Artists and Muscians – Women's History and More

Flower Still Life, Maria van Oosterwijck, 1669 (source)

The Dutch Golden Age, roughly the seventeenth century, was a time when many aspects of Dutch life and culture were the most acclaimed in the world. Art was one of those areas, particularly painting. Some aspects of Dutch painting during this time were similar to Baroque art in other parts of Europe, but the Dutch were leaders in the areas of still-life, genre painting, and portraiture. Some of the most well-known painters during this time were Rembrandt, Vermeer, and Frans Hals, but there were three women who were significant, well-known and popular during their time: Judith Jans Leyster (1609 – 1660), Maria van Oosterwijck (1630 – 1693), and Rachel Ruysch (1664 – 1750).

Judith Jans Leyster
Judith Leyster was primarily a painter of genre works. She painted a few portraits and only one known still-life. She was born in Haarlem on July 28, 1609, the eighth child of Jan Willemsz Leyster a local brewer. Details of her training are unknown, but she became a student of Frans Pietersz de Grebber at some point. He ran a respected workshop in Haarlem in the 1620s. Judith was also accomplished enough in her teens to be included in a book by Samuel Ampzing, originally written in 1621.

,Judith Leyster, self-portrait c 1630, National Gallery of Art, USA (source)

Because Leyster was not a member of an artistic family, she became a member of the Haarlem Guild of St. Luke so that she could run her own workshop where she took on apprentices. She was the second woman registered through the Guild, the first was Sara van Baalbergen in 1631. Other women were working out of family workshops, but Judith and Sara needed to be members of the Guild in order to sign works and take on apprentices. Within two years, Leyster had three male apprentices.

A Game of Tric Trac by Judith Leyster, c. 1630 (source)

Most of Leyster’s work dates from 1629 – 1635, before she had children. She married Jan Miense Molenaer, another artist, in 1636 and they had five children, although only 2 survived to adulthood. The number of works generally attributed to her range from a dozen to 35. Only two are dated after 1635, an illustration in a book about tulips and a portrait from 1643. She was largely forgotten until 1893 when the Louvre purchased a painting that they thought was by Frans Hals, only to find out it was painted by Leyster.

The Proposition by Judith Leyster, c 1631 (source)

Maria van Oosterwijck
Maria van Oosterwijck was a Dutch painter specializing in flowers with rich details. She was born on August 20, 1630 in Nootdorp, and was a student of Jan Davidsz de Heem. Working in Delft, Utrecht, and later Amsterdam, Maria never married. She taught her servant, Geertgen Wyntges, to mix her paints. Wyntges later became a painter in her own right.

Maria van Oosterwijck, 1671 by Wallerant Vaillant (source)

Oosterwijck was popular with European royalty including the King of Poland who acquired three of her pieces, Emperor Leopold, Louis XIV of France, and William III of England. In spite of her popularity, she was denied membership in the painters’ guild because she was a woman. She died on November 12, 1693 at the home of Jacobus van Assendelft, her nephew.

Still Life with Flowers in a Decorative Vase, c. 1670–1675 (source)

Rachel Ruysch
Rachel Ruysch was born in 1664 to Frederik Ruysch and Maria Post. Frederik was a professor in Amsterdam and became famous as an anatomist and botanist. Maria was the daughter of Pieter Post a painter. The connections of both of Rachel’s parents meant that there were often people in the house to inspire Rachel. She helped her father decorate his specimens with flowers and lace and eventually began to paint them.

Portrait of Rachel Ruysch by Godfried Schalcken (source)

At fifteen, Rachel was apprenticed to Willem van Aelst, a pupil of Marseus van Schrieck. The family was very well-connected in the art world. In addition to her grandfather, Rachel, and two of her sisters married painters or dealers in art. Rachel married the portrait painter Juriaen Pool in 1693. Together they had 10 children.

Still-Life with Flowers by Rachel Ruysch (source)

Motherhood did not keep Rachel from painting however. In 1699, she became the first female offered membership in the Confrerie Pictura and a few years later was invited to paint for the court in Düsseldorf as a painter for Johann Wilhelm, Elector Palatine. She worked from her home and took occasional trips to court. Rachel lived a long life and her dated works show she painted from the age of 15 into her 80s. She died on August 12, 1750 at the age of 86.

