Talk:Émilie Charmy

Biography assessment rating comment

WikiProject Biography Assessment Drives

Needs pics and an infobox, but otherwise a B.

Want to help write or improve biographies? Check out WikiProject Biography Tips for writing better articles. —Yamara ✉ 10:08, 1 June 2008 (UTC)

Source needed

Unable to find a source for this:

1. The artists delved into spiritual realms in their paintings by relying on color to capture the essence of the object, rather than focusing on delineating details in mimetic form. For male artists, flower painting was a reputable genre because it followed in the 17th century Dutch tradition of flower painting, which relied heavily on symbolic and allegorical meanings. For women artists, it was common for their flower paintings to be aligned with the decorative, rather than the allegorical traditions of painting. Charmy, however, blurred these boundaries by creating powerful images of flowers and still-life through her distinctive painterly technique. Later on, Charmy began to experiment with landscape painting, female nudes, and bourgeois women as subjects of her paintings, and never abandoned her distinctive technique.
2. Instead, Charmy kept her loyalties to Berthe Weill, a famous art dealer. Weill was committed to exhibiting the artworks produced by women artists, but her financial instability made it difficult for artists like Charmy to be solely dependent on exhibitions there. While other women artists sought alternate dealers to contract them, Charmy was patronized by Katia Granoff.

Does anyone have a source(s) for this?--CaroleHenson (talk) 22:18, 20 March 2014 (UTC)