User:WikiForMaddie/Judith Leyster: Difference between revisions

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Her [[List of paintings by Judith Leyster|entire ”oeuvre”]] came to be attributed to [[Frans Hals]] or to her husband, [[Jan Miense Molenaer]]. In 1893, she was rediscovered and scholars began to attribute her works correctly.<ref>{{Cite web |date=August 30, 2019 |title=10 Famous Female Painters Every Art Lover Should Know |url=https://mymodernmet.com/famous-female-painters-art-history/ |access-date=October 16, 2020 |website=My Modern Met |language=en}}</ref> Copied from Wiki Article Judith Leyster. Judith Leyster Was only 19 when Samuel Ampzing reffered to Leyster as one of the significant and important artists of Haarlem.

Her [[List of paintings by Judith Leyster|entire ”oeuvre”]] came to be attributed to [[Frans Hals]] or to her husband, [[Jan Miense Molenaer]]. In 1893, she was rediscovered and scholars began to attribute her works correctly.<ref>{{Cite web |date=August 30, 2019 |title=10 Famous Female Painters Every Art Lover Should Know |url=https://mymodernmet.com/famous-female-painters-art-history/ |access-date=October 16, 2020 |website=My Modern Met |language=en}}</ref> Copied from Wiki Article Judith Leyster. Judith Leyster Was only 19 when Samuel Ampzing reffered to Leyster as one of the significant and important artists of Haarlem.

Her birthday is not known, only her baptism date.

=== Article body: ===

=== Article body: ===

This work marks a shift from the rigidity of earlier women’s self-portraits toward a more relaxed, dynamic pose.<ref>Frances Borzello, ”Seeing Ourselves: Women’s Self-Portraiture” 1998</ref><ref>Hofrichter, Frima Fox. “Judith Leyster’s ‘Self-Portrait’: ”Ut Pictura Poesis”,” ”Essays in Northern European Art. Presented to Egbert Haverkamp-Bergemann on his Sixtieth Birthday”, Doornspijk, 1983, pp. 106–109.</ref> It is very relaxed by the standards of other Dutch portraits and comparable to some of [[Frans Hals]]’s work. Copied from Wiki Article Judith Leyster. ”’Leyster used Ley-Ster as her pseudonym, after the bar her father bought in 1618. She studied in the studio of Frans Peter de Grebber, who was a well-known painter in Haarlem. She became associated with Frans Hals once deciding to pursue a more independent artistic career. It has been documented that Leyster admired painter Frans Hals. They then established a studio together, which could be why their work has similar qualities, as they continued to inspire each other throughout their creation of art. Toward 1629, Leyster became professionally independent; which has been indicated by the change in how she signed her paintings. She now signed them with her own monogram which is evident in her painting ”The Merry Drunkard.”<ref>{{Cite journal |date=2003-12-01 |title=Great women masters of art |url=https://doi.org/10.5860/choice.41-1974 |journal=Choice Reviews Online |volume=41 |issue=04 |pages=41–1974-41-1974 |doi=10.5860/choice.41-1974 |issn=0009-4978}}</ref>”’

This work marks a shift from the rigidity of earlier women’s self-portraits toward a more relaxed, dynamic pose.<ref>Frances Borzello, ”Seeing Ourselves: Women’s Self-Portraiture” 1998</ref><ref>Hofrichter, Frima Fox. “Judith Leyster’s ‘Self-Portrait’: ”Ut Pictura Poesis”,” ”Essays in Northern European Art. Presented to Egbert Haverkamp-Bergemann on his Sixtieth Birthday”, Doornspijk, 1983, pp. 106–109.</ref> It is very relaxed by the standards of other Dutch portraits and comparable to some of [[Frans Hals]]’s work. Copied from Wiki Article Judith Leyster. ”’Leyster used Ley-Ster as her pseudonym, after the bar her father bought in 1618. She studied in the studio of Frans Peter de Grebber, who was a well-known painter in Haarlem. She became associated with Frans Hals once deciding to pursue a more independent artistic career. It has been documented that Leyster admired painter Frans Hals. They then established a studio together, which could be why their work has similar qualities, as they continued to inspire each other throughout their creation of art. Toward 1629, Leyster became professionally independent; which has been indicated by the change in how she signed her paintings. She now signed them with her own monogram which is evident in her painting ”The Merry Drunkard.”<ref>{{Cite journal |date=2003-12-01 |title=Great women masters of art |url=https://doi.org/10.5860/choice.41-1974 |journal=Choice Reviews Online |volume=41 |issue=04 |pages=41–1974-41-1974 |doi=10.5860/choice.41-1974 |issn=0009-4978}}</ref>”’

