Early twentieth century women artists

This video from the USA says about itself:

Women Artists: Have They Come A Long Way?

Director’s Lecture with Dr. Carol Damian, Director & Chief Curator of The Frost Art Museum

Wednesday, April 18, 2012 at 3 pm

Dr. Carol Damian is Professor of Art History in the School of Art and Art History and Director and Chief Curator of the Patricia and Phillip Frost Art Museum at Florida International University. She is a graduate of Wheaton College in Norton, Mass., and received her MA in Pre-Columbian Art and her Ph.D. in Latin American History from the University of Miami. A specialist in Latin American and Caribbean Art, she teaches classes in Pre-Columbian, Colonial, Spanish and Contemporary Latin American Art, Modern Art surveys and Women in Art.

Now, a continuation of the series on this blog about women artists.

After late nineteenth century Impressionism, the twentieth century saw many tendencies in art.

They did not have that much in common, except a desire to break with traditions in many of them.

As the twentieth century was also often a century of improvements in women’s positions, more women participated in these movements than in art of earlier centuries.

The artists with sub-chapters of their own in Elke Linda Buchholz‘s book Women artists, chapter The Twentieth Century before 1945, include Welsh Gwen John, 1876-1939.

To make a living, she was a model for artists, including the sculptor Rodin.

Like French sculptor Camille Claudel before her, she became his lover; leading to a personal crisis for her.

Famous in the early twentieth century German Worpswede artistic movement became Paula Modersohn-Becker, 1876-1907.

Like Vincent van Gogh, and quite some other artists, famous only after her death: she made some 750 paintings, 1,000 drawings, and a dozen prints; and sold just two or three paintings during her lifetime.

Gabriele Münter, 1877-1962, played an important role in German Expressionism.

Her parents had encouraged her desire to become an artist.

She had to have private art education however, as she was unable to enroll in the German art academies because she was a woman.

With her fiancé Wassily Kandinsky and others, she started the Blaue Reiter movement.

However, the outbreak of the First World War wrecked this.

It also wrecked her relationship with Kandinsky, who, as a Russian, had to leave Germany.

For a long time, this made her unable to work.

As a reaction to the First World War and its aftermath, Dadaism arose.

Hannah Höch, 1889-1978, was one of its participants, making photomontages.

According to Buchholz, from 1926-1929 Höch lived in The Netherlands, having a relationship with Dutch poetess Til Brugman (misspelt Brugmann by Buchholz).

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