a pressing necessity: International Women’s Day 2026

Firstly, the title comes from this short essay by one of my favourite historical figures, Rosa Luxemburg; it’s worth a read.

one of my favourite works of art by anyone ever; Monika Geilsdorf’s 1976 self-portrait

If anything demonstrates that half of the human race is in need of a special day to celebrate their achievements and raise awareness of the challenges they face, it’s the ongoing existence and high profile of International Women’s Day. I’m not here just to criticise it, so bear with me.

In a way it seems deeply patronising (not an accidental use of the word) that it even exists, since the celebration of IWD is in itself a sign that the patriarchy is in obnoxiously good health. Seems paradoxical, but look at the contrast between not just the profile of, but the nature of IWD, compared to International Men’s Day, which contrary to the belief of the frothing-at-the-mouth men on the misogynist fringe does exist (19 November), highlights the background that it exists against.

International Women’s Day commemorates the (ongoing) fight for Women’s rights, raises awareness of issues surrounding gender inequality and is a celebration of the achievements of women throughout the ages. International Men’s Day raises awareness of issues like suicide, self-harm, violence, homelessness etc; it’s a good thing, but it’s a much smaller and very different thing. Both international days are – necessarily – framed in the same way. The bad things that women have faced and continue to face – violent death, mutilation, violence, political, religious and social disenfranchisement – are the product of societies where women have been and in many ways continue to be second class citizens; the power structures they struggle with and against are overwhelmingly male and male-dominated. The problems that Men’s day raises, likewise come from men’s struggles to exist within that same socio-political/religious framework. The fact that I’ve spent half a paragraph about Women’s Day writing about Men’s Day is ironic but it’s also systemic.

Does that mean that IWD is a bad thing? Clearly not. There are women who, for a variety of reasons choose to denounce or simply opt out of the whole idea of it – as is their right – but the position of women has not improved so much over the past quarter century that the inequalities are merely historical, as seemed possible to envision around the end of the 1980s. And while the achievements of women in almost every field are acknowledged more now than ever, they are, depending on which sphere they take place in, often still seen as special cases; ‘women artists,’ ‘female plumbers’ etc, whereas terms from my childhood like ‘male nurse’ seem comically inappropriate (which isn’t to say that some people don’t still use them; but usually men, and for reactionary reasons).

There’s also a valid argument that celebrating womens/mens days simply reinforces a binary that is merely a symptom of the old-fashioned, patriarchal system. It’s kind of undeniable; the name alone, International Women’s Day supposes “women” as a monolith. One of my favourite artists is the Surrealist Claude Cahun (born Lucie Schwob), whose work is often (by me, too) promoted as part of IWD celebrations of female artists, despite the artist’s unambiguous statement from Disavowals (1928) that “Neuter is the only gender that always suits me.” To ignore someone’s own personal identity in order to celebrate something about themselves that they specifically denied feels like a strange kind of tribute.
Nonetheless, nobody, not even Claude Cahun, denied that women do exist and that they have been and are (okay some people do loudly deny this bit) oppressed and subject to systemic inequalities.

the great Hungarian artist Mihály Biró’s 1925 poster for International Women’s Day

What’s often overlooked now too is that International Women’s Day was historically – though not consistently – a socialist celebration. See here for an excellent exploration of its radical origins. Working Women’s Day – the date 8th March was chosen by Lenin, fact fans – was originally tied to issues of Workers’ Rights and the fight for equality more widely, but even in the Soviet Union the image softened over the years until eventually it –  ironically – came to celebrate women in traditional roles (mothers, wives) rather than revolutionary ones. Which is lame; but it’s easy to see why that link has eroded. The struggle for Women’s liberation was initially, and throughout its radical period in the 60s and 70s seen as analogous to the working class struggle – where women occupied a kind of working class, that is subordinate, position even within the working class. The gradual (but of course never total) amelioration of the rights of workers made aspects of the radicalism of the past feel dated and possibly unnecessary, though that is less true than it sometimes seems. Also, not all women were or are working class anyway, and class distinctions of that kind are not universal in every society in the world, but women’s marginalisation almost is.

