The Little Review

This passage is all about feminine painters and their achievements in the art field. It begins with the painter Sophonisba Angussola. The passage praises her work for being in famous museums and sought after by Kings. The excelled her master and made a career for herself in portrait painting.  Even when she was old and blind, she was an amazing teacher of the fine arts. The next featured painter is Mille Marie Laurencin who was known for her feminine aesthetic. Her paintings were put on the same level as Picasso except her paintings were filled with emotion and charm. The third painter is a man, Le Douanier Rosseau. His art often featured feminine features and he was praised for his harmonious shades of the same color. He used delicate tones and his art was also considered to have charm. <br><br>

This passage is all about feminine painters and their achievements in the art field. It begins with the painter Sophonisba Angussola. The passage praises her work for being in famous museums and sought after by Kings. The excelled her master and made a career for herself in portrait painting.  Even when she was old and blind, she was an amazing teacher of the fine arts. The next featured painter is Mille Marie Laurencin who was known for her feminine aesthetic. Her paintings were put on the same level as Picasso except her paintings were filled with emotion and charm. The third painter is a man, Le Douanier Rosseau. His art often featured feminine features and he was praised for his harmonious shades of the same color. He used delicate tones and his art was also considered to have charm. <br><br>

Towards the end of its life, <b><i>The Little Review</i></b> shifted drastically the to the feminist side of things. This article is an example of that. The word “feminine” is used often to describe these painters in some way. For example, the article states that Sophonisba Angussola is “the most notable example of feminine glory achieved in the plastic arts.” For Laurencin, “she has known to express, in the major art of painting, an entirely feminine aesthetic” and for Rosseau, again, his arts “featured feminine features.” Not only was “feminine” used to describe the painter in some way, but other words such as “charm” and “delicate” were also used. These words are traditionally feminine, especially at this time, so it’s clear that the article is putting emphasis on the feminist side of things. Furthering this, the article speaks nothing but praise for these artists. In particular, it puts Laurencin on the same level as Picasso, a very famous artist, stating that this female artist was just as good as this male one. This passage seems to be a sort of inspiration for feminist readers, encouraging them toward pursuing further artistic endeavors.

Towards the end of its life, <b><i>The Little Review</i></b> shifted drastically the to the feminist side of things. This article is an example of that. The word “feminine” is used often to describe these painters in some way. For example, the article states that Sophonisba Angussola is “the most notable example of feminine glory achieved in the plastic arts.” For Laurencin, “she has known to express, in the major art of painting, an entirely feminine aesthetic” and for Rosseau, again, his arts “featured feminine features.” Not only was “feminine” used to describe the painter in some way, but other words such as “charm” and “delicate” were also used. These words are traditionally feminine, especially at this time, so it’s clear that the article is putting emphasis on the feminist side of things. Furthering this, the article speaks nothing but praise for these artists. In particular, it puts Laurencin on the same level as Picasso, a very famous artist, stating that this female artist was just as good as this male one. This passage seems to be a sort of inspiration for feminist readers, encouraging them toward pursuing further artistic endeavors.

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