Images of Women in Art and Literature

Images of Women in
Art and Literature
Lesson Plan
Aim of Activity:
To stimulate observation, analysis and thinking on how women are represented in contrasting media (a poem and
a painting).
To consider the role of words in the poem, and visual techniques in the painting.
Description of Activity:
Comparison and contrast of the women figures through discussion and group work in Christina Rossetti’s poem
In an Artist’s Studio (1856) and Artemesia Gentileschi’s painting Judith and her Maidservant with the Head of
Holofernes (1625).
Links with curriculum:
Activity supports broad humanities studies (gender and image of woman in different media and societies.)
Specific links with literature and art history. Practises skills in observation and analysis.
Learning outcomes. Students will:
Be aware of the different techniques within a poem and in painting
Be able to discuss the variety of ways women can be represented
Be aware of how representation can support or challenge a stereotype.
Time required for activity:
1 hour
Number of students:
Maximum 50
Minimum 10
Time
Activity
Description
5 mins
Introduction to the session and its
interdisciplinary and participative
approach
Distribute copies of the sonnet and painting (face down).
Discussion of issues around disciplines of literature and art
history. An introduction to the historical contexts of the two
texts and attitudes to women at these times.
20 mins
‘In the Artist’s Studio’ by Christina
Rossetti 1850’s
Reading, exploring and analysing the poem.
15 mins
‘Judith and her maidservant with the
head of Holofernes’ by Artemisia
Gentileschi 1625
Contrast of image of Judith in painting compared to the woman
in the sonnet. Group work using the blank worksheet preparing
for plenary pooling findings on the painting.
5 mins
Conclusion
Reflection on what has been learnt about ways of representing
women in a poem and a painting.
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Tutors Notes
Sonnet by Christina Rossetti: In an Artist's Studio
Painting by Artemisia Gentileschi: Judith and her Maidservant with the Head of Holofernes (1625)
Aims:
To encourage students to think about, and compare the representation of the female figures in the sonnet and the
painting. (Both the poem and painting are the work of women who practised in an age where the arts were
dominated by men.)
Rossetti's sonnet presents the idealised beautiful woman, the inspiration of the male artist, (his muse and model)
moulded by him into the figure of his dreams. (The Pygmalion theme) In the closing lines, the poet challenges the
truth of this convention, contrasting the unsatisfactory real-life relationship between the artist and the woman.
Gentileschi's painting depicts a Biblical story, (Judith's decapitation of the Assyrian enemy general Holofernes). It
shows two women, in a realistic and vivid manner, playing a male role with courage.
Delving into the comparison, students may raise issues of the inherent differences between a poem, (conveying
images and ideas with words), and a painting, (using visual methods).
Both the sonnet and the painting challenge the stereotypical image of the female - to be beautiful and submissive
to male authority. This concept is probably best left for discussion at the end, if appropriate.
Another aspect, only to be pursued briefly, is how far an understanding of the lives and biography of poet and
artists contributes to our understanding of the poem and painting.
Section A: General approach and introduction (5 minutes)
Distribute copies of the sonnet and the painting (supplied), but ask them to keep the painting face-down.
Make it dear that the copies of the painting are to be handed back, but they can write notes on the sheet.
Explain that we are going to draw on the disciplines of the study of literature, and art history. We will use an "interdisciplinary approach", so after half-an-hour, they will be "art historians" and students of literature.
Explain we are going to compare different representations of women: a poem of the 1850s, by a woman poet in
Victorian England (about artistic values and relationships) and a painting of the 1620s, by a woman painter in Italy,
(about a heroine from a Bible story called Judith).
Briefly, ask students: how do you see the balance of power between men and women today?
Students may suggest some words such as "equal" "women are better" etc; indicate that it has not always
been so: men used to be considered the stronger sex, and women were "the fair sex", beautiful, but fragile.
