RH 2] RO eI a 3 KxSY eed oS BS se Kd BS DY, Women ~y Kg N erwin \ Breaking into the = Bees ec me (aie Carey x Sa ret with Isabel Bishop SS aN Pa Xx? pss OK we Sedieval iTHE FEMINIST AleT JOURNAL EDITOR CINDY NEMSER CHUCK NEMSER ART DIRECTOR GERI BACHMANN ASSISTANT ART DIRECTOR PHYLLIS CERONE ASSISTANT EDITOR BARBARA JEPSON CONTRIBUTING EDITORS MARILYN COFFEY Pet GLORIA ORENSTEIN ‘THERESE SCHWARTZ Joyce Kozlof, Beni de Nagy Gallery. EDITORIAL ASSOCIATE JOAN RYAN OFFICE ASSISTANT DIANE ADDRIZZO STAFF PHOTOGRAPHER JOYCE RAVID (Cover: Claricia, Paster, 8, Germany, c. 1200. Photo: Courtesy, Walters Art Gallery, Baltimore. Isabel Bishop, Photo: Joyce Ravid and pencil on paper, 1975, Photo: Erie Plltees, Courtesy, Tibor SPRING 1976 4 LETTERS . WOMEN AS ARTISTS IN THE MIDDLE AGES Annemarie Weyl Carr 5 MARIA COSWAY: MINIATURIST LARGER-THAN-LIFE Constance Scherer se. 10 CONVERSATION WITH ISABEL BISHOP Cindy Nemser. oer AN ARTISTS’ GALLERY GUIDE Brenda Price 21 THE CAMBRIDGE SCHOOL: WOMEN IN ARCHITECTURE Janet Catherine Berto ...ciccvseseseeseessne DT THE WOMEN ARTISTS’ SERIES: AN INTERVIEW WITH LYNN MILLER Annmarie ROUsseat .....0.-0 ne 7 AMERICAN WOMEN: THE DEPRESSION DECADE Sally Webster e sient ST BOOK REVIEWS Art: A Woman's Sensibility, Miriam Schapiro, Jill Janows ... 39 A History of Women Artists, Hugo Munster- burg Elsa Honig Fine vs... 39 The Art of Welded Sculpture, 5 ‘Suzanne Benton Gloria Feman Orenstein... 4 ‘We Become New, edited by Lucille Iverson and Kathryn Ruby Miriam Sagan......... pcaa2) RECORD REVIEW Women’s World: Works by Famous Women Composers Barbara Jepson ads) ‘The Feminist Art Journal is @ non-profit quarterly published by THE FEMINIST ART JOURNAL, INC., 41 Montgomery Place, Brooklyn, N.Y, 11215, Telephone: (212) 857-9456, Copyright The Feminist Art Joure tal, ine. SPRING 1976, and may not be reproduced in any form without ‘writen permission, The Feminist Art Journal welcomes for consideration ‘manuscripts, reviews, and photographs on all areas of the arts. Enclose Stamped, sel adéressed. envelope. Second:class postage is paid al Brooklyn, N.Y. and at additional mailing offices. ‘The Feminist Art Journal is on file atthe International Women's History Archive at Northwestern University Special Collections Library. It is availble on microfilm at the Women's History Research Center, 2325 (Oak St, Beekeley, Ca, 94708 from Oct. 1971-Sune, 1974 only Pletely available on microfilm from Xerox University Microfilms, 300 North Zeed Road, Ann Arbor, Michigan 48106; Xerox University Microfilms, 38 Mobile Drive, Toronto, Ontario, Canada M4AIH6; THE FEMINIST ART JOURNAL. University Microfilms Limited, St. John's Road, Tyler's Freen Penn, Buckinghamshire, England. ‘The Feminist Art Journal ie currently indexed in the following publications: Art Design Photo, ART bibliographies and Bowker Serials, ‘Bibliography. ‘The cireulation ofthis publication is being aided by public funds from the SUBSCRIPTIONS: US.A., Canada and Metico one year $7.0, wo years $13.00. Insitutions and foreign, one year $14.00, wo years $26.0. Single copy, $2.00 and back issues, $2.50 prepaid in U.S. currency only. ‘Missed issue claims must be made within three months Aliow three week rea and inclade both old and new addresses, Subsrip- tions wil begin with the next issue.WOMEN ARTISTS IN THE MIDDLE AGES BY ANNEMARIE WEYL CARR In her book, The City of Women, the lively late fourteenth-century feminist, Christine de Pisan, asks Reason to recount the lives of famous women of Antiquity. Reason obliges, naming among others three women artists. Christine sighs that times were better then, but brightening, she says that she does know one lady painter, who has done excellent work for her, one Anastaise, who specializes in borders and backgrounds.’ The rarity of such references and —Christine notwithstanding—the modesty of Anastaise’s specialty hardly augur well for the quest for medieval ‘women artists. Yet the quest is fruitful. It leads above all to the convent seriptorium, and logically so, since the tradition of learned women was deeply engrained in medieval Western Europe, where the task of preserving learning fell as heavily on the women as on the men of the Church. Typical of the artists whom one finds is Guda, an early twelfth-century Westphalian nun who wrote and decorated a Homiliary now in Frankfurt? She signed herself with a self-portrait, possibly the first self-portrait of a woman surviving in the West (fig. 1). She