![]() In courtesy I'd have her chiefly learned Hearts are not had as a gift but hearts are earned By those that are not entirely beautiful Yet many, that have played the fool For beauty's very self, has charm made wise, And many a poor man that has roved, Loved and thought himself beloved, From a glad kindness cannot take his eyes. It's certain that fine women eat A crazy salad with their meat Whereby the Horn of Plenty is undone. Helen being chosen found life flat and dull And later had much trouble from a fool, While that great Queen, that rose out of the spray, Being fatherless could have her way Yet chose a bandy-leggèd smith for man. May she be granted beauty and yet not Beauty to make a stranger's eye distraught, Or hers before a looking-glass, for such, Being made beautiful overmuch, Consider beauty a sufficient end, Lose natural kindness and maybe The heart-revealing intimacy That chooses right, and never find a friend. I have walked and prayed for this young child an hour And heard the sea-wind scream upon the tower, And under the arches of the bridge, and scream In the elms above the flooded stream Imagining in excited reverie That the future years had come, Dancing to a frenzied drum, Out of the murderous innocence of the sea. ![]() There is no obstacle But Gregory's wood and one bare hill Whereby the haystack- and roof-levelling wind, Bred on the Atlantic, can be stayed And for an hour I have walked and prayed Because of the great gloom that is in my mind. But it was a miscarriage Kahlo desperately wanted the baby she depicts - floating above her naked, bleeding body, umbilical cord attached - in the Detroit hospital where she lost the child in 1932.Once more the storm is howling, and half hid Under this cradle-hood and coverlid My child sleeps on. And there is one especially regrettable error, given both the nature of this book and the catastrophic fallout of the Dobbs decision: She calls Frida Kahlo’s wrenching “Henry Ford Hospital” a depiction of Kahlo’s abortion. One of the great vengeance paintings of all time, Elisabetta Sirani’s 1659 “Timoclea Kills the Captain of Alexander the Great,” portrays not just Timoclea of Thebes shoving a splay-legged man headlong down a well, but a woman killing her rapist. And women’s paltry representation in most major museums and top-dollar international auctions is news to no one.īooks Our monsters, ourselves: Claire Dederer explains her sympathy for fans of the canceledĬlaire Dederer, author of ‘Monsters: A Fan’s Dilemma,’ explains why she went beyond bad men to probe our history with all artists who defy moral expectationsīut in her (generally effective) effort to condense, Hessel occasionally drops key plot points. ![]() A survey she conducted revealed that most young Britons couldn’t name even three women artists. Hessel was spurred to action in 2015 after attending an art fair featuring thousands of artworks - all by men. Hessel also extends the legacy of art historian Linda Nochlin, whose legendary 1971 ARTnews essay “ Why Have There Been No Great Women Artists?” diagnosed the problem Hessel seeks to redress. ![]() Gombrich’s “The Story of Art,” whose first edition in 1950 excluded women and whose 16th (1995) had one among its 688 pages. If you haven’t encountered Katy Hessel, the feminist dynamo who’s on a mission to grant female artists their rightful place in history, now’s your moment.Ī British historian and journalist, Hessel hosts a popular podcast and Instagram account, both called “ The Great Women Artists.” Her new book, “ The Story of Art Without Men,” consolidates her research and claps back at the “bible” of art history, E.H. If you buy books linked on our site, The Times may earn a commission from, whose fees support independent bookstores. ![]()
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