Noting the sonnet and the painting are of different periods, ask them which of the two they would expect to be
closer to our own "modern" ideas of women compared to men at this stage. Don't give them the answer, until
they can make up their own minds at the end! (Gentileschi's 1625 picture of Judith is closer to our own ideas
of liberation and equality).
We are now going to look at the different ways women may be represented:
What kind of image is presented, and
the different modes used (ie. words on the page, and the skills of creating a visual image on canvas).
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Tutors Notes (continued)
Section B: The Sonnet "In an Artist's Studio" (20 minutes)
Question marked (* optional) may be omitted if insufficient time – move on to the painting after 20 minutes.
Ask students if they know anything about the Rossettis. Then explain that "the artist's studio" refers to that of
the poet's brother, Dante Gabriel Rossetti who was a founder of the Pre-Raphaelite Brotherhood school of
painting, (which aimed to re-create the clear style and bright colours of medieval paintings.) This poem relates to
her brother's paintings and the woman portrayed in them, as observed by Christina Rossetti in his studio.
As we read the poem ask the students to think how the woman is portrayed, perhaps underlining any words
they think are striking. (Say nothing about the story of his model, Lizzie Siddal at this stage, but let them deduce
what they can from the poem.)
Ask a volunteer to read the poem.
Explore with the students what the poem suggests about the woman, and the artist's relationship with her:
She is his muse, (his inspiration) and model, featuring in "all his canvasses" (1.1), "every canvas" (1.7); whether
she is also his mistress is left open
She appears in many paintings, in many poses "sits or walks or leans" (1.2)
She is portrayed as beautiful, young, in bright colours
She is shown as perfection, idealised, (compared to a queen (1.5), a saint, an angel (1.7))
She gives him her devotion and trust "with true kind eyes looks back on him" (1.10)
What is his relation to her? Is his devotion to her an obsession: sexual, devouring and possibly destructive?
(what do you understand by "he feeds upon her face by day and night" (I. 9)
What do you understand by "the same one meaning, neither more nor less" (I.8) (The paintings seem to
assert her image is perfect, whole, unaffected by time)
Do we know anything concrete about the woman in the painting? Very little, the poet hints that the real
woman is elusive "hidden just behind those screens" (1.3), "a nameless girl" (1.6)
What is the woman really like? How do we know? In lines 12-14, (following the "turn" at the end of (1.11)
we find out what she is really like. "not as she is, but was" (11.13) is reiterated in (1.14). "not" repeated 4 times
in the last 3 lines, (as if we hear the poet's own voice speaking the truth.)
What do you understand by "wan with waiting" (1.12), note alliteration, "with sorrow dim" (1.12) the woman is
waiting for marriage – see background note, p. 8. We learn the image of the paintings does not reflect the
woman as she really is, but as she was in the past, in the artist's imagination "when hope shone bright".
The contrast is now clear: the image of perfection created in the paintings is "his dream", and it is at the
expense of the happiness of the real woman, ("wan with waiting").
Explore lines (9-14) setting the image of the woman in the painting in a broader frame of reference, that suggest
the true relationship is an unhappy one, (the poet provides a powerful ironic commentary on both the paintings
and the woman's situation, from observing reality).
Emphasise that there is a strong contrast between the artist's view of the woman in the poem's paintings
(idealised) and the poet's testimony on her behalf, suggesting she is the passive recipient of the artists’
attentions, implying she only exists in his terms; (she is almost imprisoned within the frames in which she is
portrayed.)
Ask students "what Christina Rossetti is saying; what do we detect about her attitude?
Students might say that the poet feels sorry for her, that the woman is in a sad situation, that she feels she is
being badly treated.
That the poet feels exasperated, that the artist (her brother) is deceiving himself, ignoring reality.
That Christina Rossetti is openly critical, and is trying to expose the deceit.
(* optional) Ask students: How do you think Rossetti has chosen and arranged the words to make her
argument more powerful?