is represen- tative in many ways—she is German, like the majority of medieval women artists; she is a nun; she belongs to the twelfth century, a century especially rich in women painters; and like so many signed medieval artists of either sex, she is of only modest genius, her meagre stock of models. serving as well for herself as for the Virgin Mary (fig. 2). ‘Yet the twelfth century is already late in the history of convent scrip- toria. References to them begin already in the sixth century with the first monastic rules for women; and the early Middle Ages especially, learned nuns played a role far more “Annemarie Weyl Carr received her dos- torate from the University of Michigan in 1973 with a dissertation on twelfth century Byzantine manuscripts. She is farrently an. Assistant Professor at Southern Methodist Univesity ‘THE FEMINIST ART JOURNAL, Fig. 1. Guda, Sl ig. 2. The Virgin Mary. 196. Photo: Stadt- und Universitat prominent than Guda’s work might suggest.’ The first major convent scriptorium that has been identified belongs to the period around 800 A.D. Its work survives in thirteen substantial volumes—among them a three-volume commentary on. the Psalms signed by nine women scribes. They were probably orrait. Frankfurt, Stadt- und Univesitats-Biblothek, folio 110v. Photo: Stadt- und Universitat Bibliothek, Frankfurt-am-Main, MS. Barth 42, ankfurt, Stadt-und Universitte-Bibliothek, MS. Barth. 42, folio Bibliothek, Frankfurt im Main. canonesses in the convent of Chelles, under the direction of Gisela, sister of ‘Charlemagne and learned friend of Alcuin,’ Charlemagne had not been taught to read as a child, but his sister Gisela had. This was not unusual in aristocratic families, whose daughters were groomed for the even- tuality of a religious life as nuns or 5canonesses. The canonical convents in particular nurtured many powerful and effective women, and the con- tinuation of the aristocratic canonical convents in Germany long after they had been discouraged in France at the Council of 816 helps to account for the prominence of German women in medieval art.! The presence of Gisela’s scriptorium does not automatically imply the presence of illuminators. However, Bernard Bischoff would like to attribute the famous Sacramentarium Gelasianum (Vatican, Reg. lat 316) to Chelles.” This would not necessarily indicate that it was painted by women—like most culturally prominent convents, Gisela’s belonged to a double monastery where women probably worked alongside men. Yet one can- not exclude the possibility that women painted it. A parallel case concerning the Gellone Sacramen- tary (Paris, lat, 12048) proves this. The Gellone Sacramentary itself is signed in one of its initials by a man —David. Yet one of its sibling manuscripts, Cambrai 300, is signed in the same way by one MADALBERTA, surely a woman. Whether or not the two great Sacramentaries themselves were made by women, then, other ik luminated manuscripts of their circle certainly were, Early medieval saints? lives can only corroborate this con- clusion, for they yield several references to women illuminators. There was Eadburg, Abbess of Thant in England, to whom St. Boniface gave a silver stylus in about 730, re- uesting that she make him a copy of the Epistle of St. Peter in gold letters “so that her words might shine in gold to the glory of the Father in Heaven. At much the same time, according to their mid-ninth-century Vita, two Flemish nuns, the sisters Harlinde and Renilde, “wrote and painted so much that it would seem laborious even to robust men of our day.” The first extensive cycle of miniatures known to be by « woman is, again, very early—belonging to the tenth century. This is in the Gerona Apocalypse, produced in Spain, perhaps in the double monastery of San Salvatore in Tavara, by the scribe Senior and the 6 illuminators Ende, a “paintress,” and Emeterius, a priest."" The book is resplendent with fierce, visionary fan- tasy, and outstanding of its kind. Ende’s hand has not yet been dis- tinguished from that of Emeterius: ‘one scholar’s effort to single out some of the miniatures on the basis of their feminine delicacy is not borne out by the rest of the miniatures at all, while another's assumption that the mis labelling of the thieves’ names in the Crucifixion is better ascribed to the woman than the presumably better educated man is untenable—women were, as we have seen, quite as well educated as men. The dominant per- sonality