19세기 후반 미국의 여성미술교육과 여성미술가의 장식미술작업의 상관성 연구: 뉴욕과 신시내티를 중심으로

Abstract

The purpose of this study is to introduce women artists who got academic art education in the late 19th Century United States. And another purpose is to revise value of the decorative artworks produced by the new professional women artists. Since the 1870s, several art schools established to train women those who want to be a professional artist. The Cooper Union Woman Art School in New York was the representative institution of women's vocational education. The Art Students League in New York, McMicken University Design School (1875, 1883 renamed Cincinnati University Art School) and Cincinnati Art Academy trained both sexes' students. In this study, I would focused on the careers and the works of some women artists, who got academic art education then to be a professional artist from the 1870s to the 1890s. During the American Aesthetic Movement flourished in the United Sates, the Aesthetes encouraged American artists to cooperate in the production and the experimentation of various decorative art media. Thus decorative art belongs to one of the professional artists' creative fields. So I would examine the women artists who worked for the fields of embroidery, stained glass, and pottery painting in New York and Cincinnati, with their educational and professional environments. The study begins with an examination of the Woman's Building decoration project at the World's Columbian Exposition, Chicago(1893). Because the Woman's Building's architecture, sculptures, murals, decorations, and exhibit items were made by women only. The women artists projected the modern woman's ambition for higher education and better occupation through their sculptures, murals and decorative artworks. Because the American Aesthetes pursuit ‘the Unity of Art' ideal, they insisted equality of all art fields including household arts, decorative arts, and even industrial arts. Therefore all these fields included in the professional artists' working category. So that many women art students could enter the field of decorative arts, acquire a stable income, and to be a professional artist economically independent. They developed new media and techniques of embroidery and pottery painting to ensuing painting-like effect, and designed stained glass, needlework, pottery as same as their paintings making. Since the 1880s, increasing number of the women art students would brought a chance as well as a crisis to them. Because Male artists strengthen the standards of the professional artist with academic training and study in Europe. Under this standards they excluded many women artists as amateurs. Only few women artists like Lydia Field Emmet, Rosina Emmet Sherwood, Louise Howland King Cox were the exceptions. They were in common with academic art training, decorative art fields' career, studying in Paris. They also quitted decorative artwork after complete the professional standards, then keep painting only. This situation reflects the impacts of job specialization and division of art with the fine art and design affected American art world. At last Aesthetic Movement declined, women artists left from the decorative art fields, the Unity of Art ideal was forgotten. The memory of the women artists who concerned with the production of decorative arts were disappeared, their records are gone. too.