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NATIONAL MUSEUM of WOMEN in the ARTS

See for Yourself

What next?Begin to SEE FOR YOURSELF by searching for on object

labels in the galleries. When you find one, take out the related card.

Interested in a work with no card? You can still SEE FOR YOURSELF.

These suggestions can get you started:

1. What’s going on in this artwork? What do you see that makes

you say that? What more can you find?

2. Move around the work. Look closely but please do not touch.

Then step further away. How does the work change from

different viewpoints?

3. What materials, tools, and techniques do you think the artist

used to make this work?

4. What personal associations or memories does this artwork

evoke?

5. Before reading the label, give the artwork a title. Compare yours

to the one on the label. Does knowing the published title change

your understanding of the work?

WelcomeSEE FOR YOURSELF cards correspond to selected works

from NMWA’s collection and special exhibitions. Use

them to engage with the artwork, discover fascinating

facts, and reflect on your experience.

to the NATIONAL MUSEUM OF WOMEN IN THE ARTS!

About the Museum

Founded by Wilhelmina and Wallace Holladay to redefine traditional

histories of art, the National Museum of Women in the Arts (NMWA)

is the foremost museum dedicated to celebrating the diverse artistic

accomplishments of women. Today the museum honors women artists

of the past, promotes the accomplishments of women artists of the

present, and assures the place of women artists in the future. NMWA

opened to the public in 1987, housed in this historic Renaissance Revival

structure—a former Masonic Temple.

S E E FO R YO U R S E L F cards are supported in part by the Women’s Committee of the National Museum of Women in the Arts.

Are you visiting with children?Younger visitors can also learn to see for themselves. Share

information from the cards that you think will interest them.

Or try some of these ideas:

1. Go on a colors quest. What colors did the artist choose?

How do they make you feel?

2. Hunt for SHAPES—geometric, organic, and fantastic!

3. Try a senses walk. Imagine you could take a step into the work

of art. What would you see, hear, feel, smell, and taste?

4. Tell a STORY. What happened just before this scene? What

happened just after?

5. Look at the FIGURES. Imagine you are one of the people

represented in the artwork. What’s on your mind? How do you

feel?

Get more!

Get guided

Book a docent-led group tour of the

collection or a special exhibition at

http://nmwa.org/visit/book-tour.

Get active

Attend a workshop, gallery talk, film,

or performance. Check our calendar

for upcoming programs at

http://nmwa.org/visit/calendar.

Get social

Follow NMWA on Facebook, Instagram,

Twitter, and YouTube.

Get schooled

Read our blog Broad Strokes to learn more

about art, artists, and upcoming

exhibitions and programs at

http://broadstrokes.org.

Get involved

Become a member, a volunteer, or an

intern. Find information on our website at

http://nmwa.org/support.


Orsola M

addalena Caccia

St. Luke the Evangelist in the Studio (San Luca Evangelista nello Studio)


Orsola M

addalena Caccia

Nun Better Orsola Maddalena Caccia (1596–1676), like many women

artists of her era, learned to paint from her father. A nun,

Caccia contributed financially to her convent through

public and private commissions. In this way, she continued

a centuries-long tradition of talented artist-nuns.

Take a closer look

Caccia helped to introduce still-life painting to Northwestern

Italy and often included meticulous detail in religious works.

Note the chisel shavings, identifiable tomes, and lectern with

Gospel manuscript, which all reinforce the scene’s reality.

Other elements function symbolically—roses reference the

Virgin, and the ox represents Jesus’s sacrificial death.

Who knew?

St. Luke’s sensitive written portrayal of Mary in his Gospel

contributed to the popular Christian belief that he depicted

the Virgin and Child in visual as well as literary form. Many

images worldwide are still credited to his hand.

Orsola Maddalena Caccia, St. Luke the Evangelist in the Studio (San Luca Evangelista nello Studio), ca. 1625; Oil on canvas; 109 x 743/8 inches; Parrocchia Sant’Antonio di Padova, Moncalvo, Asti

Picturing Mary: Woman, Mother, Idea is organized by the National Museum of Women in the Arts, Washington, D.C., with the support of MondoMostre, Rome. The exhibition is made possible thanks to the sponsorship of an anonymous donor, Jacqueline Badger Mars, and Alejandra and Enrique Segura, with additional funding provided by Barbara and Thomas Hale Boggs, Jr., Vincent C. Burke III, Rose and Paul Carter, The Honorable Bonnie McElveen-Hunter and other generous supporters. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. NMWA gratefully acknowledges its partnerships with the Embassy of Italy and The Catholic University of America.

