Eleanor Marx has been called the ‘mother of socialist feminism’. She was a political agitator, literary translator, actress and campaigner for workers’ rights – deserving of…
The ‘Matilda Effect’ is named for this female pioneer
In1852, 26-year-old Matilda Joslyn Gage addressed the National Women’s Rights Convention in Syracuse, New York. Though a newly minted activist unaccustomed to public speaking, she came to the lectern with a clear message…
N.B. I’m not currently responding to comments or visiting blogs because of ill-health but I much appreciate your support.
At the presentation I recently made about Sarra Copia Sulam at the Jewish Community Library in San Francisco, one audience member showed a remarkable knowledge of Venetian history. He approached me…
In the nineteenth century, in the state of Victoria in Australia, the Electoral Act 1863 was passed. According to the act, “all persons” who ow…
In 1905 Kate Sheppard, New Zealand’s most famous suffragette, died on the 13th of July, 1934. Born to Scottish parents in England in 1847, Sheppard moved to New Zealand in 1869. She became a …
On the 4th of June, 1913 militant suffragette Emily Davison rushed onto the racetrack at the Epsom Derby, running in front of a racehorse. She was trampled by the horse and died four days later. It…
‘To ask freedom for women is not a crime. Suffrage prisoners should not be treated as criminals.’
or, All about the other Eves
Among his output of pastorals, genre scenes and mythological subjects, Boucher supplied erotic pictures of fashionable young beauties to the French court; some of his nudes cross the line from art to pimping, as was commented at the time by Diderot.
In one of the most famous images of mainstream erotica ever produced, the model in this equivalent of a Playboy centrefold, is traditionally supposed to be Louise O’Murphy (1737-1814), the convent-educated fourteen year-old daughter of one of the many Irish Jacobite immigrant families in France.
It is far more explicit than Marilyn Monroe’s nude calendar photo shoot two hundred years later (by Tom Kelley, 1952).
Marilyn’s joyful curves, colouring and sweet corrupted innocence would have suited Boucher.
Whoever the 18th century blonde odalisque really is, she is being presented, with her buttocks displayed…
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or, The Royal Stag
The king’s promiscuity was an affair of state. It made government vulnerable to abuse from the wrong kind of woman pushed on him by a court faction, with domestic or foreign policy agendas, a scenario as familiar to modern republics as autocracies of any time. He was very lucky to find the rational, loyal and responsible Madame de Pompadour, or rather, that she introduced herself to him.
Nattier, Portrait of Louis XV of France, 1745. Oil on canvas The Hermitage, St. Petersburg
He was known as the handsomest man at Versailles; he was also the most libidinous and depressed. Here, portrayed in the year he moved his new mistress Madame d’Étioles, into Versailles, he looks disconcertingly like a chubby Dan Stevens, but Ryan Gosling would be better casting to convey his enigmatic emotional isolation.
He needed but was not obsessed with sex; he spent far…
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“Well behaved women rarely make history”, or so the saying goes. However, sometimes a woman can be so badly behaved that she can be written out of history. Mary Wollstonecraft is a prime example of this. Author of the ‘Vindication of the Rights of Woman’ in 1792 she was one of the first radical writers on women’s rights yet she is often forgotten in the mainstream telling of the women’s liberation movement.
Wollstonecraft was a proponent of the education of women, she believed that women were the weaker sex because men forced them to be that way through their lack of education. She argued that men did not consider women as humans and were more concerned with creating ‘alluring mistresses’ out of them than rational and reasonable thinkers. Wollstonecraft saw women’s subordination as a social problem, education was necessary but it was not enough, the values of society needed to…
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Please ignore the link below and visit via the up-to-date link HERE as ArtLark has reposted the article.
On the 11th of February 1862, Elizabeth Siddal, an English artists’ model, died in London of a self-administered overdose of laudanum. In the early 1850s, as a young woman, Siddal was painted extensively by the Pre-Raphaelite Brotherhood. She sat for Walter Deverell’s Viola in Twelfth Night (1850), for William Holman Hunt’s British Girl inA Converted British Family Rescuing a Christian Priest from Persecution by the Druids (1851), for John Everett Millais’sOphelia(1852) – for which she posed floating in a bathtub full of water, and for Dante Gabriel Rossetti’s Beatrice, the Virgin Mary, St Catherine, and many others. Rossetti became eventually her husband, and even though Siddal did pursue her own artistic career under the financial patronage of John Ruskin, it was Rossetti who became the eventual medium to Siddal’s posthumous legendary status. In fact, “[in] her lifetime, she had virtually no public identity, and in the…
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Links are a lazy way of making a point, finding degrees of affinity or underlying meaning in coincidences are a substitute for profound originality.
This shamelessly shallow post presents a colour-coded association between the excessive frivolity of the ancien regime and the socialist conscience of modern feminism, between Marie Antoinette’s favourite dress shop and the intellectual salon of Simone de Beauvoir, both in Paris, two centuries apart.
In the 1770s and 1780s, Rose Bertin’s shop on the rue Saint-Honoré was decorated in yellow and purple, including the painted imitation marble at the front entrance.
From the late 1950s to 1980s, Simone de Beauvoir furnished her Paris studio with yellow sofas and chairs on a purple carpet.
This leap-frogging post might be silly, but it is not ironic. By serendipity, after lunch on a hot June day, it has landed on a revelation of women’s history through colour association.
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