Art

Remembering Forgotten Female Printmakers from the 16th to 19th Centuries

Printing Women
Mademoiselle M. F. Daniel, “A Rustic Bridge over a Brook Shaded by Trees” (19th century), etching (all images courtesy the New York Public Library unless noted)

In the 19th century, Henrietta Louisa Koenen, wife the Rijksmuseum Print Room’s first director, took a prescient interest in acquiring prints by women artists. These works date from the 16th century, such as a woodcut by Marie de’ Medici, daughter of Grand Duke of Tuscany Francesco I de’ Medici, to the 19th, with hand-colored engravings by Madame Alliot. This month Printing Women: Three Centuries of Female Printmakers, 1570–1900 opened at the New York Public Library’s Stephen A. Schwarzman Building, highlighting this collection for the first time since 1901.

Printing Women
William Baillie, after Sofonisba Anguissola, “Sofonisba Angusciola Pittrice” (“The painter Sofonisba Anguissola”) (1770), mezzotint (click to enlarge)

Madeleine Viljoen, curator of prints in the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, writes in an accompanying essay that “this group of engravings, etchings, woodcuts, and lithographs by female printmakers demonstrates women have been active in the medium for almost as long as its origins, in the early to mid-15th century.” She adds that while “more recent histories have rightly drawn attention to the longstanding contributions of women to the arts, Koenen’s collection, assembled well before such revisionist accounts were written, demonstrates that printmaking in particular was never just a male endeavor.”

Printing Women includes among its over 80 pieces some supplementary selections from the New York Public Library’s Spencer Collection and the Wallach Division. Taking over two hallways on the top floor of the NYPL’s flagship building on Fifth Avenue, the prints range from amateur experiments to professional works made for commercial sale, each arguing for women’s place in early modern printmaking history. Most of the artists were aristocrats, such as court painter to King Philip II Sofonisba Anguissola, granted the freedom by their position for artistic exploration, as long as they stuck to domestic and romantic scenes rather than grand histories and mythologies that were generally the realm of men.

Angelica Kauffman, "Half-length Portrait of a Woman, with a Child Holding an Apple" (1763), etching
Angelica Kauffman, “Half-length Portrait of a Woman, with a Child Holding an Apple” (1763), etching (click to enlarge)

For example, Princess Sophie of Saxe-Coburg-Saalfeld, Queen Victoria’s aunt, has a couple of idle 17th-century etchings that act as a sort of sampler of things she was drawn to at the age of 17, with horses, hairstyles, and flowers mingling on a single page. Queen Victoria later practiced printmaking herself, with quiet domestic scenes from her royal life. Other elite women were more adventurous with their subjects, like Maria Anna of Austria, daughter of Holy Roman Emperor Francis I and Empress Maria Theresa, whose 1772 aquatint shows men fighting a fire by a stream, the darkness of the night illuminated by the blaze.

Prints like these were generally shared among friends, although Printing Women has exceptions. Adélaïde Allou, whose biography has mostly vanished into the fog of history, has two 18th-century landscapes that were made for market, and there are women like Maria Sibylla Merian, who in the 17th century researched caterpillars and butterflies, illustrating their witnessed metamorphoses in The Wonderful Transformation of Caterpillars. In the NYPL, a copy of this historic book is open to a page featuring a rose with a small butterfly approaching. Alongside the other prints in black and white and color, there’s a variety of themes and skills that shows how women were working with the same new artistic media as men, even if there were limitations to their access and subjects.

Installation view of 'Printing Women: Three Centuries of Female Printmakers, 1570–1900' (photo by the author for Hyperallergic)
Installation view of ‘Printing Women: Three Centuries of Female Printmakers, 1570–1900’ (photo by the author for Hyperallergic)
Installation view of 'Printing Women: Three Centuries of Female Printmakers, 1570–1900' (photo by the author for Hyperallergic)
Maria Sibylla Merian, “Der Raupen wunderbare Verwandelung” (“The Wonderful Transformation of Caterpillars”) (1679-83) (photo by the author for Hyperallergic)
Queen Victoria (British, 1819–1901) Victoria on Jan. 1 1844 in the Costume of the late Princess Royal after West Etching, 1844
Queen Victoria, “Victoria on Jan. 1 1844 in the Costume of the late Princess Royal after West” (1844), etching
Installation view of 'Printing Women: Three Centuries of Female Printmakers, 1570–1900' (photo by the author for Hyperallergic)
Installation view of ‘Printing Women: Three Centuries of Female Printmakers, 1570–1900’ (photo by the author for Hyperallergic)
Jacob Bos (Netherlandish, active 1550–80) after Sofonisba Anguissola (Italian, ca. 1532–1625) La vecchia rimbambita muove riso alla fanciulletta (Young girl laughing at the old woman) Engraving, ca. 1550, based on a now-lost drawing by Sofonisba Anguissola, one of the few early modern women artists to get wide recognition
Jacob Bos, after Sofonisba Anguissola, “La vecchia rimbambita muove riso alla fanciulletta” (“Young girl laughing at the old woman”) (1550), engraving based on a now-lost drawing by Sofonisba Anguissola, one of the few early modern women artists to get wide recognition
Installation view of 'Printing Women: Three Centuries of Female Printmakers, 1570–1900' (photo by the author for Hyperallergic)
Installation view of ‘Printing Women: Three Centuries of Female Printmakers, 1570–1900’ (photo by the author for Hyperallergic)
Printing Women
Diana Scultori, after Giulio Romano, “Latona Giving Birth to Apollo and Diana on the Island of Delos” (1570), engraving
Installation view of 'Printing Women: Three Centuries of Female Printmakers, 1570–1900' (photo by the author for Hyperallergic)
Installation view of ‘Printing Women: Three Centuries of Female Printmakers, 1570–1900’ (photo by the author for Hyperallergic)
Printing Women
Geronima Parasole, after Antonio Tempesta, “Battle Between Men and Centaurs” (1623), woodcut
Printing Women
Princess Sophie of Saxe‐Coburg‐Saalfeld, “A Sheet of Sketches and Studies: Two Figures, Eight Heads, a Horse, Two Flowers” (1795), etching
Printing Women
Madame André, after Countess Lavinia Spencer, “L’enfant trouvé” (“The Foundling”) (1800), etching
Printing Women
Archduchess Maria Anna of Austria, “Countrymen Fighting a Fire by the Side of a Stream” (1772), aquatint
Installation view of 'Printing Women: Three Centuries of Female Printmakers, 1570–1900' (photo by the author for Hyperallergic)
At left: Esther Inglis, “Le Livre de l’Ecclesiaste” (1601), pen and ink on paper (photo by the author for Hyperallergic)
Printing Women
Marguerite Le Comte, after Rembrandt van Rijn, “Obelisk” (1754), etching
Printing Women
Magdalena van de Passe, after Roelandt Savery, “The Prophet Elijah Receiving Bread from the Raven in a Landscape with Mountains and a River” (1620-30), engraving
Printing Women
Catherine Elizabeth Cousinet Lempereur and Nicolas de Launay, after Jules Vernet, “Les suites d’un naufrage” (“After the Shipwreck”) (late 18th century), engraving
Installation view of 'Printing Women: Three Centuries of Female Printmakers, 1570–1900' (photo by the author for Hyperallergic)
Installation view of ‘Printing Women: Three Centuries of Female Printmakers, 1570–1900’ (photo by the author for Hyperallergic)

Printing Women: Three Centuries of Female Printmakers, 1570–1900 continues through May 27, 2016 at the Stephan A. Schwarzman Building of the New York Public Library (Fifth Avenue at 42nd Street, Midtown, Manhattan).

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