actually seems to have been Ende." At least, Emeterius and Senior had produced a slightly earlier ‘Apocalypse together, now in Madrid, whose few surviving miniatures show none of the crisp elegance that so dis- guishes the Gerona ones. The Fig. 4. Abbess Reglndis, Hortus Deliciarum, folio 322v. Photo: Herrade de Landsberg, Hor. tus Deliciarum, ed. A. Straub and G. Keller (Strasbourg, 189) difference must be due to the new, third member of theit team, Ende. The easiest way to explain Ende's participation here is that she belonged to a double monastery— which in fact San Salvatore was. Yet this is by no means inevitable. Nuns are known to have contributed to manuscripts of quite distant monasteries," and in other cases we know that books were copied in one center and illuminated in another. Nor were the women necessarily the illuminators. A richly illuminated Alsacian astronomical treatise of 1154 includes a dedication miniature ig the Virgin flanked by the scribe Guta, canoness of ‘Schwarzenthann, and the illuminator Sintram, canon in Schwarzenthann’s brother monastery of Marbach."* Efforts have been made to associate this Guta with the Guda of the Frankfurt Homiliary. But they are unconvincing: the two are different individuals. In fact, Germany produced a great number of women artists in the twelfth century. Most of them, like Guda, were skillful ar- tisans. A particularly cheerful one is Claricia, who drew her self-portrait swinging across the page as the tail of 2 Q in a Psalter of about 1200 from Augsburg, now in Walters Art Gallery, MS. 26, in Baltimore (see cover).!* Claricia’s is just one of several hands that appear here, and the major miniatures are clearly not by her. Their rough-and-ready style, however, suggests that the “master hand” was a nun in Claricia’s con- vent. Claricia herself does not wear the habits of a nun; she must have been a well-to-do young woman who was sent to the nuns for schooling, and learned to participate in bookmaking. It becomes clearer and clearer as the Middle Ages move on that miniature painting was regarded fas an appropriate occupation and a becoming accomplishment for a lady. Augsburg had a long tradition of female book hands, and again in the fourteenth century one finds a Gospel Book made for the Augsburg convent of Hohenwert, whose iilluminations are signed with the self-portrait of a nameless nun." More complex is the story of Diemud of Wessobrunn in Bavaria. Early twelfth-century nun and ardent scribe, Diemud is known to us from a sixteenth-century text that lists forty- five books by her hand." The effort to find her works has unearthed not one but several Diemuds.” One, por trayed in an initial in Munich, elm 23036 from Wessobrunn, is a century 100 late to be the Diemud in question, ‘She must be a later nun who followed the example of her illustrious homonym; thus she implies the ex- istence of a continuing tradition at Wessobrunn, like that in Augsburg. The other Diemud signed Munich, clm 11004—a Missal with initials She is correct in date, uses a SPRING 1976Wessobrunn script and cites the patron saint of Wessobrunn in her colophon. But the book was made for Salzburg use. The Diemud of the text probably did take outside commissions—this is suggested by the long list of Missals in her oeuvre. Yet the story of the two Gudas makes cone hesitate to put too much weight on a common name. A nun by the name of Diemud was Abbess of Nonnberg in Salzburg until her death in 1136, and it may have been she who produced Munich, clm 11004. Thus the single figure of Diemud suddenly proliferates into a bevy of two if not in fact three individuals, and the roster of women artists widens. Two German nuns of the twelfth century tower over the artisan stature of Guda, Claricia and the Diemuds. They were not artists in the modern sense, in that they did not paint the fair copies of their works. But each conceived an extensive cycle of miniatures conveying her image of cosmology. One was Saint Hildegard of Bingen, a famous visionary who wrote books on many aspects of science, musie, medicine and morali- ty for which the information was drawn from her divine visions. Her most famous book, Scivias, a series of thirty-five visions, related the history of salvation in a vocabulary including nine hundred and fifty words of her own invention.'