miriam schapiro and femmage : reflections on the conflict between decoration and abstraction in twentieth-century art

1. Miriam Schapiro and �Femmage�: Reflections on the Conflict Between Decoration and Abstraction in Twentieth-Century Art By: Norma Broude Kye Hayslett and Kate Feiss

2. This quote illustrates the often sexist literature that was written about the void between high and low art, or in this case, abstract and classical art. This quote illustrates the often sexist literature that was written about the void between high and low art, or in this case, abstract and classical art.

3. Art Nouveau or Jugendstil Started in Europe around the turn of the century. Based in late 19th Century Symbolist thought. Now considered an important catalyst for numerous artists such as Wassily Kandinsky and Henri Matisse. Ultimately, it is this art movement that set the stage for important feminist artists like Schapiro. Seeks to convey meaning and content through abstract and non-objective forms.

4. Craft vs. Fine Art Schapiro must be studied in the context of other great artists before her who also battled with the labeling of their art as �craft.� Hermann Obrist made one of the first successful strikes against the traditional fine art stigma. In 1896, he displayed an exhibit of embroideries in a Munich Gallery that were of his own design but not created by his own hand. Kandinsky�s work was often labeled as craft as well. It is known that he often designed dresses, handbags, and jewelry, such as the sketch illustrated above. Hermann Obrist made one of the first successful strikes against the traditional fine art stigma. In 1896, he displayed an exhibit of embroideries in a Munich Gallery that were of his own design but not created by his own hand. Kandinsky�s work was often labeled as craft as well. It is known that he often designed dresses, handbags, and jewelry, such as the sketch illustrated above.

5. Henri Matisse The appeal of the decorative arts is clearly evident in the paintings of Henri Matisse. Note the all over patterns, and the recurring use of decorative objects like rugs, wall hangings and table cloths.

6. While the fondness of decorative objects is apparent in Matisse�s early work, this interest in decorative objects becomes even more evident in his later career, as demonstrated by this work. This piece is paper cutouts on canvas. Pieces like this bring �low art� to a higher level. It is important to note here that the works from Matisse�s career have been heroically pushed by art historians away from the purely decorative and into the highly abstract genre. While the fondness of decorative objects is apparent in Matisse�s early work, this interest in decorative objects becomes even more evident in his later career, as demonstrated by this work. This piece is paper cutouts on canvas. Pieces like this bring �low art� to a higher level. It is important to note here that the works from Matisse�s career have been heroically pushed by art historians away from the purely decorative and into the highly abstract genre.

7. Miriam Schapiro and �Femmage� What is femmage? A term created by Schapiro to define her work, derived from collage but clearly feminist. Collage is a high art term, used to define the combination of different materials into a single image. Schapiro brings the feminist perspective in when she notes the traditional practices of women to sew, quilt, and applique. Collage is a high art term, used to define the combination of different materials into a single image. Schapiro brings the feminist perspective in when she notes the traditional practices of women to sew, quilt, and applique.

8. Like Kandinsky and Matisse, Schapiro brings �low art� or decorative art to a higher level. However, unlike Kandinsky and Matisse who mask the craft material�s form in order to elevate it, Schapiro reveals their original character and aesthetic value.

9. Schapiro had a very positive feminist energy to her work, she did several collaborations with other artists such as the one above. Schapiro had a very positive feminist energy to her work, she did several collaborations with other artists such as the one above.

10. When comparing the works of Kandinsky, Matisse, and Schapiro, it is clear that Matisse is the artist who came closest to Schapiro in embracing his decorative urges. Matisse defined his highest artistic goal as a condensation of the senses, essentially a harmony between things that one doesn�t always think of as harmonious: decorative and art, color and line, sensation and thought� These are premises central to Schapiro�s art as well. When comparing the works of Kandinsky, Matisse, and Schapiro, it is clear that Matisse is the artist who came closest to Schapiro in embracing his decorative urges. Matisse defined his highest artistic goal as a condensation of the senses, essentially a harmony between things that one doesn�t always think of as harmonious: decorative and art, color and line, sensation and thought� These are premises central to Schapiro�s art as well.

11. This is perhaps Schapiro�s most important work, it is certainly the largest. Work consists of 10 panels, 80� high by 52� long. This is perhaps Schapiro�s most important work, it is certainly the largest. Work consists of 10 panels, 80� high by 52� long.

13. There is no good reason why a painting cannot be both decorative and meaningful. �I wanted to speak directly to women- I chose the kimono as a ceremonial robe for the new woman. I wanted her to be dressed with the power of her own office, her inner strength� I wanted the robes to be clear, but I also wanted them to be a surrogate for me, for others. Later I remembered that men also wear kimonos, and so the piece eventually had an androgynous quality. Nice. The painting gave me a gift.� ~Miriam Schapiro in response to her Anatomy of a Kimono