Even though only a quarter of her 800 photographs have at this point been made public (with the rest remaining private in the artist’s estate maintained by her parents), she is generally considered a prolific young prodigy whose work expresses great emotive depth and continues to challenge perceptions of identity and the medium of photography even to this day. Art critic Michèle Kieffer claims “Woodman has become an icon, a ‘rock star’ of contemporary photography”.
Since her early family portraits, Anguissola’s works were permeated with elements of storytelling that elevated regular, everyday scenes into witty visual plays. Her ability to represent a believable likeness imbued with the personality of the sitter later became one of the hallmarks of Baroque portraiture.
Though Münter sold just a few paintings in her lifetime, in the words of scholar Annegret Hoberg, Gabriele Münter was the “best-known female exponent of German Expressionist painting.” Indeed, Münter helped develop and instigate the Expressionist and Blaue Reiter aesthetic, and, ultimately, through her preservation of Blaue Reiter art from Nazi persecution, became one of the Expressionist movement’s most important unofficial historians.
Höch’s deliberate attempt to obscure herself during the Second World War, and the fact that she continued to live in her modest home on the outskirts of Berlin until the end of her life, may account for her relative obscurity. The art historian Dawn Ades notes that “she wasn’t interested in becoming a celebrity,” which perhaps speaks to her early embarrassment at the exhibitionism of the Dada group.
Frankenthaler’s soak-stain technique gave rise to the Color Field movement, having a decisive impact on the work of the other artists associated with this style, such as Morris Louis, Kenneth Noland, and Jules Olitski. In addition its striking departure from first-generation Abstract Expressionism, Color Field art is often seen as an important precursor of 1960s Minimalism, with its spare, meditative quality.
From an early age she developed an interest in natural history. At 15 she discovered a new species of a noctuid moth on Mt Egmont, which was described in 1921 by the entomologist G. V. Hudson as Melanchra averilla in her honour. In 1923 Lysaght commenced studies at Victoria University College, Wellington. She graduated BSc in 1928 and MSc in 1929 with second-class honours in zoology; her thesis in entomology was on the biology of Eucolaspis.
For a long time, Mendieta’s highly publicized death eclipsed any attention being paid to her intensely important body of work. A recent surge of interest in her jolting performances, however, has turned a focus onto her work as being an important member of the displaced and abused women canon. Mendieta has inspired a book about her death written by Robert Katz, a feminist protest outside of the Dia Art Foundation’s retrospective of Carl Andre replete with chicken blood and guts, and many of her own postmortem retrospectives. She has also influenced numerous modern artists, such as Ana Teresa Fernández, Kate Gilmore, Simone Leigh, Gina Osterloh, Antonia Wright, Nancy Spero and Tania Bruguera.
Herrera’s legacy also lies in the example of her late-blooming career. Like other women artists such as Louise Bourgeois, her life has been dedicated to art, but she did not find an audience for her work until she was very old. Her legacy, then, is not just about her painting but about her tenacious creative perseverance in the face of an indifferent, oar biased, world.
Piper’s distinctly confrontational ability to address pertinent topics around racial segregation and stereotyping have established her voice as one which is fearless, powerful, and hugely influential.
Unlike many conservative supporters of sex-differentiated education, Boys-Smith saw the study of home science at university level as ‘a great force in the education of women’ – specifically, the higher education of women. She believed that because of changing social patterns domestic skills had increasingly come to be seen as menial. The educational programme set up by her for the School of Home Science sought to lift the status of the domestic arts by providing a strong scientific education, augmented with technical instruction. An emphasis on science, particularly chemistry, also served to silence those critics who believed that the School of Home Science belonged in a technical institute, not a university.