In 1636, Leyster married [[Jan Miense Molenaer]], a more prolific artist than herself who worked on similar subjects. Copied from Wiki Article Judith Leyster. ”’In 1636, Leyster married Jan Miense Molenaer, an artist who was also prolific at the time. They both worked on similar subjects like portraits and history paintings.<ref>{{Cite journal |date=2003-12-01 |title=Great women masters of art |url=https://doi.org/10.5860/choice.41-1974 |journal=Choice Reviews Online |volume=41 |issue=04 |pages=41–1974-41-1974 |doi=10.5860/choice.41-1974 |issn=0009-4978}}</ref>”’

In 1636, Leyster married [[Jan Miense Molenaer]], a more prolific artist than herself who worked on similar subjects. Copied from Wiki Article Judith Leyster. ”’In 1636, Leyster married Jan Miense Molenaer, an artist who was also prolific at the time. They both worked on similar subjects like portraits and history paintings.<ref>{{Cite journal |date=2003-12-01 |title=Great women masters of art |url=https://doi.org/10.5860/choice.41-1974 |journal=Choice Reviews Online |volume=41 |issue=04 |pages=41–1974-41-1974 |doi=10.5860/choice.41-1974 |issn=0009-4978}}</ref>”’

.<ref>Hofrichter, Frima Fox. “Judith Leyster’s ”[[The Proposition (painting)|The Proposition]]” – [http://www.homepages.ucl.ac.uk/~ucrabjk/Dutch%20Golden%20Age/Week%2015/F-H,%20L.pdf Between Virtue and Vice] {{webarchive|url=https://web.archive.org/web/20140222160924/http://www.homepages.ucl.ac.uk/~ucrabjk/Dutch%20Golden%20Age/Week%2015/F-H%2C%20L.pdf|date=2014-02-22}},” ”The Feminist Art Journal” vol. 4 (1975), pp. 22–26.</ref> ”[[The Proposition (painting)|The Proposition]]” ([[Mauritshuis]], [[The Hague]]) is an unusual variant on these scenes, said by some to show a girl receiving unwelcome advances, instead of depicting a willing prostitute, the more common scene under such a title. The fact that the female subject is sewing in the scene may also have double meanings as the Dutch word for sewing (naaien) is sometimes used as a metaphor for sex.<ref name=”:2″>{{Cite book |last=Quinn |first=Bridget |title=Broad strokes: 15 women who made art and made history (in that order) |date=2017 |publisher=Chronicle Books |isbn=978-1-4521-5236-3 |location=San Francisco}}</ref> However, this interpretation is not universally accepted. [[Ann Sutherland Harris]] has interpreted the painting to be of a woman receiving an honest marriage proposal.<ref>{{Cite book |last=Harris |first=Ann Sutherland |title=Seventeenth-century art & architecture |date=2008 |publisher=Pearson Prentice Hall |isbn=978-0-13-603372-1 |edition=2nd |location=Upper Saddle River, N.J. |oclc=182553042}}</ref> Copied from Wiki Article Judith Leyster. ”’Leyster’s painting ”Proposition” is different from other paintings that depict sex–work as she is not wearing something low-cut, or getting money for a transaction. Instead the painting is depicting a quiet sense of intimacy, leading art historians such as Hofrichter to speculate that Leyster was avoiding giving into common stereotypes about women and sex. She chose to depict a virtuous woman rather than a woman stealing from a man<ref>{{Citation |last=Hofrichter |first=Frima Fox |title=Judith Leyster’s Proposition—Between Virtue and Vice |date=2018-02-23 |work=Feminism and Art History |pages=172–181 |url=https://doi.org/10.4324/9780429500534-10 |access-date=2025-11-11 |publisher=Routledge |isbn=978-0-429-50053-4}}</ref>.”’

