women artists in modernism

with Ana Paula Simioni

Dates: March 11th, 18th, 25th and April 01st
Mondays
Hour: 19h to 21h
Duration: 4 meetings
Audience: general interested parties
Investment: R $ 320,00

Online course
Live, via video conferencing platform
Recorded classes available for a limited time only
Course includes certificate at the end

inscriptions here

The course proposes a reflection on the presence and contribution of female artists in some international modernist experiences, notably in France and Brazil. The course is aimed at a general audience, over eighteen years of age, without necessarily having extensive knowledge in art history. A portion of the recommended bibliography will be in English, French or Spanish.

Agenda

Class 1 – The genders of modernism: impressionist women

The first class will discuss the way in which images associated with modern artists (such as the “genius”, the “revolutionary”) are gendered. We will focus in particular on the figure of the flâneur and the way in which female artists working in the last quarter of the 19th century dealt with such issues.

Class 2 – Nudes: territories of the avant-garde

The second class will address the way in which some women artists sought to integrate themselves into the French avant-garde based on a theme dear to modern art: representations of nudes. It is about understanding how they went from being objects of representation to being subjects thereof.

Class 3 – Women artists in other centers: Brazilian modernists

This class proposes a reflection on the particular case of Brazil, in which two female figures achieved unique consecration: Anita Malfatti, seen as the introducer of modernism in the country, and Tarsila do Amaral, a central figure in the 1920s. gendered modes of consecration.

Class 4 – Expanded modernisms: women and decorative arts in modernist times

Based on the case of Regina Gomide Graz, introducer of modernist textile arts in Brazil, the fourth class will address the way in which several female artists dedicated themselves to decorative arts, especially textile arts, in international modernist circuits. In this sense, they promoted a critique of the traditional hierarchies of art history and expanded the very concept of “articism” in their times.

Ana Paula Cavalcanti Simioni

Image description: A close-up self-portrait in sepia/black and white of a white woman. She is looking towards the upper right corner. She has dark, curly hair and wears a small, geometrically shaped dangling earring. She is wearing a shirt with an unbuttoned collar. The background is dramatic, showing the vaulted ceiling of a large hall or museum, with a painted mural (fresco) on the dome and the classical-style interior architecture in the lower plane. End of description.

She is a professor at the Institute of Brazilian Studies at the University of São Paulo (USP). Since 2000, she has been conducting research on art and gender in Brazil. She is the author of... Modernist Women: Strategies for Recognition in Brazilian Art (EDUSP, 2022) and Artist profession: Brazilian academic painters and sculptors (EDUSP/FAPESP, 2009). She was the curator of the exhibitions Women Artists: The Pioneers (1880-1930) (Pinacoteca de São Paulo, 2015) Overflowing: transgressions of embroidery in art (SESC Pinheiros, 2020-2021), adjunct curator of Becoming ORLAN: creation and empowerment (SESC Paulista, 2023) and curator of Tarsila after Tarsila (Republican Museum of Itu, 2024).

MAM friend has 20% discount. Be part!
Students, teachers and retirees have a 10% discount
Doubts:
cursos@mam.org.br
WhatsApp: Phone: 11 99774 3987

Live online course via video conferencing platform. Recorded classes available only to registered participants and for a specified period of time.

By participating in this activity/event, you authorize, free of charge and definitively, MAM – Museu de Arte Moderna de São Paulo, to use your image, voice, biographical data and characteristic signs, captured in video, audio, photography and prints, for the purposes of recording, disseminating and promoting the Museum's activities, in any means, vehicles, supports, media, methods and technologies, tangible or intangible. If you do not want your image to be published, please inform MAM (cursos@mam.org.br). In some courses, classes that take place on the Zoom platform may be recorded and made available only to participants in those respective classes with an expiration date. The content of the recording is protected by copyright and access is permitted solely for study purposes and for the exclusive use of the participant, making it impossible to disclose or share with third parties.

credits
Landscape (1948), by Tarsila do Amaral. | Source: MAM São Paulo Collection