Madonna: “Erotica” (1992) dir Fabien Baron: not my mother’s feminism

Plus, people and perceptions change. My mother was a working class ‘Women’s Lib,’ Spare Rib-reading feminist of the 60s/70s, but although her views on Women’s liberation never really changed, from the 80s onwards she became puritanical in a way that now seems, to her children’s generation, a bit sexist, oddly. For example, she couldn’t see someone like Madonna (the popular entertainer, not the mother of Christ) and her ilk, however apparently empowered, as anything other than a manifestation of the retrograde desires of men, and she would probably have agreed with Morrissey that make-up is a lie, or even gone further to suggest that it’s a lie established by the patriarchy to keep women in their place. It’s a point of view, I suppose; but it’s also one that polices the image that women choose to project for themselves and so seems fundamentally anti-progressive, though I understand the logic of it.

Similarly, there are people who bemoan the loss of the ‘Class War’ aspect IWD, which I again understand, because I do think capitalism & patriarchy are bad and harmful to humanity in general and women in particular. But as a ‘working class’ male I also kind of reject it. Identifying with the system that labels you seems fundamentally unhelpful to me. I am ‘working class’ because that is the caste system established by a capitalist power structure, just as I would have been ‘peasant class’ centuries ago in a feudal society. Embracing that class identity seems far less attractive than altering society until its labels have no meaning anymore.

A fairer version of capitalism may not be the ultimate aim, but it would at least be a good thing. Marx’s ideal – I have a lot of time and affection for Marx, but I think he was often wrong, or at least that 21st century problems do not call for 19th century solutions – that inequality reaches crisis point so that revolution becomes a necessity feels to me very much like the apocalyptic thinking of those who want to immerse the world in war to bring about the second coming of Christ. The problem is – as we see, now, with war – that people, perhaps even generations of people, have to actually live their whole lives during that ‘crisis point’ which can continue, depending on the strength of the overarching system, almost indefinitely. Misery now, reward later is the self-serving bullshit the Christian church8 has been selling for 2000 years, I don’t think society is improved by adopting a well-meaning socialist version of it. Surely the life of even a single person is more important than the fulfilment of an ideology? Agree to disagree perhaps.

Which again has taken this away from International Women’s Day. When one is talking about half of the human race any kind of generalisation is bound to be wrong, but solidarity with people who are forced to struggle for equality as human beings within systems designed to keep them in a subordinate role never is.

It may be – especially in the social media age – that celebrations like International Women’s Day come under the banner of Bread and Circuses that the satirist Juvenal noted Imperial Rome offered to the people in lieu of the political power they held in the days of the old Republic. So should we get rid of them? No, would be my answer – quite the opposite, we should expand on them, turn them into actual holidays, raise awareness of every grievance that people have under a grossly unequal political system. If the ruling class of the Capitalist/Tech Oligarchy are offering circuses (where is the bread though?) to placate the people and keep them docile, then the very least their subjects can do to exert their will is to take over the circuses and to remake them in their own image, loud and unignorable.

Ah well, never mind, maybe soon there will be an International Humans Day where the (male) technocratic overlords agree to turn off AI for a day or something to show false solidarity with the rest of us. I won’t hold my breath though.

To end on something more positive, I’ve evangelised elsewhere about art history as a subject (here’s my one-line reason why everyone should study it; Art History is not just about the past, it encompasses everything that’s important about the present; politics, religion, gender, philosophy, personal, national and local identity – and studying the subject and freeing it from its historical assumptions and biases only makes it deeper and richer; plus you get to study fascinating, powerful and beautiful products of the human mind and body, too). Over the past decade or so the place of female artists within that history – and the profiles of individual women artists – has been explored more than ever before so that, although we are not yet at a point where women artists and male artists (and neither) just become ‘artists’ it’s no longer as unthinkable as that would have been when I studied art history 20 years ago.

On a less exulted note, when I first started posting things on Instagram around a decade ago, books like Jennifer Higgie’s The Mirror and the Palette, Katie Hessel’s The Story of Art Without Men (2022), Eiderdown Books’ superb Modern Women Artists series, Phaidon’s Great Women Artists (2019) and (my favourite) Lauren Elkin’s Art Monsters (2023) didn’t yet exist.