* Each vision was illustrated. The earliest il- luminated copy of Scivias known to scholars was in Wiesbaden until the Second World War; it is now miss- ing. It was made before Hildegard’s death in 1179, apparently under her direction though probably not by the runs of her convent. The paleography points to Trier, instead." Many of the miniatures owe their exceptional in- tensity to the vivid inspiration of the painter. Yet others can only be due to Hildegard’s imagination—the image of man’s fall, dizzied by the restless turmoil of the fallen angels that, flamelike, rises to bite a cloud representing Eve that issues from ‘Adam's side; or the unique image of the orders of the angels organized in concentric circles; or the diagram of Hildegard’s bizarre and insightful conception of universal order. These can have derived only from her own THE FEMINIST ART JOURNAL Fig. 5. Herrad of Landsberg and the Nuns of Photo: Herrade de Landsberg, Hortus extraordinary vision, and should be attributed to her imagination. Yet more striking is Hildegard’s younger contemporary, Herrad of Landsberg, Abbess of Hohenburg in Alsace and overseer of the greatest of the medieval pictorial encyclopedias, the Hortus Deliciarum.” Herrad depicts herself on the book's final page, surrounded by the nuns of Fig. 6." Philosophy.” Hortus Deliiarum, folio 321, Photo: Herrade de Landsberg, Hortus Deiciatum, Hohenbarg, Hortus Deliciarum, folio 3 Deliiarum, Hohenburg for whom she compiled the great book, gathering wisdom “like a little bee,” as she writes (fig. 5). She is accompanied on the facing page (fig. 4) by Relindis, her teacher and predecessor as abbess. Whether (or not Relindis was the famous scribe and Gospel commentator by that name, she was an inspired educational reformer, and a tangible example of the transmission of the tradition of learning from woman to woman in the German convents. The manuscript of the Hortus Deliciarum itself was destroyed in 1870 and we know it only from nineteenth-century traced drawings. Originally, it com- prised some 636 miniatures on 325 folio openings, illustrating the history of salvation from beginning to end. The scenes from the Bible become the starting point for discussions, Thus the Tower of Babel and its confusion of languages affords the context for a vivid visual interpretation of Philosophy (fig. 6), for, as Herrad says, “after the Deluge, some studied philosophy. Some, however, whose reason was blinded, engaged themselves in poetry and magic.” Here one sees Philosophy, her scroll 7proclaiming in the words of the Old Testament the divine origin of all wisdom. She is shown as a fountain, from which issue the seven liberal arts, and the four cardinal virtues of the true philosophers, Socrates and Plato, who sit at her feet. The poets and magicians, however, guided by black birds of demonic inspiration, sit outside her divinely inspired sphere. And so scheme follows in- tricate scheme, One can no longer believe that Herrad herself painted the finished copy of the Hortus Deliciarum. Rather, it shows several different hands." It was probably painted in about 1205, a decade after Herrad’s death, and—to judge by its many close similarities to the stained ‘glass in Strasbourg Cathedral—by a professional workshop in Stras- bourg rather than in Hohen- burg by the nuns." One gathers that the copy of the Hortus Deliciarum that survived until 1870 was not the original one, but a copy made after the original, presumably a final, fully painted version based on years of assembled drawings. Yet the spirit behind these drawings and the mind responsible for their conception was Herrad’s. As a conception, they com- prise a great work of medieval art ‘The Hortus Deliciarum is above all a work of artistic expression: the pic- tures really come first, and the text accompanies them." Though Herrad did not paint it, hers was the mind that generated this rich compendium of visual schemata. As such, Herrad is certainly a towering figure in medieval art. Herrad has no recognized sequel in medieval art. One continues to find individual illuminators in the thirteenth and fourteenth centuries. Some are quite fine, like Gisela of Kerzenbroeck, who worked at Rulle near Osnabruck until her death in 1300." But it is only with the wide- ranging reform of Dominican houses in Southern Germany in the late fourteenth and fifteenth centuries that one finds the extensive and systematic cultivation of women il- luminators. Christian von Heusinger has distinguished close to a dozen Dominican convents in South Ger- many with active scriptoria* Their