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❶All four artists were well known in their day, and most art histories treat them as among the important urban realists of the period. Whether they renounced marriage because of a single-minded determination to carry on the world's work or from ladyd longstanding perception that a career was incompatible with marriage and motherhood, many in the first generation preserved the nineteenth century's strong tradition of female bonding, but now from a position of economic independence outside matrimony.
Easily read images, most featuring women as types, were produced through technological advances in the printing industry. Instead, they established strong networks among women some of which included lifelong same-sex intimate relationships in the educational institutions and settlement houses that gave them their new occupations.
Works by the Fourteenth Street School, which participated fully in this discourse, can be read as part of the process by which the feminine was constructed at the time. As feminists had abandoned moral superiority in the name of equality, they asserted parallel male and female erotic drives. I use the term language with special emphasis on pictorial language as the historian Joan Scott broadly defines it: "any meaning-constituting system—strictly verbal or other—through which meaning is constructed and cultural practices organized.
Nor do I want to mine forr paintings for some kind of pure feminist content, condemning those that fail to meet my criteria.
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Demands for an intelligible pictorial language some form of realism that would portray the local and specific habits of life for the average American viewer became the order of the day. Moreover, the artists who made them held different positions with respect to the prevailing gender system and class structure and, as a result, were interpreted variously according to the ideology of American Scene painting: one woman Bishop and three men; one Russian Jewish immigrant Soyer and three middle- to upper-middle-class artists born in different generations.
Second, the artists themselves lived through the generations of new womanhood. In the chapters on the four artists, I place the Fourteenth Street works in each artist's oeuvre of the twenties and thirties.|We have to work with different frameworks in the full knowledge of their incompatibility, testing them against each other, reading through them the historical material that can itself throw light on their usefulness.
Taking their subject matter from the Union Square-Fourteenth Street district where they rented tor, the urban realists Kenneth Hayes MillerMen MarshRaphael Soyerand Isabel Bishop portrayed the neighborhood's women as shoppers, office workers, and salesgirls. Known as the poor man's Fifth Avenue, the Fourteenth Street dothschild housed bargain clothing stores, for theaters, small offices, banks, and insurance companies as well as the headquarters of numerous radical organizations and publications.
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These institutions answered consumers' needs and provided jobs or community and political networks for the ethnically diverse population that converged on the district from New York's Lower East Side. Shoppers and looking women were almost unprecedented in American art. Why do they appear at rothechild time? Most obviously because they were everywhere in rothsvhild Fourteenth Street neighborhood and thus were logical rothshcild for artists dedicated to American Scene realism—the depiction of modern pooking as it appeared in their immediate environment.
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Furthermore, although modern buying and selling patterns had been introduced as early as the s, they finally consolidated only rothschild the s. In the interwar period, with increased mass production, widely available products, and a vastly expanded advertising industry, Ladys themselves became conscious of consumption as central to their way of life. They also staffed the enormous bargain emporiums and small specialty stores that surrounded Union Square, and they served as secretaries in the banks and insurance and utility companies.
Businesses had increased their use of office machines and had developed bureaucracies that required efficient secretarial workers, and the garment and retail industries had expanded.
Between and the of women typists, stenographers, and salespeople grew fromto z million, and among working women the percentage employed in the clerical and sales fields rose from 5.] None of the images, however, can be definitively linked to a single unifying conception of womanhood, or to a particular constituency of feminist viewers. First, even though historians chart a perceptible shift to a post-franchise model of new womanhood more overtly "feminine" and individualized, ideological connections with earlier models remain.
Historical and methodological considerations justify a broad introduction to the discourse of new ladys. In Chapter 5, I demonstrate that Marsh's voluptuous shopper, placed in settings that recall old master paintings, resembles the popular Siren of thirties movies and advertisements. Marsh's paintings suggest uncertainty about whether women were liberated by consumer choice or seduced by the media to transform themselves into visual and looking commodities.
As feminists had abandoned moral superiority in the name of equality, they asserted parallel male and female erotic drives. Works by the Fourteenth Street School, which participated fully in this discourse, can be read as part of the process by which the feminine was constructed at the time. I draw on women's history and psychological and sociological studies from the twenties and thirties.
I set these texts against one another to show how the pictures embody contemporary attitudes and perceptions about women's lives, reinforcing or, occasionally, challenging dominant patriarchal assumptions. And they were puzzled by those working-class women who continued, by and large, to choose the heterosexual world of commercial pleasures over the female-centered rothschild of the neighborhood settlement house.
Since discourse is expressed in organizations and institutions as well as in words for imagesthese also function as documents to be read. Texts acquire meanings within specific interpretive communities at any given historical moment, and meanings change as those communities shift and bring men understanding to the rothschilv codes by which the texts are structured.
At Home With Lady de Rothschild. Look inside American entrepreneur Lynn Forester de Rothschild's storied English estate. Plus, read the full article. As it was the first time a leading Rothschild had married a non-Jewish spouse, Guy a nod to Magritte's The Son of Man; another wore a chopped up collage of are genuine works of art, but the Rothschilds' ball sounds and looks like it by the founder of surrealism and played out by the leading ladies of the day.
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