
Alice Neel’s Female Nudes: Society, Feminism and Art
- 1 Shanghai Qibao Dwight High School, 201101 Shanghai, China
* Author to whom correspondence should be addressed.
Abstract
Alice Neel is one of the most prolific contemporary American artists, a realist in an age of abstraction. Her tenacity in portraying the people, the world and the issues that come with them led her portraits to carry not just a likeness to the subject, but also the subject’s social, political, economic baggage. With that, Neel’s candor in portraying her subjects also allowed for representation of women of all circumstances, something historically lacking. Specifically, in her ground-breaking nude portraits of women, she breaks down previous conception of female nudes by incorporating the status quo of the woman as a key element; not just an escapist object of the male gaze but a person. This paper aims to reveal the tangled interconnectivity of the relationships between Neel herself, with feminism, society and her art through the analysis of her female nude artworks.
Keywords
Alice Neel, female nudes, Feminism, Society, Art, portraits
[1]. References Neel, A. (1971) By Alice Neel. Daily World.
[2]. Bauer, D. (1994) Alice Neel’s Female Nude. Woman’s Art Journal, vol. 15, no. 2: 21–26.
[3]. Bauer, D. (2002) Alice Neel’s Feminist and Leftist Portraits of Women. Feminist Studies, vol. 28, no. 2: 375–395.
[4]. Allara, P. (1994) Mater’ of Fact: Alice Neel’s Pregnant Nudes. American Art, vol. 8, no. 2: 7–31.
[5]. Neel, A., Nemser, C. (1975) Alice Neel: The Woman and Her Work. Georgia Museum of Art, University of Georgia, Athens, GA.
[6]. Pruitt, S. (2022) What Are the Four Waves of Feminism?. https://www.history.com/news/feminism-four-waves.
[7]. Harris, A.S., Nochlin, L. (1976) Women Artists, 1550-1950. Los Angeles County Museum of Art, Los Angeles.
[8]. Grady, C. (2018) The Waves of Feminism, and Why People Keep Fighting over Them, Explained. https://www.vox.com/2018/3/20/16955588/feminism-waves-explained-first-second-third-fourth.
[9]. Friedan, B. (2010) The Feminine Mystique. Penguin, London.
[10]. Bergoffen, D., Burke, M. (2020) Simone De Beauvoir. https://plato.stanford.edu/entries/beauvoir/.
[11]. Beauvoir, S.D. (1949) The Second Sex. Penguin Books, London.
[12]. Molesworth, C. (2000) Alice Neel and Others. Salmagundi, no. 128/129: 58–71.
[13]. Garrard, M.D. (2006) Alice Neel and Me. Woman’s Art Journal, vol. 27, no. 2: 3–7.
[14]. Hoban, P. (2010) Alice Neel: The Art of Not Sitting Pretty. St. Martin’s Press, New York.
[15]. metmuseum. (2021) Alice Neel: People Come First Virtual Opening | Met Exhibitions. https://www.youtube.com/watch?v=ejGERwLV2Kg.
[16]. Alice Neel Estate. (2021) About Neel. https://www.aliceneel.com/about-neel/.
[17]. Allara, P. (2006) Alice Neel’s Women from the 1970s: Backlash to Fast Forward. Woman’s Art Journal, vol. 27, no. 2: 8–11.
[18]. Moi, T. (2008) What Is a Woman? and Other Essays. Oxford University Press, Oxford. pp. 59.
[19]. Berger, John. (1972) Ways of Seeing (Modos De Ver). BBC and Penguin, London.
[20]. Tate. Feminist Art. https://www.tate.org.uk/art/art-terms/feminist-art.
[21]. Nead, L. (1992) The Female Nude: Art, Obscenity, and Sexuality. Taylor & Francis Group, London. pp. 6-7.
[22]. themoenen. Gustav Klimt - Hope I, 1903. https://arthur.io/art/gustav-klimt/hope-i.
[23]. Gustav-Klimt.com. (2011) Hope I, 1903. https://www.gustav-klimt.com/Hope-I.jsp.
[24]. S.Za. (2010) The Birth of a Baby. https://iconicphotos.wordpress.com/2010/12/01/the-birth-of-a-baby/.
[25]. Umansky, L. (1996) Motherhood Reconceived: Feminism and the Legacies of the Sixties Clauri Umansky. New York University Press, New York.
[26]. Hess, E. (1994) Artist and Models. Village Voice.
[27]. Saunders, G. (1989) The Nude: A New Perspective. Herbert Press, London.
[28]. Bridge, S. (2007) A History of the Pill. https://www.theguardian.com/society/2007/sep/12/health.medicineandhealth.
[29]. American Experience. The Pill and the Women's Liberation Movement. https://www.pbs.org/wgbh/americanexperience/features/pill-and-womens-liberation-movement/.
[30]. Baum, K., et. al. (2021) Alice Neel: People Come First: Travelling Exhibition, USA, Europe, 2021. The Metropolitan Museum of Art, New York.
[31]. Lewison, J. (2015) ALICE NEEL Drawings and Watercolors 1927–1978, David Zwirner Gallery Press Preview. https://dailyartfair.com/events/download_press_release/3831.
[32]. Lewison, J. Jeremy Lewison: Alice Neel Estate. https://www.jeremylewison.co.uk/alice-neel-estate.
[33]. Lewis, M. (2021) Early Hollywood and the Hays Code. https://www.acmi.net.au/stories-and-ideas/early-hollywood-and-hays-code/.
[34]. Buhle, M.J., et al. (1998) Encyclopedia of the American Left. Oxford University Press, New York.
[35]. Lewison, J. Jeremy Lewison Ltd. https://www.jeremylewison.co.uk/.
[36]. Hufkens, X. (2015) Alice Neel – A Conversation between Helen Simpson and Jeremy Lewison. https://www.youtube.com/watch?v=xhyAurBklQI
[37]. The Metropolitan Museum of Art. Self-Portrait. https://www.metmuseum.org/art/collection/search/827227?exhibitionId=%7Bebc2cd20-ef8a-48a4-b327-7e037956caa6%7D&oid=827227&pkgids=682&pg=0&rpp=20&pos=104&ft=%2A&offset=20.
[38]. The Metropolitan Museum of Art. Self-Portrait. https://www.metmuseum.org/art/collection/search/827227?exhibitionId=%7Bebc2cd20-ef8a-48a4-b327-7e037956caa6%7D&oid=827227&pkgids=682&pg=0&rpp=20&pos=104&ft=%2A&offset=20.
[39]. Quinn, B. (2017) Alice Neel: How to Persevere and Live the Artist's Life. https://lithub.com/alice-neel-how-to-persevere-and-live-the-artists-life/.
[40]. Marder, L. (2020) Rembrandt's Self-Portraits. thoughtco.com/rembrandts-selfportraits-4153454.
[41]. National Gallery. Self-Portrait. https://www.nga.gov/collection/art-object-page.79.html.
[42]. The Met. (2020) Alice Neel: They Are Their Own Gifts, 1978 | From the Vaults. https://www.youtube.com/watch?v=f-uFOf9p69s.
Cite this article
Hsu,C. (2023). Alice Neel’s Female Nudes: Society, Feminism and Art. Communications in Humanities Research,3,639-653.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
Disclaimer/Publisher's Note
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.
About volume
Volume title: Proceedings of the International Conference on Interdisciplinary Humanities and Communication Studies (ICIHCS 2022), Part 1
© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and
conditions of the Creative Commons Attribution (CC BY) license. Authors who
publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons
Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this
series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published
version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial
publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and
during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See
Open access policy for details).