works are seldom distinguished, but in a few cases one does find a rise to genuinely artistic quality. This is the 8 case with the Dominican convent of St, Catherine in Nurnberg. This house saw the career of the famous Margaretha Karthauserin, who ned a number of handsomely written and illuminated manuscripts during the years from 1452 t0 1470, Long believed to have been the author of their miniatures, as well as their calligraphy, Margaretha is among the most touted of medieval women artists. More recently, however, a number of different hands have been distinguished in the books she copied, and it now seems likely that she was responsible only for the script.” Thanks to the notes of a Nurnberg bookbinder, we know that ‘one of Margaretha’s books was il luminated by a fellow nun, Barbara Gwichtmacherin, Barbara's hand appears, among others, in several of Margaretha’s books. and makes it entirely likely that the illuminations, though not by Margaretha herself, were all by fellow nuns at St Catherine's. Thus the undoing of one woman artist yields a cluster of others, Contemporary with Margaretha were Dorothea von Riethan, working in Medlingen,” and Margaretha Schieffartz of Cologne, ‘one of whose elegantly ornamented manuscripts survives in Budapest.” Women, then, were well represented in all phases of medieval book art. They were generally aristocratic or of high social pedigree, and often learned. Knowledge of them is not easily acquired. Their work does not automatically dis- tinguish itself from that of their brother religious, and most of them belonged to double monasteries where women worked alongside men. So far, we know them largely by their signatures, a distinet liability since, as noted, the medieval artists who signed their names were seldom the preatest of their kind. Many greater women may go unnamed. Yet it is clear that the convent scriptorium was a factor in medieval art, as in medieval calligraphy, and that further studies like that of Christian von Heusinger should amply reward the interest taken in them, ‘The manuscript was a major art in the Middle Ages. Yet the twentieth century has been eager to find women working in the monumental arts as well. This has led so far to legend only—the legend that the nuns of Wienhausen frescoed the walls of their convent church,” or the legend that Sabina, the daughter of the master sculptor on the south facade of Strasbourg Cathedral, took over at hier father's death and completed the statues of Synagoga and Ecclesia.” The form of wall painting that women did practice extensively and brilliantly is tapestry weaving. Ad- miring accounts of outstanding achievements by women in weaving and embroidery run richly throughout the Middle Ages, giving the impression that these were, above all, women’s arts, and lending weight to the theory that the Bayeux Tapestry was at least executed by women. In contrast to the art of il- lumination, which was essentially a Cloister art, the arts of weaving and embroidery involved lay women as well, among them several queens.” In some cases these women worked to designs conceived by men: thus we hear of St. Dunstan drawing a design on a chasuble which @ noble English lady afterward embroidered with gold thread and pearls.” But in many cases the medieval accounts ‘emphasize that the women worked to designs of their own. These must ‘often have been intricate and unique, as in the case of the tenth-century Aeelfied, who gave Ely Cathedral a rich wall hanging embroidered the deeds of her deceased husband: * or that of Joanna, Prioress of Lothen in Germany in about 1200, who wove with her nuns Alheidis and Reglindis a series of tapestries telling the tumultuous history of her convent.* We tend to yawn at these needlewomen, But their craft was large in scale, richly expensive, and earned them great reverence in their own time. An excellent example of this is Mabel, embroiderer to Henry IIT of England. In a recent study, R. Kent Lancaster noted the “congenial, protective and some- times almost humble attitude the king showed” to her.” Her two years’ work on a pearbstudded chasuble and altar veil is equally studded with documents recording Henry's conscientious interest in her work and her well-being. He had the finished product appraised by “the Sight of discreet men and women with knowledge of embroidery” both as 10 SPRING 1976the quality of the work and the fee paid for it, so that “the King should not have to offend in