On International Women's Day, we not only celebrate achievements and progress, but also commemorate women who have made art history, despite all odds. They created important works as an expression of personal experience, as a political statement or as a means of changing social structures. In this blog post, art historian Paula Marschalek sheds light on what makes artists great as well successful and analyzes various factors such as technique, vision, recognizability and social impact.
The focus is on four icons of art history from four different eras: Artemisia Gentileschi who established herself in Baroque painting and was a pioneering female artist of the era. Adélaïde Labille-Guiard who fought for rights of female artists at the École du Louvre. Niki de Saint Phalle, who through her bold and colorful sculptures questioned women’s role and the Guerrilla Girls who have been challenging the art world with activism since 1985. Their diverse artistic approaches and life paths show that greatness and success lie not only in artistic skill but also in the courage to break new ground.
Artemisia Gentileschi (1593 - um 1653): A Master of Baroq Painting
left: Artemisia Gentileschi, Susanna and the elders, 1610. / right: Judith and Holofernes, um 1612-13 © Web of Art Gallery
Artemisia Gentileschi achieved international renown during her lifetime, asserting herself in a male-dominated art world. Her remarkable compositions secured her a place as the first woman admitted to the prestigious Accademia di Arte del Disegno in Florence, marking her breakthrough in Baroque painting. At that time, female artists received little recognition, and their educational opportunities were severely limited compared to their male counterparts.
Despite these obstacles, Gentileschi gained recognition as one of the most important painters of her time. Her work is characterized by exceptional drama and emotional depth. Particularly striking is her portrayal of female protagonists: She painted biblical and mythological heroines not as passive victims but as determined, powerful women fighting back against oppression and violence. These images reflect not only Gentileschi's artistic sensibility, but also her own life story, a story of combating injustice. She used her paintings to tell stories from a female perspective that had previously been left untold or portrayed as helpless figures. Genitleschi did not allow social norms or personal setbacks to stand in her way. Her perseverance, talent, and determination make her one of the most formidable and remarkable artists in art history.
Adélaïde Labille-Guiard (1749–1803): A Pioneer for Women in the Art World
Roughly a century later, when women were allowed to work as professional artists but only under severe restrictions, Adélaïde Labille-Guiard made her own way with talent, determination, and dedication. She was an outstanding portrait painter of the 18th century and she was admitted to the prestigious Royal Academy of Painting and Sculpture at the Louvre in 1783, along with Élisabeth Vigée Le Brun. She actively campaigned for the rights of female artists and fought against the Academy's restrictive rules, which limited the number of female members to four. In 1785, she captured this imposing demand in her Self-Portrait with Two Pupils. Furthermore, the painting makes a strong statement for female solidarity in the arts, depicting her in her studio, elegantly draped in a sumptuous blue gown. Two women stand behind their teacher, full of admiration and awe, as she seemingly effortlessly tackles the huge canvas in front of her. Behind her, a bust stands on a pedestal – possibly a symbol of her academic ambitions and her engagement with classical art. But unlike traditional artist portraits, Labille-Guiard does not present herself as a solitary genius but as part of a network. Her students do not stand passively in the background; they are an integral part of the composition, a deliberate message: talent and knowledge are not meant for the individual 1783, along with Élisabeth Vigée Le Brun. She actively campaigned for the rights of female artists and fought against the Academy's restrictive rules, which limited the number of female members to four. In 1785, she captured this imposing demand in her Self-Portrait with Two Pupils. Furthermore, the painting makes a strong statement for female solidarity in the arts, depicting her in her studio, elegantly draped in a sumptuous blue gown. Two women stand behind their teacher, full of admiration and awe, as she seemingly effortlessly tackles the huge canvas in front of her. Behind her, a bust stands on a pedestal – possibly a symbol of her academic ambitions and her engagement with classical art. But unlike traditional artist portraits, Labille-Guiard does not present herself as a solitary genius but as part of a network. Her students do not stand passively in the background; they are an integral part of the composition, a deliberate message: talent and knowledge are not meant for the individual alone but should be passed on. Together, more seems possible.