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Tutors Notes (continued)
The first 8 lines build up a powerful idea of reflected beauty, ("canvasses", "screens" "mirror") dresses in
jewel-like colour are emphasised ("opal" "ruby") and youth (“freshest summer greens"), but note, there are no
clues to her real identity.
Images of the woman suggest conventional, idealised qualities of serenity: nobility, goodness, purity ("queen",
"saint", "angel"). The similes later, (1.11) are less conclusive, and suggest change and mutability, ("fair as the
moon", "joyful as the light").
The repetition in the octave suggests one idea of perfection, ("one face", "one self-same figure" "the same one
meaning") and the ideal of the paintings goes unchallenged. There is an obsessive quality: the captive image
can't protest. In the last 3 lines, this concept is reversed to create a challenge, again using repetition in Iines
13 and 14, "not as she is, but as she fills his dream" (providing an ironic commentary on the octave).
The rhythm is regular; the caesura in line 7 (marked pause, in the middle of a line) followed by enjambement
(continuing with no break into next line) adds emphasis.
The "volte" or "turn" in the argument comes at the end of line 12: in the last 3 lines the ideal image is
destroyed, and the reality is contrasted with the dream. Although doubts may already be suggested by
ambiguity in lines 9 and 11.
You could mention that it is a Petrarchan sonnet, (originally in praise a woman's perfect beauty); Rossetti's
uses that literary convention, but she also undercuts it (lines 12-14), demonstrating she perceives decay
underlying it.
The compressed structure of the sonnet means that every word counts: the 14 lines of the Petrarchan sonnet,
with its precise rhythm and rhyming pattern – ABBA, ABBA, CDCDCD.
Section C: The Painting: (15 minutes)
Judith and her Maidservant with the Head of Holofernes by Artemisia Gentileschi (1593-1653)
Introduction (3/4 minutes)
Ask students to turn over and look at the painting.
Explain briefly the story and point out what is happening:
Judith and her maidservant, Abra, were Israelite women who saved the city of Bethulia from the Assyrian
army; Judith deceived and intoxicated Holofernes, the Assyrian general, beheading him in his tent. The scene
depicted is a moment afterwards: the maidservant stuffs the head of Holofernes into a sack as Judith keeps
watch, sword to her side, as they prepare to escape.
Ask "How does the image of Judith contrast with the idea of the passive woman in the sonnet?"
Answers might be "Brave, strong active, heroic, decisive etc"
Do not ask for any detail, of why or how – that is the next task.
Groupwork using blank worksheet (6 minutes)
Ask students to get into groups of 2/3, give each a blank worksheet and explain the activity.
Ask students to think about this together for 5/10 minutes. Think about what it is that makes the women look so
powerful: use the headings on the worksheet to discuss it, and record your discussion.
After 5 minutes, pull students comments together on the board.
Reporting back (6 minutes)
After about 5 minutes, say you would like to find out what they have said.
Asking each group in turn put up comments on whiteboard.
As you do so, introduce teaching points and broaden out where appropriate.
Commend particularly appropriate answers. [See attached annotated worksheet for guidance].
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Tutors Notes (continued)
Judith and her Maidservant with the Head of Holofernes
What is it in the painting
that makes Judith such a
powerful figure?
Consider Judith's position
and posture, the
role of the maidservant,
(Abra) their dress, the
colours and the effect of
the lighting.
Judith, standing tall and central, turning towards the darkness, is poised and decisive, a
courageous and expectant figure. One arm is reaching forward, her hand outstretched
towards the candle flame; the other is clutching an unsheathed sword drawn across her
body, in readiness, (a phallic symbol) suggesting her strength and heroic masculine power.
Her posture suggests watchfulness, determination and intelligence. The composition of the
women's figures forms a strong diagonal, from top left to bottom right, while the
maidservant, Abra forms a supportive base to the pyramid. Judith is pointing towards the
exit; the posture of Abra, crouching below Judith, echoes her, suggesting a strong sense of
co-operation between the two women. Their arms and hands are broadly aligned, bodies
tense and poised, faces and eyes, similarly alert and directed, ready to make their escape.
