Tag: female

Lady at Kew

So in our discussions about the female figure that we want to depict in our exhibition, I discovered a possible candidate in the form of Lady Elizabeth Yorke, also known as Lady Anson (1725–1760).

Portrait of Lady Elizabeth Yorke, Lady Anson (1725–1760), by studio of Thomas Hudson (1701–1779). Inv. no. NT1271067. ©National Trust Collections, supplied by the Public Catalogue Foundation

According to Philip Wilkinson, author of several architectural books like The English Buildings Book, and Stephen Dowell’s Shughborough: Seat of the Earl of Lichfield, Lady Elizabeth Yorke was purportedly responsible for establishing the Chinoiserie style at Shughborough, Staffordshire. She was married to Admiral Lord George Anson, “the most famous naval officer of his day” who became extremely wealthy after capturing the Spanish galleon Nuestra Señora de Covadonga that was filled with American silver. Admiral Lord Anson had spent some time in Canton in 1743, though his opinion of the Chinese was coloured by a poor working relationship with them.

“They suggest the possibility that George’s wife, Elizabeth, was the family member most closely involved with the Chinese House. Chinoiserie, apparently, was an area of decorative design that found many female enthusiasts in the 18th century: perhaps Shugborough’s Chinese House is an example of this feminine influence.”(1)

Thus, using what we know of Lady Elizabeth’s background would add further historical accuracy to our project and communicate our idea that the Chinoiserie lifestyle was an imported idea that gained traction despite contact with those that had actually been to China and knew the Cathay was nothing but a European fantasy.

Sources: 1, 2, 3

Week 3: Journal

In week 3, we learned about Catherine of Austria and her kunstkammer. Who is a another female patron of the arts? As you reflect on this question, remember to link any images or textual sources to your journal posting that might relate to this question or your thoughts on it.

When I think of female patrons, I instinctively seem to relate it to Italian Renaissance ladies who commissioned artists for portraits of themselves. Silly, but I guess this speaks to the fact that female patronage is often perceived as an antiquated notion, simply because we rarely hear of it in current times. However, this is absolutely not the case and a quick Google search will show you that there are plenty of modern female patrons of art, many of whom are still making waves in the art world. One such woman happens to be Agnes Gund, president emerita of the Museum of Modern Art (MoMA), chair of its International Council and chairman of MoMA PS1.

Gund’s portfolio is extensive – she served as MoMA president from 1991 to 2002, established and currently chairs Studio in a School – a non-profit arts program that pairs professional artists with New York City public schools -, was appointed member of the New York State Council on the Arts, and was most recently nominated by President Barack Obama as a member of the Board of Trustees of the National Council on the Arts. She also sits on several arts boards in Cleveland, where she grew up.

While some collectors view art as an investment, Gund says that she only buys work that she is intrigued by and loves. “Every time I’ve bought a work of art for any reason other than I love it instinctively, well that has been a mistake. I found that they didn’t hold up with me. I would go into the room, and I wouldn’t look at it, I wouldn’t be curious about it, I wouldn’t try and figure it out. So, I’d sell it.” Her collection of works that she loves, however, in awe-inspiring in breadth. With over 2,000 artworks spread between her New York apartment, storage unit and Connecticut country house, Gund counts Roy Lichtenstein, Jasper Johns and Cai Guo-Qiang’s works as among those in her collection.

A staunch feminist, Gund currently takes particular interest in collecting works by female artists, as well as African-American artists. She is also a firm advocate for arts education, often citing her formative years growing up and taking classes at the Cleveland Museum of Art as being instrumental in her appreciation of the arts.

At 76, despite getting on in her years, Gund still regularly conducts studio visits and counts famed artists like Ellsworth Kelly and Chuck Close as friends. Her energy knows no bounds, and I can only hope we see more of her like, especially in Asia’s rapidly growing art scene.

F.Y.I (For Your Interest!) – check out this video if you’re curious about this lovely lady! She talks about how museums acquire art, why everyone should collect art and the role of women in art.