this matter, nor incur to some extent condemnation to himself.” When he had her embroider a gold and ruby standard for West- minster Abbey, he stipulated the sub- ject, but left the design and concep- tion to Mabel, “as she would best know how to see to them.” Years later, when he visited the now aged artist's home town of Bury St. Ed- munds, Henry ordered that “because Mabel of Si. Edmunds served the King and Queen for a long time in making ecclesiastical ornaments, that the same Mabel be given six measures of a cloth agreeable to her and the fur of @ rabbit for a robe, the gift of the King.” Knights and abbots were recipients of similar gifts. Mabel was a laywoman and a professional. So, too, no doubt, was ‘Agnes of Avion, who received pay- ‘ment in 1380 for a series of tapestri woven for Yolande of Soissons. There were professional women il- luminators by this time, too. In fact, ‘women were involved in every aspect of bookmaking. Robert Branner has discovered the records of a mid- thirteenth-century parchmenter by the name of Martha, who worked in the St. Genevieve area of Paris.” In 1292, we hear of a certain Thomasse, “elumineresse et taverniere” in the Rue au Foin in Paris.” Francoise Baron, in a recent examination of tax records in various parishes of Paris during the late thirteenth and early fourteenth centuries, found references to eight women il- luiminators, and mentions of women sculptors, as well In 1301, the list of painters in Cologne included one “Johannes, illuminator, and his wife, Hilla."*' Certainly the most famous and clusive lady illuminator of the fourteenth century is Bourgot, men- tioned as an “enlumineresse” ina contract drawn up by her father, the painter Jehan de Noir.** The professional book trade grew in the fifteenth century, and wherever professionalism became entrenched, the roster of women painters ex- panded. Douglas Farquhar has gathered telling statisties on the large painters’ guild in Bruges, where female membership reached ap- proximately 12% in 1454, and had ‘grown to nearer 25% by 1480." In the THE FEMINIST ART JOURNAL professional world, as in the convent, apparently, the decoration of books had become a customary and aceepted occupation for women ‘Their individual contributions are un- known, and will in all likelihood re main unknowable. They worked in the conventions of a firmly es- tablished style, painting anonymous- ly in complex workshop situations, In many cases these women had, like Bourgot or Hilla, learned their trade as daughters or wives of painters. They carried on the business when the father or husband died. With this, one meets a familiar pattern of the post-medieval world. And in other ways, too, one feels the advent of a more modern age. Like Herrad, Christine de Pisan probably dictated the kinds of scenes which were to illustrate her many books. The scenes are elegant, vivacious, and informative. But they are also essen- tially illustrative, without the concep- tual force of Herrad’s schemata. Like Ende, Guda, Claricia and the Diemuds, the professional women painters of the fifteenth century were essentially craftspeople working within the conventions of an ¢s- tablished style. But they have become not merely unnamed, but anonymous, without the individual immediacy of their earlier medieval counterparts, The miniature was ceasing to be the major art it had been in the Middle Ages. The amateur monastic workshop was giv- ing way to the highly trained professional one; the medieval il- luminator was giving way to the miniature painter in the modern sense. Art itself was changing. And with it, not surprisingly, the context of medieval women’s art was being swept away. FoorNores 1. Dorothy. Miner, Anasaise and. Her Siniers (Baltimore, 1944), pp. 20-2 Millard Meiss, French Painting inthe Time of Jean de Berry (London, 1967, 9.3 2. Frankfurt am Main, Stadt und Universitats-Bibtothek, MS. Barth 42, Gerhardt Powitz'and Herbert Buck, Die Handschriften des Bartholomeusstifts und des Karmeliteaklostrs in Frankfurt am Main (Frankfurt am Main, 1974). pp. 4-85. Within the extensive bibliography on” Guda, seein par ticular Pietro d'Ancona and Erardo Aeschlimann, Dictionnaire des ‘miniatures (Milan, 1940), p. 101 fand pl LI: Rosy Schilling, Die ie luminierien Hondschriften und Bncebniarren des Mitts und der Renaissance n Frankfurter Bests, i, Georg Sarena (rank TD pre iid and pl Vib 3. See Str Maria Pia Hench, The Cononeses and Education nthe Ear yada Ages (Washington, B.C to28)“on she fosrthcentry sce Melanie, the sintacentury St Radegunda and the svertvcetury proves of Whitby. Ha. See Georee Fiver Putnam. Boot and Tar Makers in te’ Migie Ages (New Yor and London. 