HIDDEN FEMININITY

Herrad of Landsberg, Hortus Deliciarum, 1170

The absence of women is heavy in the middle ages as they are unable to expose their talents and contribute their values to their community. In a society where its base is on a male point of view and oppressive religious rules  becomes prejudice to a woman, as it hides her ability to be more than a housewife. Author Whitney Chadwick author of “ Women, Art and Society”, explains society as, “remained circumscribed by a Christian ethic that stressed obedience and chastity” (Chadwick, 44). Restrained to only being good enough for housework and to be acknowledged and be able to be part of society one would have to dedicate to the church to be exposed to knowledge.  Having limited options when it came to their lives it is difficult to encounter a woman art during this time, often times women would sign under male names so their art can be portray.Guerrilla Girls author of  “ The Guerrilla Girls’ Bedside Companion to the History of Western Art” shine light in respect to the hidden femininity through art history, it quotes, “Despite biblical teachings against them, they became writers, artists, merchants, nuns and ran the kingdom while their husbands were at war” (Guerrilla Girls, 18). A prime example of this rebellion is Herrad of Landsberg in her art  Hortus Deliciarum  as  he breaks the realm that women is subject to silence in this painting she gives the audience an exposure of the face of multiple female with their name written along with the image. Breaking the idea that women have to tolerate not being acknowledged by not signing their properties. A women status has a lot to do with her minor freedom and being born into a wealthy family gave it a lucky ticket to freedom and therefore a woman would be able to be exposed to art and religion. 

Feeding the Swans


As history flows and Renaissance age comes, it is supposed to be a  renewal in the ideas however women are still shadowed and the spotlight is centered on men. Chadwick continues to describe,“this period was a focus on woman’s sexuality as an object of exchange for money.  Representations of women spanning, embroidering, and making lace often conveyed ambiguous and sexualized meanings”(Chadwick). Women continue to be seen as object in a cycle, In the painting on the right portrays the life of a women where she is born to guide through womanhood, being trapped in one place forces you to become used to the environment. In connection to this idea, woman often trapped in this idea of submission.

Nameless and Friendless


The picture to the left portrays a woman being shamed through exchanges on looks. Chadwick explains the treatment of woman as it,“led to a new emphasis on the depiction of courage and physical prowess in representation” (Chadwick 106). This woman is stepping out selling  her art as a form to survive, and as she is wearing black to represent invisibility. In terms of the men in the picture their judgmental stares forces a woman to downgrade herself to look away from intimidation. Her talent is being judged because of gender. 

Sofonisba Anguissola’s Self Portrait

Through the battle for recognition in society women were able to fulfill the achievement of overcoming the patriarchy. Sofonisba Anguissola was one of the few that courageously engaged her audience through her own self portrait. Making possibility for the beginning of an actual era of change, and despite the prejudice for any talent portrayed by women until today it is amazing to see the thrive in a women courage. 

Works Cited 

The Guerrilla Girls' Bedside Companion to the History of Western Art. Penguin Books, 2006.

Chadwick, Whitney. Women, Art, and Society. Langara College, 2016.