St. Luke the Evangelist in the Studio (San Luca Evangelista nello Studio), ca. 1625


VirginandChild

Elisabetta Sirani

Painting Prodigy ElisabettaSiraniwasaprolificyoungartistfromtheprogressive

cityofBologna,Italy.Trainedasanartistbyherfather,Sirani

producedalmost200artworksbetweentheageofseventeen

andheruntimelydeathtenyearslater.


Elisabetta Sirani

Take a closer look

Inthispainting,Elisabetta Sirani (1638–1665)portrayed

anintimatemomentbetweenalovingmotherandchild.

MarywearsaturbanfavoredbyBolognesepeasantwomen.

Yet,thegarlandofrosesforeshadowsboththecrownshe

willwearasQueenofHeavenandherson’scrownofthorns.

Something to talk about

InpaintingthisChristiansubject,Siraniemphasizedthe

humanityratherthanthedivinityoftheHolyFamily.Ifyou

didnotknowthetitleofthework,wouldyoustillrecognize

thesubject?Whyorwhynot?

Who knew?

Siranicompletedpaintingsveryquickly.Butherspeed,

togetherwithhergender,ledtoaccusationsthatherfather

waslendingahand.Tocounterthissuspicion,Siraniopened

herstudio,invitingthepublictoobserveheratwork.

ElisabettaSirani,Virgin and Child,1663;Oiloncanvas;34x27 1/2inches;NationalMuseumofWomenintheArts,GiftofWallaceandWilhelminaHolladay;PhotographbyLeeStalsworth

VirginandChild,1663


Artem

isia Gentileschi

Madonna and Child (Madonna col Bambino)

Family Matters As a teenager, Artemisia Gentileschi painted this image of

the Virgin Mary and infant Jesus. Portrayed with sensitivity

beyond her years, it affirms skills nurtured by her artist-father

and foretells her future success.


Artem

isia Gentileschi

Take a closer look

Here, Artemisia Gentileschi (1593–1656) expressed both the

secular and sacred qualities of her subjects. Mary’s simple

garb and surroundings suggest humility, while her solid

physicality anchors her in this world. Yet Gentileschi subtly

reminds us this is no ordinary mother and child. Cherries

reference heaven, and halos signify holiness.


Depictions of the Egyptian goddess Isis holding her infant son

Horus likely inspired early Christian images of the Virgin and

Child. Likewise, such religious portrayals influenced everyday

representations of maternity. View Mary Cassatt’s Mother

Louise Nursing Her Child on the third floor. In what ways does it

relate to Gentileschi’s painting? Where does it depart?

Who knew?

Hindered by 17th-century laws not applicable to male artists,

women could not independently purchase art materials, sign

contracts, or travel. Only admission to an art academy would

quash these restrictions. Gentileschi, the first woman elected

to the Florentine academy, thereby enjoyed unprecedented

autonomy.

Artemisia Gentileschi, Madonna and Child (Madonna col Bambino), 1609–10; Oil on canvas; 46½ × 337/8 inches; Galleria Palatina, Palazzo Pitti, Florence; inv. 1890 no. 2129


Madonna and Child (Madonna col Bambino), 1609–10


Sofonisba Anguissola

Picturing Me, Picturing Mary Sofonisba Anguissola touted her virtues and talents in self-

portraits by including books, musical instruments, and

inscriptions. This painting-within-a-painting identifies her as

an accomplished artist, equally adept at rendering portraiture

and religious subjects.

Self-Portrait at the Easel


Sofonisba Anguissola

Take a closer look

Sofonisba Anguissola (ca. 1532–1625) expertly used

implied and actual lines to guide viewers’ eyes throughout

the composition. After her gaze draws you in, follow the

maulstick—used to steady her right hand—and paintbrush to

her warm depiction of the Madonna and Child. This painting

appears in several of Anguissola’s self-portraits, suggesting

such a work actually existed.


The artist portrayed herself in the act of painting, a

departure from typically static portraits of her day. Compare

Anguissola’s work to Alice Bailly’s Self-Portrait on the third

floor. How are these depictions similar? Different?

Who knew?

Anguissola and her siblings were named for relatives of the

Carthaginian general Hannibal. Hannibal’s granddaughter,

Sophonisba, was known for her beauty, charm, and cleverness.

Sofonisba Anguissola, Self-Portrait at the Easel, 1556; Oil on canvas; 26 × 223/8 inches; Museum-Zamek, Łancut; inv. 916MT


Self-Portrait at the Easel, 1556


George III child’s rattle

Mary A

nn Crosw

ell (attributed)

Shake, Rattle, and Roll This multipurpose infant’s toy—a “coral-and-bells”—includes

a whistle, rattle, and coral teething surface. Silversmiths often

incorporated coral into rattles because it was believed to

promote health and good fortune. At a time when infant

mortality was high, these objects served both as amusements

and amulets.