1896) on Cactarat Arie, autor ofthe st monet fale for women, and hia aster, Ciara, ho mpiemented ins sentry France 4. Bertcd “Bischoff, “Die Kolner Nommenhandchniten und és Seep forum von Chelle, in Karoline tind Outoniche Kuni, Werden Wiser Wiekung, Forshangsn rit Kanstgeechichte® end chrtichen ‘Archaclogm vol “IIL (Wiesbaden 19S op SHSAl | Thee ae aeoally tenditet hands inthe book bot he ‘igeature of ne of them ashen fee s, Blnor 8: Disket, leu Friend of Charemapre (New York, 1950. SS Gita corresponded ‘and ex hanged ‘poke with Alvin, and Re comms cometary onthe Geet of Joh for ber 6 Hesmich ee note 3) 9p. 21-2 5: Bact See note 4 pr 408-40 8 Helnnh ee note 3) p30 5: Sohn W. Bradley, BA A Dictionary Of Miniature, fitaminators Cagraphors and Copyiis (New ore “ise7-8¥9), soll, p87, There he qutes th Via of the two Sains and te miracee wich accom. famed thei coming fom, Martene ne" Durand," Yovage de deus oederin-=sinster 8. Ord Bene th 6. Wiens Watenbach, Dar Schifesen im Mieater (png. 819) 9.978 10, Jaime Margues Casanves, Cesar. Dutler ‘and Wein, Ness, Sancti Beutt a Liebane In Apocaypin Codex Geranderis (Oi, BED), P 6 11 Tid, p49, and Miner Ge nove 1), wp. ort 12. Marques Casanova, ofa; p. 7 sihere sh atl by Boar Bing the cose of an early ten Ecny Beneitie am, Loncegod Sioned the convent of bad te produced mamonrnt in 312 the monastery of Samos 13, Tosh Walter “Ls miniatres 6 Coste Gutasinram, ‘de Marbach Schvarcenhann (1188, “Arehies eciees histor de Far, WV (i925) 140 and 2 14, Miner se note I) pp 12 1S; ohannes Damvieh “bie Ausbur Buchmalerei im Zeitalter der Hohenstaufen” Arh Jur criche ann X¥ (1903158 16, Putnam os nts 3) 99, the fs 17, Gaorg Swartnik, Die Saeburger Motes (hepsi 1913), 962 See thos Ei Bangs Eine ‘eyernche Melerschute det Xt. and. X11 Jahrhunderts (Manish. 1823). p. ‘Cont, on p. 26 9breakthrough work or of taking risks, ‘except with money.) By seeking gallery affiliation one is tacitly accepting the status quo and enabling it to continue. The in- ‘escapable fact is that galleries are in the business of selling art—mostly art-object-art with a distinct market value. The big galleries say that the reason they don’t carry many women artists is economics; they can’t get the same prices for their work as for that done by men. 1 believe a deep-rooted and long-standing prejudice against the value of work done by women is at the root of this attitude, that dealers don't make the effort to get the same prices for women's art because they refuse to believe in the possibility of merit occurring with the same regularity in women as it does in men. The same dealers who assume staying power and commit- ment from men, give women a hassle con these issues; then they turn around and denigrate the “‘investment- potential” of work produced by women artists. Unless or until these attitudes are rooted out and changed, the statistics for women artists are going to remain low. (Next, as things are presently con- stituted, art dealers have enormous cultural power over what art the public sees. Whether or not the peo- ple a dealer shows are “sellers” (and ‘most do show some prestigious artists who don’t sell) they are seeking to en- courage and develop people who fit into THEIR vision of which art should be put forward. Most of the work now being shown is of a cool, minimal variety. This work is being promoted by dealers, and it goes from the influential galleries straight into the museums. Other kinds of Valuable work are being done; but if it’s not fashionable it won't bring big money. Therefore it will not be shown ‘much, it will not come to the atten- tion of the media, and it will not have much influence on art students and the public. As artists we must ask ourselves if this power of WHICH ART GETS PUT FORWARD should rest in the dealer's hands. Clearly, not solely. Alternative situations for prominent Public exhibition must be promoted, and I don't mean museums. For the new artist, the museum is as far away as the moon, and it is most often reached through the gallery chain. In England there is a well publicized period of time when all artists’ studios are thrown open to the public and critics; in Canada there isa string of government-supported artist-run galleries. If artists