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'It is hard for us to imagine the oppressed lives of single women in the first half of the twentieth century. Yet a few Australian women took a leap into the unknown and carved careers for themselves in Paris.
'They studied, painted, and haunted galleries and salons. They had a little fun too, at social gatherings or at cafes in Montparnasse.
'They were brave, and very determined young ladies. They exhibited in the Paris Salons and in private galleries on the Left Bank, and received prizes and awards out of all proportion to their numbers. They bought back home not only greatly enhanced skills but also Modernism, to a country that had barely heard of it.
'This book examines a selection of some of the best of them, including some who have been all-but forgotten. They were pioneers, role models, fine artists – and they have been neglected. Not any longer.'
Source: Publisher's blurb.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Tansy Curtin Review of Clem Gorman and Therese Gorman, Intrépide : Australian Women Artists in Early Twentieth-Century France
2021
single work
review
— Appears in: Australian Journal of Biography and History , August no. 5 2021; (p. 251-254)
— Review of Intrépide : Australian Women Artists in Early Twentieth-century France 2020 single work biography 'After their having been for so long sidelined and forgotten, there is now without doubt a major global push to reclaim the artistic stories and legacies of female artists. In recent years, many galleries and museums around the world have turned their attention to programs and exhibitions presenting works on, or by, women. In 2020 the National Gallery of Australia launched a two-year project titled Know My Name: Australian Women Artists 1900 to Now, which seeks to bring the names of Australia’s female artists to the fore—living artists, as well as those who have been lost to history. While it is undoubtedly de rigueur to examine the work of female artists, that is not to say that political box-ticking explains the heightened interest in this cohort; rather, there is a general awakening to the inequities of the arts world (and wider world more generally) and the layers of privilege within it, particularly in relation to gender and race. Concomitantly with this reawakening comes the realisation that the work of these (women) artists should be exalted and elevated to a new status and that there is a palpable need to widen the scope of the Western tradition or canon of art to ensure these artists receive the acknowledgement due to them. It is into this new world, post the #MeToo movement, that Clem and Therese Gorman’s Intrépide has been launched. Arguably, the world in 2020 is a very different place from that of 2015, when the authors commenced their investigations, which of course does not negate the impact of their scholarship, but perhaps makes readers, both academic and lay readers, more critically aware of the subject matter constituting this publication.' (Introduction)
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Many Flights of Stairs : Australian Women Artists in France
2020
single work
— Appears in: Australian Book Review , June-July no. 422 2020; (p. 65)
— Review of Intrépide : Australian Women Artists in Early Twentieth-century France 2020 single work biography'Art and Paris meant everything to Agnes Goodsir. ‘You must forgive my enthusiasm,’ she wrote. ‘Nothing else is of the smallest or faintest importance besides that.’ Goodsir was the Australian artist who painted the iconic portrait Girl with Cigarette, now in the Bendigo Art Gallery. It depicts a cool, sophisticated, free-spirited woman of the Parisian boulevards. When Goodsir created it, in 1925 or thereabouts, she had lived in Paris since the turn of the century. Apart from brief visits back to Australia, she stayed there until her death in 1939.' (Introduction)
-
Many Flights of Stairs : Australian Women Artists in France
2020
single work
— Appears in: Australian Book Review , June-July no. 422 2020; (p. 65)
— Review of Intrépide : Australian Women Artists in Early Twentieth-century France 2020 single work biography'Art and Paris meant everything to Agnes Goodsir. ‘You must forgive my enthusiasm,’ she wrote. ‘Nothing else is of the smallest or faintest importance besides that.’ Goodsir was the Australian artist who painted the iconic portrait Girl with Cigarette, now in the Bendigo Art Gallery. It depicts a cool, sophisticated, free-spirited woman of the Parisian boulevards. When Goodsir created it, in 1925 or thereabouts, she had lived in Paris since the turn of the century. Apart from brief visits back to Australia, she stayed there until her death in 1939.' (Introduction)
-
Tansy Curtin Review of Clem Gorman and Therese Gorman, Intrépide : Australian Women Artists in Early Twentieth-Century France
2021
single work
review
— Appears in: Australian Journal of Biography and History , August no. 5 2021; (p. 251-254)
— Review of Intrépide : Australian Women Artists in Early Twentieth-century France 2020 single work biography 'After their having been for so long sidelined and forgotten, there is now without doubt a major global push to reclaim the artistic stories and legacies of female artists. In recent years, many galleries and museums around the world have turned their attention to programs and exhibitions presenting works on, or by, women. In 2020 the National Gallery of Australia launched a two-year project titled Know My Name: Australian Women Artists 1900 to Now, which seeks to bring the names of Australia’s female artists to the fore—living artists, as well as those who have been lost to history. While it is undoubtedly de rigueur to examine the work of female artists, that is not to say that political box-ticking explains the heightened interest in this cohort; rather, there is a general awakening to the inequities of the arts world (and wider world more generally) and the layers of privilege within it, particularly in relation to gender and race. Concomitantly with this reawakening comes the realisation that the work of these (women) artists should be exalted and elevated to a new status and that there is a palpable need to widen the scope of the Western tradition or canon of art to ensure these artists receive the acknowledgement due to them. It is into this new world, post the #MeToo movement, that Clem and Therese Gorman’s Intrépide has been launched. Arguably, the world in 2020 is a very different place from that of 2015, when the authors commenced their investigations, which of course does not negate the impact of their scholarship, but perhaps makes readers, both academic and lay readers, more critically aware of the subject matter constituting this publication.' (Introduction)
