american genre painting
American genre painting can invariably be equated with prominent names such as John Singleton Copley, Washington Allston, and William Sydney Mount. Throughout our history genre painting has been a male-dominated scene. This notion not only applies to the artist, but also to the context of many famous genre paintings. However, as time progressed, women began to play a larger role in genre painting; both as artists and subjects. In an article entitled "Full of Home, Love and Simplicity," Elizabeth Johns discusses women's role in genre painting both as artist and subject. In terms of subject, Johns addresses several patterns in the female role. The first being that women are absent in many historically important genre paintings. Likewise, when women are present they play a "subsidiary" role, as in the painting "Bargaining for a Horse" by William Sydney Mount. Mount's painting depicts two men conversing next to a horse in the foreground while the only woman in the painting is placed in the far background, barely noticeable. Furthermore, Johns feels that in some cases images of women in genre paintings are even critical. Using a second Mount painting titled "Cider Making," Johns argues that the female in line for cider is
Johns then furthered her argument by claiming that particular works were even critical of women. Apparently the two never saw eachother again after she moved to New York in 1849. Lubin, himself, enjoyed both works. John Demos, author of Past, Present and Personal: The Family and the Life Course in American History believes situation comedy arose historically due to the fathers increased absence from the family circle. In addition, Lubin supported his claims with nearly sixty primary and secondary sources. Spencer's painting "Shake Hands?" was her first immediate success bringing praise from the Art Historical Journal for the Cosmopolitan Art Association. Her expression is that of anger and frustration. He clearly layed out his intentions by stating that Spencer's art can be directly associated with the times in which she painted. Although both articles dealt with women and art, I believe Lubin's article is much more credible. After comparing Spencer's domestic women with that of Nicolas Maes and Thomas Sully he concluded that their subjects did not "jump out at you" like Spencer's. " In Fact, Spencer indicates this frustration in a letter she wrote to her mother on March 7, 1857. While discussing the theme of motherhood Johns refers to the Godey's Lady's Book, a female journal as a secondary source. Johns feels that women are "undifferentiated" in many genre paintings. With such a decisive claim, Johns approach was not very convincing.
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Acceptance Essays
