{"id":2160,"date":"2021-06-08T22:08:29","date_gmt":"2021-06-08T20:08:29","guid":{"rendered":"https:\/\/www.lostwomenart.de\/?post_type=chapter&p=2160"},"modified":"2021-06-14T14:10:49","modified_gmt":"2021-06-14T12:10:49","slug":"art-education","status":"publish","type":"chapter","link":"https:\/\/www.lostwomenart.de\/en\/chapter\/art-education\/","title":{"rendered":"ART EDUCATION"},"content":{"rendered":"\n
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Throughout the 19th century, women were excluded from European art academies.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/section>\n\n\n

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Art academies \u2013 Men only!<\/h5>\n

The alternative to academies was private tuition, but this was expensive and thus only an option for women from wealthy families.<\/p>\n

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The reason behind the limited educational opportunities for women was the bourgeois educational values of the day. Young women were encouraged to be creative and musical in the home, and their talents were fostered through private lessons, but it was unconscionable for a woman to have actual artistic ambitions \u2013 and certainly not on a professional level. Any attempts by women to embark on independent careers were nipped firmly in the bud. A young woman was encouraged to develop good taste, but not to acquire knowledge.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/section>\n\n\n

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Paris \u2013 The art metropolis<\/h5>\n

A number of private academies in France, such as Acad\u00e9mie Colarossi, Grande-Chaumi\u00e8re, Acad\u00e9mie Julian and Acad\u00e9mie Matisse, gave lessons to women artists from many different countries in \u201cclasses mixtes<\/i>\u201d \u2013 i.e. studying alongside men. At these private academies, women had to overcome many obstacles; conditions were poor and tuition fees were double what they were for men. But the opportunity to study in the art metropolis drew hundreds of women from around the world to Paris.<\/p>\n

In 1897 the \u00c9cole des Beaux-Arts opened its doors to women, but it retained its very conservative views on what constituted \u201cproper\u201d art practice.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/section>\n\n

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\u201cMalweiber\u201d \u2013 Disparagement of women artists<\/h5>\n

In Germany, it was almost impossible for women to study art as a serious academic subject. They could enter applied arts schools, but these had a poor standing. In many cities, women artists therefore took matters into their own hands, forming clubs with the express intention of opposing the exclusion of women from the art world. In 1867 the Verein der Berliner K\u00fcnstlerinnen (Association of Women Artists in Berlin) was founded, with an affiliated school of drawing and painting. In 1882, women in Munich followed suit, with the Damenmalakademie des M\u00fcnchner K\u00fcnstlerinnen-Vereins. Another way for women to gain an art education was through the numerous private \u201cladies\u2019 classes\u201d on offer. These were very popular, despite the high fees and shortened training period for women. Many painters also offered private lessons in \u201cladies\u2019 studios\u201d, but they cared less about promoting women\u2019s interests than about providing themselves with a more secure income.<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t

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