Flowers on a stone slab by Rachel Ruysch c. 1700 (source)

Marian Anderson by Carl Van Vechten (source)

On Easter Sunday, April 9, 1939, Marian Anderson performed in what may be her most famous concert in the United States. It began with a stirring rendition of “My Country ‘Tis of Thee” on the steps of the Lincoln Memorial in Washington, D.C. The interracial crowd was estimated at 75,000 and the radio audience in the millions. Her final selection was the Negro spiritual “Nobody Knows the Trouble I’ve Seen” and in finishing this concert, Marian became a powerful symbol for African American artists, in part because the concert came about due to the bigotry of others.

Marian Anderson was born in 1897 to John Berkley Anderson and his wife Annie Delilah Rucker. The Andersons were a devout Christian family with significant musical talent. (Marian and both of her younger sisters would all go on to become singers.) At the age of six, Marian’s Aunt Mary convinced her to sing in the church choir. This gave her the opportunity to sing solos and duets and she soon began singing at other functions around the community.

After graduating high school, Marian wanted to study music at the Philadelphia Music Academy, but was rejected because she was black. Instead she studied privately with the help of people in her community. She won a contest to sing with the New York Philharmonic in 1925 and after a number of other concerts sang at Carnegie Hall. But racial prejudice made it difficult to build a career in the United States, so she moved to Europe.

Marian’s career in Europe was very successful. She toured and made contacts that would help form her future career, including Kosti Vehanen and Sol Hurok who would be her accompanist/vocal coach and manager, respectively, for the rest of her career. She also made a profound impression on the composer Jean Sibelius who became her friend and adapted and composed songs for Marian throughout her career. Although she had thousands of fans in Europe, Hurok convinced Marian to return to the US in the late 1930s where she toured and became famous, although racial prejudice still presented roadblocks.

Because she was so popular, in 1939 when Howard University planned to host a concert with Marian, a large turnout was expected. The only hall large enough to hold the expected crowd was Constitution Hall belonging to the Daughters of the American Revolution. When they were approached, the DAR refused to allow a black artist to perform in the Hall. This caused quite a stir which prompted the resignation of many members, including First Lady Eleanor Roosevelt.

Marian Anderson before the Lincoln Memorial in 1939.

The First Lady had considered what to do. She wrote in her newspaper column about the sometimes difficult choice of whether to remain in an organization and work for change from within, or to leave the organization in protest. At times Eleanor felt that making a problem public was not the best strategy, but the rejection of Marian Anderson by the DAR was already public, so she chose to leave the organization and let it be known why.

Not long before this, Eleanor had attended the Southern Conference on Human Welfare in Birmingham, Alabama. The Conference had a large number of black delegates, but the city insisted that they adhere to the cities segregation laws. When Eleanor arrived with her friend Mary McLeod Bethune, the police told her that she couldn’t sit with her friend. Her solution was to have her chair moved to the center aisle where she would sit neither on the “white” side nor the “colored” side. This caused quite a stir as did her resignation from the DAR.

Eleanor’s decision to resign from the DAR received world-wide attention. She had her opponents, but many more who supported her decision. In the wake of the uproar, Walter White, executive secretary of the NAACP, and Marian’s manager Sol Hurok came up with the idea of an open air concert in front of the Lincoln Memorial. With the support of both the President and First Lady, they approached Secretary of the Interior Harold Ickes to arrange it. The gathering was a great success.

Marian Anderson went on to have a long distinguished career. She was the first African American to perform at the Metropolitan Opera; she continued to tour in Europe and toured Australia, India, and the Far East; and she entertained troops during WWII. In 1943, she even performed at Constitution Hall at the invitation of the DAR as a benefit for the Red Cross.

It seems fitting that Marian would begin her final concert tour at Constitution Hall in October 1964 and end at Carnegie Hall on April 18, 1965. Although officially retired she continued to appear publicly. She was active in the civil rights movement, giving benefit concerts and inspiring many others. Marian was the recipient of many awards during her life including the Presidential Medal of Freedom, the Grammy Lifetime Achievement Award, the United Nations Peace Prize, and the George Peabody Medal.

Category: Artists and Muscians

Three Women Painters of the Dutch Golden Age

Marian Anderson, Eleanor Roosevelt, and the DAR