Abra scoops Holofernes' head into a cloth, almost casually, her attention focused on Judith,
the shadow across Judith's face increasing the sense of her mysterious power. The pattern
of light on the faces, necks and hands of the women is similar, reinforcing their solidarity.
Can you explain why we
feel involved and drawn
into the painting?
The brightly illuminated gold of Judith's dress emphasizes her heroic regal quality, Abra,
(surprisingly, for a servant) is in contrasting dark purple, (indicating nobility of purpose);
while Abra's headgear indicates her lower status, compared with Judith's coiffed hair and
tiara, the touches of white on both serve to highlight and equalize the two women. The
blood-red canopy of the curtain, top-right, echoes the diagonal line described by the
women, and is suggestive of a heart-beat, adding to the physical tension. The sense of
anticipation, realism and physical movement in the painting draws us in; we follow the
direction of the women's eyes and wonder how they will escape. The taut muscles of the
bodies, the form of their legs beneath the flowing folds of the dresses, suggest physical
freedom. They are real women, their bodies flexible and sensuous. The skin-tones are
warm, as are the colours of red, gold and purple.
Do you like the painting?
What do you think is its
overall impression?
The strong tonal contrasts heighten our sense of drama and anticipation, drawing us in.
With bright illumination from the left (from the candle and possibly from firelight in front of
the picture-frame?) the women stand out from the deep shadows, suggesting their
courage, danger and the threat of the outside masculine world (represented in the metallic
hand-chain-mail on the side-table); this contrasts forcibly with Judith's own exposed and
illuminated palm, reaching to snuff out the candle, (symbolizing her battle as a woman,
taking a man's life.) Our eyes take in the ghoulish green tones and physical detail of
Holofemes' head; his silenced face, macabre and shocking, confirms the viewer's sense of
Judith's triumph.
6
Tutors Notes (continued)
Section D: Winding Up (5 minutes)
Can we compare the representation of the women in the sonnet and the painting?
The images of women shown are very different –
The woman of the sonnet is "lady-like", she appears resigned, waiting for her man, being "taken for granted"
as his model, and needs the woman poet to speak in her defense.
Judith is shown as brave and assertive, with a positive identity, (and she has a name). She is engaged in
action in outwitting the enemy, sword in hand. There is a shock effect: the painting shows she is not afraid of
blood by showing us the man's head she has cut off!
The techniques that are used are very different:
In a poem we see how words suggest particular effects and ideas: by repetition, images, comparisons, and
reversing our expectations.
A painting can also suggest effects and ideas – by arranging the composition building particular images, and
leading the viewer's eye with lines, colour, light and shade.
Although a poem and painting are different, there are some points of similarity: they both appeal to our
experience and imagination, by using familiar images and associations – and also by surprising us with contrast
and the unexpected.
In this way each can reverse the stereotypes (of women) of what we the viewers are expecting.
Conclusion
You have learned a surprising amount about what you can do as students of art history and literature.
You have discussed the different ways women are represented in a poem and a painting, by comparing and
contrasting – looking at the ways a poem uses words, and a painting uses shapes, colour, light and shade.
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Tutors Notes (continued)
Background Information:
Sonnet by Christina Rossetti "In an Artist's Studio".
Christina Rossetti, (1830-1894) was the youngest of 4 talented siblings in a close family.
Her older brother, Dante Gabriel Rossetti, (1828-1882) poet and painter, was a founder member of the Pre-Raphaelite
Brotherhood (1850), whose aim was to resist convention and return to earlier art forms. The men's life-style was
equally unconventional, and Dante had a succession of models who became his mistresses.
He met Elizabeth Siddal in 1849, who was working as a hat-shop. D G Rossetti had a 13 year relationship with her.