Some of my favourite artists – Jenny Saville, Hannah Höch, Gabriele Münter– were women and, like most female artists they made works that on one level transcend gender, as I think all great art does, but were also formed from an unmistakably female point of view (just as I would say Picasso’s art is unmistakably male). Female artists were, in short, making art that only female artists could make, (I’d actually go further and say that all great artists regardless of gender make art that only that individual can make, but that doesn’t change the basic point).

I found, and it’s still true, about art in general and not only – though especially – by women, that the more you look, the more you find and so when I started regularly posting art by female artists, most of whom were new to me, I began keeping a kind of database of artists and their birthdays. So here it is, in simplified form. There are many, many omissions (especially of sculptors – not so much my thing – and contemporary artists, whose birthdays are often not so easy to find) and it will always be a work in progress, but I think it’s worth sharing here anyway (and in birthday order, so you can see if you share your birthday with a fantastic artist; why not?) Happy International Women’s Day!.

JANUARY

Children with Burning Torches (1920s) by Tina Bauer-Pezellen, an artist I love but can never find much information about

Selma Gubin born 01-Jan 1905
Rita Kernn-Larsen born 01-Jan 1904
Lynette Yiadom-Boakye born 01-Jan 1977
Selma Plawneek-des Coudres born 02-Jan 1883
Slava Raskaj born 02-Jan 1877
Sylvi Kunnas born 03-Jan 1903
Maruja Mallo born 05-Jan 1902
Margaret Modlin born 05-Jan 1927
Madame Yevonde born 05-Jan 1893
Ruth Gikow born 06-Jan 1915
Sanja Ivekovic born 06-Jan 1949
Franciska Clausen born 07-Jan 1899
Fahrelnissa Zeid born 07-Jan 1901
Wanda von Debschitz-Kunowski born 08-Jan 1870
Alida Jantina Pott born 08-Jan 1888
Julie Wolfthorn born 08-Jan 1864
Tina Bauer-Pezellen born 09-Jan 1897
Annemarie Heinrich born 09-Jan 1912
Maxa Nordau born 10-Jan 1897
Nora Heysen born 11-Jan 1911
Marcia Marcus born 11-Jan 1928
Rosalba Carriera born 12-Jan 1673
Hannah Hirsch-Pauli born 13-Jan 1864
Lilla Cabot Perry born 13-Jan 1848
Alice Pike Barney born 14-Jan 1857
Berthe Morisot born 14-Jan 1841
Eve Sonneman born 14-Jan 1946
Louise Blair Daura born 15-Jan 1905
Sabine Lepsius born 15-Jan 1864
Gerta Overbeck born 16-Jan 1898
Teddy Røwde born 16-Jan 1911
Alexandra Ekster born 18-Jan 1882
Cindy Sherman born 19-Jan 1954
Marianne Stokes born 19-Jan 1855
Sophie Tauber-Arp born 19-Jan 1889
Leyly Matine-Daftary born 19-Jan 1937
Maxine Albro born 20-Jan 1893
Hertha Spielberg born 21-Jan 1890
Annemarie Jacob born 22-Jan 1891
Kiki Kogelnik born 22-Jan 1935
Maria Luiko born 25-Jan 1904
Emilie von Hallavanya born 26-Jan 1874
Katarzyna Kobro born 26-Jan 1898
Yva (Else Ernestine Neulander-Simon) born 26-Jan 1900
Jeanne Selmersheim-Desgrange born 27-Jan 1877
Maria Tlusty born 27-Jan 1901
Bertha Muller born 28-Jan 1848
Alice Neel born 28-Jan 1900
Elisabeth Büchsel born 29-Jan 1867
Anna Susanna Fries born 30-Jan 1827
Teresa Feoderovna Ries born 30-Jan 1874
Amrita Sher-Gil born 30-Jan 1913
Masa Feszty born 31-Jan 1894
Elena Liessner-Blomberg born 31-Jan 1897
Cornelia Macintyre Foley born 31-Jan 1909

FEBRUARY

Anita Rée – self portrait (1930)