Mary A

nn Crosw

ell (attributed)

George III child’s rattle, London, 1808

Take a closer look

This rattle offers a feast for our eyes and a child’s developing

senses. Smooth coral contributes color while soothing

teething gums. A whistle and jingling bells entertain. Engraved

decorations add texture. The play of light and shadow across

the reflective silver surface delights even the youngest eyes.


Rattles are among the oldest recorded toys still in use today.

Early versions were made of materials less durable than silver,

such as clay or dried fruits containing seeds. What types of

toys engage and distract infants today?

Who knew?

More than 300 women silversmiths worked in England

between the late-17th and mid-19th centuries. These expert

artisans acted as teachers, instructing apprentices in their

craft. Records indicate that Mary Ann Croswell (ca. 1775–?)

taught the trade to her son Henry in 1819.

Mary Ann Croswell (attributed), George III child’s rattle, London, 1808; Silver with coral; 53/8 inches long; National Museum of Women in the Arts, Silver collection assembled by Nancy Valentine, purchased with funds donated by Mr. and Mrs. Oliver R. Grace and family; Photograph by Lee Stalsworth

See For Yourself cards are partially supported by the Homer and Martha Gudelsky Family Foundation and the New Mexico State Committee of NMWA.

NatioNal MuseuM of WoMeN in the arts

Après la tempête (After the Storm)

Sarah Bernhardt

Drama Queen Though known as an actress, Sarah Bernhardt sculpted more

than fifty works; twenty are known today. Always dramatic,

Bernhardt posed for photographs wearing her “sculptor’s

outfit,” which included a long lace-trimmed jacket, trousers,

and low-heeled pumps.

41189 NMW A PREP.indd 11 11/28/12 6:59 AM

NatioNal MuseuM of WoMeN in the arts

Take a closer look

Sarah Bernhardt (1844–1923) transformed cold marble into

smooth and wrinkled skin, frothy sea foam, and coarse fishing

nets. Complex both in technique and narrative, critics argue

this sculpture is Bernhardt’s most ambitious work.


In Après la tempête, a woman from the north coast of France

cradles her grandson after a storm at sea has passed. Look

carefully at Bernhardt’s handling of the figures. Will this story

have a happy ending?

Who knew?

Ever the eccentric, Bernhardt kept a menagerie of animals

in the walled garden of her London home. In fact, she sold this

work to purchase a cheetah, a wolf, and six chameleons—one

of which rode on her shoulder.

Sarah Bernhardt, Après la tempête (After the Storm), ca. 1876; White marble; 29 1/2 x 24 x 23 inches; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; Photograph by Lee Stalsworth

S e e Fo r Yo u r S e l F cards for the New York Avenue Sculpture Project: Niki de Saint Phalle are supported by donations from J. Willard and Alice S. Marriott Foundation and SunTrust Foundation.

Après la tempête (After the Storm) 1876

Sarah Bernhardt

41189 NMW A PREP.indd 12 11/28/12 6:59 AM

, ca.


Mother Louise Nursing Her Child

Mary C

assatt

The Bath


Mary C

assatt

Baby Boom Mary Cassatt (1844–1926) is known for exploring the

nuanced relationships between mothers and children.

While she objected to being stereotyped as a “lady” painter,

Cassatt created an expansive body of work that illustrates

her commitment to representing the experiences of modern

women.

Take a closer look

A prolific printmaker, Cassatt expertly evoked affectionate

moments like these. Her prints are distinguished by their

radical economy of line—note the simple shapes and limited

detail. Through these minimal means, the artist maximized

the visual and emotional impact of such scenes.

Who knew?

Although associated with the ideals of domesticity and

maternity, Cassatt never married or had children. She believed

that single life proved more conducive to a successful artistic

career. Cassatt prioritized her independence but remained

close to family, frequently using them as subjects.

Mary Cassatt, The Bath, 1891; Soft-ground etching with aquatint and drypoint on paper; 123/8 x 95/8 inches; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; Photograph by Lee Stalsworth

Mary Cassatt, Mother Louise Nursing Her Child, 1899; Etching with drypoint on paper; 15½ x 97/8 inches (overall); National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; Photograph by Lee Stalsworth

The Bath, 1891

Mother Louise Nursing Her Child, 1899


Suzanne Valadon

The Abandoned Doll


Suzanne Valadon

Growing Pains Before picking up a paint brush, Suzanne Valadon (1865–

1938) worked a variety of unconventional jobs, including

trapeze performer and artists’ model. The latter connected

her to artists including Pierre-Auguste Renoir and Henri de

Toulouse-Lautrec. Though largely self-taught, Valadon also

learned artistic techniques by watching these masters work.