Niki de Saint Phalle (1930–2002): The Visionary, Who Rethought Public Space
“What does it feel like to be in a body, and how can this be visualized?”. This was the question posed by Paris-born, self-taught artist Niki de Saint Phalle, who used the Nanas to reclaim the female form and question the role of the body in general. These voluptuous, dancing, multicolored female figures in the style of Pop Art were not only a reaction to the conventional, often restrained depictions of the female body in art history, but also a prime example of an unmistakable artistic identity. One of Saint Phalle's main concerns was to take art out of elitist institutions and make it accessible to everyone. Traditional boundaries were consciously crossed, art was integrated into public space and established as part of everyday life. A striking example of this is the Tarot Garden in Tuscany, a vast, accessible sculpture park that embodies her belief that art can be a space of freedom, imagination and social change.
Guerrilla Girls (since 1985): Activists Against Inequality
In response to the International Survey of Recent Paintings & Sculpture exhibition at the Museum of Modern Art in New York, which impressively demonstrated the extent to which women were marginalized in the art world (of 169 artists exhibited, 13 were women), the Guerrilla Girls formed and have been campaigning for the visibility of women and ethnic bias for over forty years. To draw attention to these grievances, the group developed a unique protest strategy that still resonates today. They use provocative posters, performances, adverts and actions to make the structural mechanisms of discrimination visible. Their famous poster from the 1980s asked: ‘Do women have to be naked to get into the Met Museum?’ and used figures to prove that although 85% of the nudes in the museum showed female bodies, only 5% of the works on display were by women. This pointed, humorous but sharp-tongued criticism made them famous worldwide, and their irony continues to hold up a mirror to the art world to this day.
The stories of Artemisia Gentileschi, Adélaïde Labille-Guiard, Niki de Saint Phalle and the Guerrilla Girls show that artistic success requires far more than just talent. Perseverance, courage and the ability to continue developing despite resistance are essential. Each of these artists knew how to shape their time, question the social framework and use their art as a tool for change. But no artistic path is forged alone. Networks, mutual support and standing up for each other are crucial factors, whether through the targeted promotion of young talent, collective activism or by consciously demanding space and visibility. Equally important are a strong artistic identity (CI) and a recognition value that makes one's own signature unforgettable. Be it through striking stylistic elements such as the bold colors of the Nanas, the provocative posters of the Guerrilla Girls or Gentileschi's unmistakable view of female strength.
Access to resources has always been crucial in the art world, yet women were often denied the same opportunities as men. While conditions have evolved, the need for support and accessible tools remains just as pressing. Knowing how to market oneself and one’s art is essential, but acquiring these skills requires guidance and resources that are not always readily available. In response, new low-threshold opportunities have emerged, such as the Artist's Toolbox by Paula Marschalek. This platform, designed for creatives in the cultural sector, offers workshops, templates, and networking opportunities. By keeping costs low and access open, it seeks to empower artists, particularly those who have faced systemic barriers, by providing the tools they need to navigate and sustain their careers.
About the Author:
Paula Marschalek is an Austrian art historian and cultural manager. She studied Art History at the University of Vienna and continued her education at the University of Applied Arts where she obtained her Masters in Arts and Cultural Management. She has worked with renowned art institutions such as the Dorotheum, the Kunsthistorisches Museum, and the MAK – Museum für Angewandte Kunst, and gained experience in the art market as a Communication Manager for a young gallery. From September 2019 till March 2020 she held a cultural management scholarship at the MAK Center in Los Angeles, USA. She is a freelance writer for magazines with a focus on arts and culture, she curates shows, and moderates. With the communication agency Marschalek Art Management, she develops individually tailored communication strategies for artists and cultural workers.
Website: www.marschalek.art / Artists Toolbox: https://marschalek.art/artists-toolbox/ Instagram @marschalek.art / Facebook Marschalek Art Management / LinkedIn Paula Marschalek
Assistance: Mira Kerbl