want to seize and retain their individualistic gut relationship to cultural experience, they must seriously address the issue of getting power and using it. They must create ways to have the public see their work, on the artists’ in- itiative, and on the artists’ own terms, FOOTNOTES 1, Doug Davis with Mary Rourke, raising.” Newsweek, July 2, 1973 2 Thi. FOOTNOTES Cont. from p. 9 128n3; Schiling (Gee note 2), p. 12: Ulrich Thieme and ‘Felix Becker, Allgemeines Lexikon der bildenden Kunstler (Leipcig, 1908-1936), 01 IX, pp. 235.286. Dom L. Baile, “Les miniatures du Scivias de Sainte Hildegarde conserve 11a Bibliotheque de Wiesbaden,” For dation E. Piot, Monuments et rmemotres, XIX (i911), 49-189. The manuseript was Wiesbaden, LLandesbibliothek, cod. I fl. See alse Hans Fegers, “Die Bilder im ‘Scivas’ er Hildegard von Bingen,” Dat Werk des Kunslers, (1939), 09-145, Hermann Fischer, Die’ heilige Hildegard von Bingen, die erste deutsche Naturforschern und Artin (Munich, 1927); Andre Grabar and Carl Noréentalk, Romanesque Pain- ting (Geneva, 1988), pp. 160-161; Hiltgart L. Keller, Mivterheinsche Buchmaleret in Handechrifien aus dem Kretse der Hiligart von Bingen 1933 Josef Schomer, Die en za den Visinen derbi rls kuntlerische Neuschop- fung (Bonn, 1937). Keller (s2e aote 18). ‘The bibliography on Herad is vast. For recent compilation, se Gerard Cames, Allegores et symboles dans Hortus Dellciarum (Leyden, 1971). The drawings of the Hortus Deliciarum have been published in Herrade de Landsberg, Hortus Deliciarum, o@, A. Straub and G, Keller Strasbourg, 189). CCames (se note 20) p. 138. Heinrich Gee note 3, p. 151. Fritz Saxl, "Illustrated Medieveal En- cyclopedias, II. The Christian “Transformation,” in Lectures (Lon don, 1957), p. 253 23, Fridtiof Zechokke, Die romaniiche Glasgemalde des Strassburger ‘Muncters (Basel, 1942), p.59. Cames (Gee note 20), 141, 24, Ses the beautiful analysis of Sox (see note 22), p. 253 25. A Gradual which was copied and Tuminated by Gisela survives today in the collection of the Bishop. of ‘Osnabruck. Tam endebied 10. Dr. Karl-Meinz Worpenberg of the Gym- rnasium Carolinum in Osnabruck for advising me of the manuscripts pre- Seat locaton. Itscolophon i quoted in Ancona and Acsclimann (see note 2, p93. 26, Christian von Heusinger,. “Spat mittelalterliche Buchmalere! in ‘berrheinischen Frauenklostern, Zesschrift fur dle Geschichte des Oberrheins, CVI (1958), 136-160. 27, Katl Fischer, Die Buchmalerel im den beiden Dominikanerklostern Nurnbergs (Nurnberg, 1928). See also:Bradley (see note 9), v0. Ip. 195, ‘Theodor Raspe, Studien zur deutschen Kunsigeschichte: Die Nurnberger ‘Miniaturmalere bis 1515 (Strassburg, 1905}; Thieme Becker (see note 17), vol VI, p93: von Heusinger (se note 26), p. 133. 28. Thieme-Becker (see note 17), vol IX, pas 28, Emma Baroniek, Codices Manu Seriptt Latin Vol. 1, Codices Latin ‘Medit Aevi (Budapest, 1940), p. 227 30, Hans ‘Hildebrandt, ‘Die Frau ale Kunslein (Berlin, 1928, 0. 43, 31, Linda Nochlin, “Why Have There Been No Great Women Artiste?" 471 News, LXIX Uanuary, 1971), 22. 32, Aelgiva, wife of England's King Edward 1, completed in 1016 broidered ‘altar frontal 30 richly udded with gems, pearls and thread fof gold that it was likened to gold mosaic, See Thieme-Becker (see note 17), vol. 1. p. 96. Gisela, sister of Emperor Henry Il of Germany and ‘Queen of Stephen I of Hungary, signed the gold und purple chasuble That Tater became the coronation robe of Hungary with the words, “Gisela the Queen worked this chasuble and ive it to the Church of St. Mary in Civita Alba See Thieme-Becke (see note 17), vol. XIV, p. 197. 33, Heinrich (ee note}, p. 186 34. Ibid, p. 188 3S. Thieme-Becker (see note 17), vol. X, pel 36, R, Kent Lancaster, “Artists, Sppliers and Clerks: The Human Factors inthe ‘Art Patronage of King Hey TI." ournal ofthe Warburg and Courtauld Tnstitates, XXXV (1972), 83-85, 37. Thieme Becker (see note 17), vol. 1p. 2 38, Robert Branne Makers in Paris,” Art “Manuscript id Thirteenth Century ulleun, XLVI (1965), 39. Bradley (see note 9), vo. 11, p. 302. 40. Francoise Baron, Bulletin archeologique du come des wavaus Iiscoriques ex scientifiques, as. 1V (968), 37-121 41. Bradley (se note 9), vol. I, p. 106 42, Miner (see note 1), pp. 18-19. Miss (Gee note 1, pp 160M, 43, Cited by Miner (see note 1), p. 24 44, Lucie Schafer trationen 2 den Handschriten der Christine de Pisan,” Marburger Sahrbuch fur Kunstwissenschaf. X (1937) Lit SPRING 1976