.<ref>Hofrichter, Frima Fox. “Judith Leyster’s ”[[The Proposition (painting)|The Proposition]]” – [http://www.homepages.ucl.ac.uk/~ucrabjk/Dutch%20Golden%20Age/Week%2015/F-H,%20L.pdf Between Virtue and Vice] {{webarchive|url=https://web.archive.org/web/20140222160924/http://www.homepages.ucl.ac.uk/~ucrabjk/Dutch%20Golden%20Age/Week%2015/F-H%2C%20L.pdf|date=2014-02-22}},” ”The Feminist Art Journal” vol. 4 (1975), pp. 22–26.</ref> ”[[The Proposition (painting)|The Proposition]]” ([[Mauritshuis]], [[The Hague]]) is an unusual variant on these scenes, said by some to show a girl receiving unwelcome advances, instead of depicting a willing prostitute, the more common scene under such a title. The fact that the female subject is sewing in the scene may also have double meanings as the Dutch word for sewing (naaien) is sometimes used as a metaphor for sex.<ref name=”:2″>{{Cite book |last=Quinn |first=Bridget |title=Broad strokes: 15 women who made art and made history (in that order) |date=2017 |publisher=Chronicle Books |isbn=978-1-4521-5236-3 |location=San Francisco}}</ref> However, this interpretation is not universally accepted. [[Ann Sutherland Harris]] has interpreted the painting to be of a woman receiving an honest marriage proposal.<ref>{{Cite book |last=Harris |first=Ann Sutherland |title=Seventeenth-century art & architecture |date=2008 |publisher=Pearson Prentice Hall |isbn=978-0-13-603372-1 |edition=2nd |location=Upper Saddle River, N.J. |oclc=182553042}}</ref> Copied from Wiki Article Judith Leyster. ”’Leyster’s painting ”Proposition” is different from other paintings that depict sexwork as she is not wearing something low-cut or getting money for a transaction. Instead the painting a quiet sense of intimacy, leading art historians such as Hofrichter to speculate that Leyster was avoiding giving common stereotypes about women and sex. She chose to depict a virtuous woman rather than a woman stealing from a man<ref>{{Citation|title=Judith Leyster’s Proposition—Between Virtue and Vice|url=https://doi.org/10.4324/9780429500534-10 |access-date=2025-11-|isbn=978-0-429-50053-4}}</ref>

Adding content to bibliography section: ”’Judith Leyster had been forgotten after her death in 1660. She was buried on a farm in Heemstede, outside of Haarlem. The farm has since been built over, meaning her grave has been lost forever. Up until 1893 no museum held any work attributed to her, she was not recorded in sale catalogues, and no prints of her paintings were inscribed with her name. Until this time, it was like Leyster had never existed at all. That was until 1893 when she was rediscovered by Dutch art historian Cornelis Hofstede de Groot<ref name=”:0″>{{Cite journal|title=Clara Peeters, 1594-ca. 1640|url=https://www.jstor.org/stable/1358580?origin=crossref|journal=Woman’s Art Journal|date=23/1995|pages=54|volume=16|issue=2|doi=10.2307/1358580|first=Frima Fox|last=Hofrichter|first2=Pamela Hibbs|last2=Decoteau}}</ref>.”’

