1. Reflections on the female body as it was so gloriously explored by Elina Gertsman on the day of Collage? Any surprises that you would like to share? I, for example, had no idea that Caesarian births generated the Anti-Christ (I don’t think I will tell my daughter). As a member of the species of failed males, with my undesirable humors, et. al., I find it amazing that pregnancy is considered a favorable state! Obviously, the positive spin on pregnancy is solely due to the role of the male in provoking it.
2. So, where were we? Comment on the uneasy relationship between Impressionism and women as artists and models.
3. Do you agree with Chadwick’s comments regarding Mary Cassatt and her subject matter?
4. In your opinion, does the conflation of Camille Claudel’s biography and her stylistic evolution pose the same dangers that we have discussed before in this course?
5. Why is Suzanne Valadon such a unique artist/model/mother/wife in the history of art? What did you notice in the contrast of Chadwick’s discussion of the figures of Valadon and those of Renoir?
6. Discuss the meaning of “The Abandoned Doll.”
7. Why are the graphic arts such an ideal medium for Kathe Kollwitz’s subject matter? What other artists have successfully employed the same medium?
8. Comment on some of the following relationships: Paula Modersohn-Becker and Worpswede artists; Gabrielle Munter and Kandinsky; Sonia Delaunay and the Simultaneous; Popova and the newly industrialized world; Gwen John and Vermeer;
9. What was Vanessa Bell’s greatest contribution in your opinion?
10. Why is the life and art of Romaine Brooks so compelling?
11. Was Hannah Hoch merely a token female in the Club Dada founded in 1918? Why is “photomontage” such a paradigm shift in terms of visual solutions?
12. In what ways is “Marlene” from 1930 a deconstruction of sexism?