Take a closer look

Fiercely independent, Valadon never fully embraced the

artistic trends favored by her contemporaries. Rather, she

developed her own distinctive style. Note her unidealized

figures, compressed space, bold colors and patterns, and

heavy black outlines that differentiate forms.


Though the sitters have been identified as Valadon’s relatives,

the artist chose to keep them anonymous. Therefore, this

painting speaks to universal human experiences, such as

adolescence. What evidence does Valadon provide to suggest

that the girl depicted is still a child? Almost an adult?

Who knew?

Passionate about animals, Valadon supposedly kept a goat in

her studio to eat artwork she did not like and fed caviar to her

cats.

Suzanne Valadon, The Abandoned Doll, 1921; Oil on canvas; 51 x 32 inches; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; Photograph by Lee Stalsworth

The Abandoned Doll, 1921


Untitled (Nicole with Bird)

Angela Strassheim

Untitled (Babies)


Angela Strassheim

Framed Works by Angela Strassheim (b. 1969) have an uncanny

quality that derives in part from her experience as a forensic

photographer. Documenting crime scenes taught her to

approach subjects with clinical detachment. She also learned

to treat a composition’s background details and focal point

with equal significance.

Take a closer look

Strassheim’s calculated compositions establish a tension

between documentation and fabrication. Photographs

exploring the artist’s childhood memories or girls’ lives appear

to record ordinary experiences. Closer consideration reveals

unrealistic perfection—immaculate rooms and impeccable

children—which introduces an undercurrent of disquiet.

In her own words

“Every aspect of every picture is controlled and important.

The place is as specific as the person as what’s worn as what

they’re doing. They’re all staged. Everything is framed very

specifically.”

Angela Strassheim, Untitled (Babies), 2005; Chromogenic color print; 40 x 30 inches; National Museum of Women in the Arts, Gift of the Heather and Tony Podesta Collection, Washington, D.C.; © Angela Strassheim; Photograph by Lee Stalsworth

Angela Strassheim, Untitled (Nicole with Bird), 2006; Chromogenic color print; 40 x 30 inches; National Museum of Women in the Arts, Gift of the Heather and Tony Podesta Collection, Washington, D.C.; © Angela Strassheim; Photograph by Lee Stalsworth

Untitled (Babies), 2005

Untitled (Nicole with Bird), 2006


Petah Coyne

Untitled #781

Light My Candle Wax intrigued Petah Coyne as she watched it melt, drip,

congeal, and harden throughout churches in Europe. After this

trip in the early 1990s, a gift of candles blessed by the Pope

inspired the artist’s first wax sculpture and ignited her interest

in the medium.


Petah Coyne

Take a closer look

Untitled #781, like many sculptures by Petah Coyne (b. 1953),

hangs from the ceiling by chains, an unconventional approach

that captures viewers’ attention. Suspending the work ensures

that the armature won’t crush the delicate wax accretions.


Coyne experiments with a range of mediums besides wax—

sand, taxidermied animals, and dead fish, for example. What

do you imagine might be the benefits of using non-traditional

materials for sculpture? Challenges?

In her own words

“They look fragile, but they’re not. Like women, they’re really

tough inside.”

Who knew?

Coyne originally struggled to work with wax due to its

fragility and low melting point. To stabilize future sculptures,

she worked with a chemist who developed a formula for a wax

that can survive temperatures from 40 to 180 degrees.

Petah Coyne, Untitled #781, 1994; Wax, plastic, cloth, and steel; 62 x 35 x 44 inches; National Museum of Women in the Arts, Gift of Steven Scott, Baltimore, in honor of the artist; © Petah Coyne, Courtesy Galerie Lelong, New York; Photograph by Lee Stalsworth

Untitled #781, 1994


Magdalena A

bakanowicz

4 Seated Figures


That’s a Wrap Magdalena Abakanowicz (b. 1930) is best known for figures

like these. She modeled them using burlap mixed with resin

and glue, which she applied to a mold made from an actual

human form.

Take a closer look

Though created using the same human mold, the figures

each have unique qualities. For many viewers, the texture

of the burlap evokes tree bark, mummy wrappings, exposed

musculature, or insect exoskeletons.


The artist deliberately chose to present these figures as

headless, armless, and backless. How might we experience

the work differently if the figures were complete?

Who knew?

Born in Poland, Abakanowicz saw firsthand many of the horrors

of World War II and its aftermath. Her works speak to her own

history and that of her country, but also to our experience as

human beings.

Magdalena Abakanowicz, 4 Seated Figures, 2002; Burlap, resin, and iron rods; 53 1/2 x 24 1/4 x 99 1/4 inches (overall); National Museum of Women in the Arts, Gift of the Artist

Magdalena A

bakanowicz

4 Seated Figures, 2002

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