AFA Summer 2018

2018 Antiques & Fine Art 85 in turn meant women were put to work to replace them. With fewer men, marriage was no longer an inevitability for women. This enabled some women to live alone, or in community with other women, and to pursue their own ambition without society frowning upon these choices. In addition, the Women’s Suffrage Movement gave women a newfound sense of self and empowerment, regardless of their direct involvement with the movement. The confluence of these events proved to be a turning point for many women who found the confidence to follow their calling. Gertrude Fiske is a prime example of an individual emboldened by her social context. Her daring work is a testament to this tide change. As a result of moving beyond convention, she produced brilliant and unexpected work for a woman in the early years of the twentieth century (Fig. 6). Painting Women After graduation in 1914, Fiske continued in the tradition of the Boston School, though by 1916, there was a distinct difference in her treatment of women on the canvas. Gone were the passive, domestic, interior scenes. Many of her models were now painted outdoors, in compelling compositions, revealing a newfound freedom (Fig. 7). Her work expresses a growing shift toward the portrayal of a more self-assured woman, reflecting her own growing confidence. What Fiske shows us through her vibrant color pairings and bold compositions are real women in thought-provoking settings. In such paintings as Bettina (Fig. 8), the viewer is drawn to the authority of the sitter’s gaze, the striking palette, and the modern composition. These narratives are pensive, dynamic, and arresting. Bold color choice, matter-of-fact composition, and honesty of posture and gesture legitimize the sitter as a real woman of the time. The genius of this image lies in the balance Fiske created between the highly stylized background and her equally powerful subject. Here, Fiske underscores the place of women in their own right. The brilliant notes of blood-orange and the backdrop of varied, Fig. 5: Gertrude Fiske (1879–1961), Woman at Work, 1910. Oil on canvas, 23⅜ x 29¼ inches. Private collection. Fig. 6: Gertrude Fiske (1879–1961), Mary, ca. 1920. Oil on canvas, 40⅛ x 30¼ inches. Davis Museum, Wellesley College; Gift of Andrew Willis, Harold Willis Jr., and Mrs. Gilbert Wilkinson (1969.46). Photo by Steve Briggs.