships based on mutual consent were advocated.[Norma Broude and Mary D. Garrard. 1982. "Feminism and Art History: Questioning the Litany." In Happy Mothers and Other New Ideas in Eighteenth- Century French Art, by Carol Duncan. Harper and Row.]
Moreover, portraits showing families were commission in France in eth eighteenth century, and they represented the concept of family harmony and love where the women were no longer viewed as inferior members of the family, but they had a significant role to play in promoting the happiness of the other family members. Usually, women of noble rank in France at the time would have themselves painted in their roles as mothers and wives. Therefore, the female artists helped in changing both educational and psychological functions of the family to reflect the interests of the eighteenth century. The female artists helped to promote the new femininity by changing the numerous elements that prohibited and affected the success of women from the family level, which is the smallest unit of the society. The traditional family setting where both women and children, particularly the young girls, would suffer was changed through art and converted to what was thought as a place of intimacy and warmth. The family was no ...