We could hardly refuse them
Alida Pott and the women of De Ploeg, 1918-1931
äºNetherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Anneke de Vries in
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Google Scholar
Abstract
The artist Alida Pott (1888â1931) was one of the key members of the Groninger Kunstkring (Groningen artistsâ association) De Ploeg in the first years after its foundation in 1918. This contribution discusses the position of Pott and the small number of other female members within De Ploeg in the context of the usually limited role played by women in artistsâ societies elsewhere in the Netherlands in the nineteenth and twentieth centuries. De Ploegâs open-mindedness towards its female members, and the prominence of women in a variety of cultural institutions in Groningen in general at this time, is linked to the local liberal political climate. Pottâs disappearance from view after just a few years in the spotlight is usually (and convincingly) explained by the fact she simultaneously pursued a career as an art teacher, while married to fellow De Ploeg member George Martens and raising two children. However, it also prompts questions about the way female artists were treated even in a comparatively emancipated setting.
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| å ¨é¨æé´ | è¿å»ä¸å¹´ | è¿å»30天 | |
|---|---|---|---|
| æè¦æµè§æ¬¡æ° | 204 | 59 | 16 |
| å ¨ææµè§æ¬¡æ° | 195 | 84 | 11 |
| PDFä¸è½½æ¬¡æ° | 816 | 559 | 20 |
We could hardly refuse them
Alida Pott and the women of De Ploeg, 1918-1931
äºNetherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Anneke de Vries in
Current site
Google Scholar
PubMed
Abstract
The artist Alida Pott (1888â1931) was one of the key members of the Groninger Kunstkring (Groningen artistsâ association) De Ploeg in the first years after its foundation in 1918. This contribution discusses the position of Pott and the small number of other female members within De Ploeg in the context of the usually limited role played by women in artistsâ societies elsewhere in the Netherlands in the nineteenth and twentieth centuries. De Ploegâs open-mindedness towards its female members, and the prominence of women in a variety of cultural institutions in Groningen in general at this time, is linked to the local liberal political climate. Pottâs disappearance from view after just a few years in the spotlight is usually (and convincingly) explained by the fact she simultaneously pursued a career as an art teacher, while married to fellow De Ploeg member George Martens and raising two children. However, it also prompts questions about the way female artists were treated even in a comparatively emancipated setting.
| å ¨é¨æé´ | è¿å»ä¸å¹´ | è¿å»30天 | |
|---|---|---|---|
| æè¦æµè§æ¬¡æ° | 204 | 59 | 16 |
| å ¨ææµè§æ¬¡æ° | 195 | 84 | 11 |
| PDFä¸è½½æ¬¡æ° | 816 | 559 | 20 |