Most of Leyster’s dated works were produced before her marriage and are dated between 1629 and 1635. Cited from the Wiki Article, I would like to add a sentence to follow this saying: ”’Some art historians such as Frima Fox Horfrichter speculate that she did not slow down her art-making as a result of her marriage but rather the birth of her first child Joannes in 1637. Her career has been altered by not only marriage, but the transition into becoming a mother”'<ref name=”:0″ />”’.”’

=== References ===

=== References ===

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Article Draft

Lead:

Her entire oeuvre came to be attributed to Frans Hals or to her husband, Jan Miense Molenaer. In 1893, she was rediscovered and scholars began to attribute her works correctly.^[1] Copied from Wiki Article Judith Leyster. Judith Leyster Was only 19 when Samuel Ampzing reffered to Leyster as one of the significant and important artists of Haarlem.

Her birthday is not known, only her baptism date.

Article body:

This work marks a shift from the rigidity of earlier women’s self-portraits toward a more relaxed, dynamic pose.^[2][3] It is very relaxed by the standards of other Dutch portraits and comparable to some of Frans Hals‘s work. Copied from Wiki Article Judith Leyster. Leyster used Ley-Ster as her pseudonym, after the bar her father bought in 1618. She studied in the studio of Frans Peter de Grebber, who was a well-known painter in Haarlem. She became associated with Frans Hals once deciding to pursue a more independent artistic career. It has been documented that Leyster admired painter Frans Hals, as he did her. They then established a studio together, which could be why their work has similar qualities, as they continued to inspire each other throughout their creation of art. Toward 1629, Leyster became professionally independent; which has been indicated by the change in how she signed her paintings. She now signed them with her own monogram which is evident in her painting The Merry Drunkard.^[4]

In 1636, Leyster married Jan Miense Molenaer, a more prolific artist than herself who worked on similar subjects. Copied from Wiki Article Judith Leyster. In 1636, Leyster married Jan Miense Molenaer, an artist who was also prolific at the time. They both worked on similar subjects like portraits and history paintings.^[5]

.^[6] The Proposition (Mauritshuis, The Hague) is an unusual variant on these scenes, said by some to show a girl receiving unwelcome advances, instead of depicting a willing prostitute, the more common scene under such a title. The fact that the female subject is sewing in the scene may also have double meanings as the Dutch word for sewing (naaien) is sometimes used as a metaphor for sex.^[7] However, this interpretation is not universally accepted. Ann Sutherland Harris has interpreted the painting to be of a woman receiving an honest marriage proposal.^[8] Copied from Wiki Article Judith Leyster. Leyster’s painting Proposition is different from other paintings that depict sex work, as she is not wearing something low-cut or getting money for a transaction. Instead, the painting depicts a quiet sense of intimacy, leading art historians such as Hofrichter to speculate that Leyster was avoiding giving in to common stereotypes about women and sex. She chose to depict a virtuous woman rather than a woman stealing from a man^[9]

Adding content to bibliography section: Judith Leyster had been forgotten after her death in 1660. She was buried on a farm in Heemstede, outside of Haarlem. The farm has since been built over, meaning her grave has been lost forever. Up until 1893 no museum held any work attributed to her, she was not recorded in sale catalogues, and no prints of her paintings were inscribed with her name. Until this time, it was like Leyster had never existed at all. That was until 1893 when she was rediscovered by Dutch art historian Cornelis Hofstede de Groot^[10].

Most of Leyster’s dated works were produced before her marriage and are dated between 1629 and 1635. Cited from the Wiki Article, I would like to add a sentence to follow this saying: Some art historians such as Frima Fox Horfrichter speculate that she did not slow down her art-making as a result of her marriage but rather the birth of her first child Joannes in 1637. Her career has been altered by not only marriage, but the transition into becoming a mother^[10].

References

Jordi Vigué. (2003). Great women masters of art. Watson-Guptill.

Hofrichter, F. F. (1975). Judith Leyster’s proposition: Between virtue and vice. Feminist Art Journal, 4(3), 22–26.