Obsessed by her beauty, in the early years they were happy and self-absorbed; she herself painted, and the number
of D G Rossetti's paintings of her "must run into thousands" [eg. Elizabeth Siddal (1854-5, portrait), Paolo and
Francesca (1855), St Catherine (1857)]. Although nominally engaged, D G Rossetti was reluctant to marry and he
began to have affairs. During those 10 years Siddal was often ill and depressed. Finally married in 1860, she had a
stillborn baby in 1861 and died by taking an overdose of laudanum in 1862. D G Rossetti, consumed by guilt, placed
a manuscript copy of his poems in her coffin. (To retrieve it, he disinterred her coffin in 1869; reputedly, her body was
"perfectly preserved".) He continued to paint her, most famously in Beata Beatrix (1870).
Judith and her Maidservant with the Head of Holofernes (1625) by Artemisia Gentileschi (1593 - 1652/1653).
One of the rare female painters of her time, Artemisia Gentileschi, born in Rome in 1593, was trained by her father,
the painter Orazio Gentileschi. During the years of her apprenticeship, she came into contact with many artists,
among them, Caravaggio, whose realism was influential.
While being tutored by a friend of her father, (1612), she suffered rape, then a humiliating public trial, and her
reputation was questioned. She continued to paint and travel in Italy, producing among many works, including
different versions of Judith slaying Holofernes, having a husband for a short period, and two daughters.
She was in England with her father at the court of Charles I from 1638-41, collaborating with her father in painting the
ceiling of Queen's House at Greenwich, (now at Marlborough House, London, since 1711), on An Allegory of Peace
and the Arts under the English Crown, (1638-39). Artemesia returned to Naples when Civil War broke out in England.
She competed with the best and was recognized amongst her peers. Writing in 1649 of a Deana and Actaeon that
she was then preparing, Artemisia Gentileschi asserted: "This will show your lordship what a woman can do." She
died in 1653, leaving 34 paintings and 28 letters.
Bibliography
Ash R. Victorian Masters and Their Art, Parragon, 2000
Chadwick W, Women, Art and Society, Thames and Hudson, London,1996
Hawksley L, Essential Pre-Raphaelites Pavilion Books, London, 1999
Marsh J, Pre-Raphaelite Women, Weidenfeld and Nicholson, London, 1987
8
Student Handout
Tutorial Plate 4. Artemisia Gentileschi, Judith and her Maidservant with the Head of Holofernes, c. 1625, oil on canvas,
184.1 x 141.6 cm. Detriot Institute of Arts, USA. Gift of Mr Leslie H. Green. Photo: Bridgeman Art Library, London.
9
Student Handout (continued)
In an Artist's Studio
One face looks out from all his canvases,
One selfsame figure sits or walks or leans:
We found her hidden just behind those screens,
That mirror gave back all her loveliness.
A queen in opal or in ruby dress,
A nameless girl in freshest summer-green,
A saint, an angel - every canvas means
The same one meaning, neither more nor less.
He feeds upon her face by day and night
And she with true kind eyes looks back on him,
Fair as the moon and joyful as the light:
Not wan with waiting, not with sorrow dim;
Not as she is, but was when hope shone bright;
Not as she is, but as she fills his dream.
Christina Rossetti
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Student Handout (continued)
Judith and her Maidservant with the Head of Holofernes
What is it in the painting
that makes Judith such a
powerful figure?
Consider Judith's
position and posture, the
role of the maidservant,
(Abra) their dress, the
colours and the effect of
the lighting.
Can you explain why we
feel involved and drawn
into the painting?
Do you like the painting?
What do you think is its
overall impression?
11
Acknowledgement: These materials were originally written and published as part of the Open University in the South
East's funded outreach work with Aimhigher partnerships in Kent and Medway, Sussex and Surrey between 2005 –
2011. The sessions were delivered by OU Associate Lecturers to young people in schools, FE colleges and
Community Groups in the South East as part of a collaborative programme to raise aspiration to HE among those
from less privileged backgrounds.
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Images of Women in
Art and Literature