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Notes on video lecture:
Hazel Lavery and the Politics of Display
Notes taken by Edward Tanguay on July 23, 2017 (go to class or lectures)
Choose from these words to fill the blanks below:
triangular, blue, flirtation, costume, model, structural, Ireland, 18th, anonymous, shadow, color, aloft, sexual, Morocco, distant, codified, wife, woman, stage, Paris, back, multitude, gender, folded, outsiders, muse, curiosity, story, 1909, hush, outside, coyly, stare, formal
the role the museum plays
museums display a , a cultural narrative
stories of technical, stylistic, and development
from religious art, to secular patronage, to the individualism of modern art
spaces for ritual comparable to churches or cathedrals
this provides a useful way to think about how we engage with art in such spaces
in tones, treading quietly, looking up to admire worshipfully great works of art
art works are presented in a different way we engage with visual material in the world
they are isolated and literally held for our admiration and contemplation
what we are admiring is beauty
this is due to the fact that museums as a concept, emerge in late century Europe, and are a testament to the aesthetic ideas of the Enlightenment
grouping artists in a shared space draws out shared qualities
subject matter
positioned above our eye level, these women never quite look at us directly, instead, they look just past us, allowing us to look at them without reproach
these women are as decorative as the gilded frames in which they are displayed
John Lavery's painting In (1913)
Hazel Lavery
another face among the
it is fitting that she is dressed in
she is performing the role of for her husband
she looks at the viewer
there is a sense of the about this work
the wall in the background enclosing the space
figures deliberately grouped in a shape
the blue parasol that frames Hazel's head draws our attention
echos the sky around her daughter's head
creates a connection between the two women which is reaffirmed by the of their dress
yet there is a difference between the direct of Alice and Hazel's rather sideways glance
the difference between girl and is spelled out
the lack of awareness vs. seductive femininity
Hazel's face, half hidden in , reveals little
she is a symbol of women of beauty in this work
she's merely a decorative figure
we can pass over her face without much , as easily as we look at the decorative embellishments on the horse's saddle
Hazel Lavery (1880-1935)
born in America
painter and the second of the celebrated portrait artist Sir John Lavery
her likeness appeared on Banknotes of for much of the 20th century
studied etching in
1904 met John Lavery
married
she was painted differently by John Lavery, with a more direct gaze compared to the gaze in In Morocco
1921 Hazel painted her husband
one of her few surviving paintings
if this hung next to In Morocco, her gaze may be read instead of as a coyful , an artistic eyeing-up
however, it was John and not Hazel who became the renowned artist
Hazel retired from art-making in favor of the role of society hostess, artistic , and studio model
so Hazel's face recurs throughout John's paintings, but always as a sort of , seductive beauty
Hazel's career for the reason so many womens' careers folded throughout European art history
the difficult of facing a system in which women were in the world of art to be looked at but not expected to do the looking
it was a difficultly women faced in pursuing careers as artists
Hazel ended up playing the far more acceptable role of model to her artist husband
this path from artist to model wife was one that other women took as well
when we know their stories, see their work, and hear their voices, we see them differently than the beauties that decorate galleries and museums
the reading of artworks can change, depending on the environment we see them in, and the information we are presented with
the way we read in spaces is a product of the space
Spelling Corrections:
patronidge ⇒ patronage
Ideas and Concepts:
On the museum as cultural holy place, via tonight's Sexing the Canvas course:
"Museums display cultural narratives, stories of technical, stylistic, and formal development, from religious art, to secular patronage, to the individualism of modern art. In this capacity, museums are codified spaces for ritual comparable to churches or cathedrals.
This provides a useful way to think about how we engage with art in such spaces. In hushed tones, treading quietly, looking up to admire worshipfully great works of art, we look upon these works presented in a different way than when we engage with visual material in the outside world:pieces of art are isolated and literally held aloft for our admiration and contemplation. What we are admiring is beauty.
This is due to the fact that museums, as a concept, emerged in late 18th century Europe and are a testament to the aesthetic ideals of the Enlightenment."
"Museums display cultural narratives, stories of technical, stylistic, and formal development, from religious art, to secular patronage, to the individualism of modern art. In this capacity, museums are codified spaces for ritual comparable to churches or cathedrals.
This provides a useful way to think about how we engage with art in such spaces. In hushed tones, treading quietly, looking up to admire worshipfully great works of art, we look upon these works presented in a different way than when we engage with visual material in the outside world:pieces of art are isolated and literally held aloft for our admiration and contemplation. What we are admiring is beauty.
This is due to the fact that museums, as a concept, emerged in late 18th century Europe and are a testament to the aesthetic ideals of the Enlightenment."