Doris Lee born 01-Feb 1905
Kris Torne born 01-Feb 1867
Sybil Atteck born 03-Feb 1911
Helen Forbes born 03-Feb 1891
Henriette Petit born 03-Feb 1894
Katherine Read born 03-Feb 1723
Georgina de Albuquerque born 04-Feb 1885
Marthe Hirt born 04-Feb 1890
Minna Köhler-Roeber born 04-Feb 1883
Ksenia Boguslavskaya born 05-Feb 1892
Jeanne Bieruma Oosting born 05-Feb 1898
Dorothea Maetzel-Johannsen born 06-Feb 1886
Arte Topalian born 06-Feb 1906
Kaete Lassen born 07-Feb 1880
Paula Modersohn-Becker born 08-Feb 1876
Anita Ree born 09-Feb 1885
Celia Calderon born 10-Feb 1921
Eva Frankfurther born 10-Feb 1930
Dorte Clara Wolff (Dodo) born 10-Feb 1907
Annelise Kretschmer born 11-Feb 1903
Léa Lafugie born 11-Feb 1890
Kate Diehn-Bitt born 12-Feb 1900
Marie Vassilieff born 12-Feb 1884
Marta Hegemann born 14-Feb 1894
Marie Vorobieff (Marevna) born 14-Feb 1892
Dora de la Torre born 14-Feb 1924
Mary Adshead born 15-Feb 1904
Grethe Jurgens born 15-Feb 1899
Gertrude Abercrombie born 17-Feb 1909
Greta Hällfors-Sipilä born 19-Feb 1899
Hazel Janicki born 19-Feb 1918
Gabriele Munter born 19-Feb 1877
Else Berg born 19-Feb 1877
Maria von Heider-Schweinitz born 20-Feb 1894
Lía Correa Morales born 20-Feb 1893
Grace Carpenter Hudson born 21-Feb 1865
Delhy Tejero born 22-Feb 1904
Gundula Schulze Eldowy born 23-Feb 1954
Martha Cunz born 24-Feb 1876
Alice Bailly born 25-Feb 1872
Broncia Koller-Pinnell born 25-Feb 1863
Hilde Hamann born 26-Feb 1898
Alexandra Povorina born 26-Feb 1885
Annie Swynnerton born 26-Feb 1844
Teresa Condeminas i Soler born 27-Feb 1905
Eva-Maria Bergmann born 28-Feb 1941
Julia Thecla born 28-Feb 1896

MARCH

Maria Slavona – Houses in Montmarte (1898)

Marcelle Cahn born 01-Mar 1895
Erika Streit born 01-Mar 1910
Lola Cueto born 02-Mar 1897
Agda Holst born 02-Mar 1886
Judith Alpi born 03-Mar 1893
Gussy Hippold-Ahnert born 03-Mar 1910
Anne Ratkowski born 03-Mar 1903
Ellen Emmet Rand born 04-Mar 1875
Charmion Von Wiegand born 04-Mar 1896
Gertrude Fehr born 05-Mar 1895
Clara Ledesma Terrazas born 05-Mar 1924
Maria Blanchard born 06-Mar 1881
Pauline Boty born 06-Mar 1938
Maria Uhden born 06-Mar 1892
Marisa Roesset Velasco born 06-Mar 1904
Aenne Biermann born 08-Mar 1898
Constance Mayer born 09-Mar 1774
Annalize Pilasik born 10-Mar 1903
Rita Angus born 12-Mar 1908
Zofia Atteslander born 12-Mar 1874
Elaine De Kooning born 12-Mar 1918
Marie Eberhard born 12-Mar 1897
Idelle Weber born 12-Mar 1932
Lizzy Ansingh born 13-Mar 1875
Andree Bosquet born 13-Mar 1900
Diane Arbus born 14-Mar 1923
Annemarie von Jakimow-Kruse born 14-Mar 1889
Maria Slavona born 14-Mar 1865
Mary Pratt born 15-Mar 1935
Gerda Wegener born 15-Mar 1886
Maria Austria born 19-Mar 1915
Marie Ellenrieder born 20-Mar 1791
Renee Sintenis born 20-Mar 1888
Alix Ayme born 21-Mar 1894
Greta Kempton born 22-Mar 1901
Lea Grundig born 23-Mar 1906
Marie Howet born 24-Mar 1897
Charley Toorop born 24-Mar 1891
Petrona Viera born 24-Mar 1895
Therese Debains born 25-Mar 1897
Johanna Kampmann-Freund born 25-Mar 1888
Käthe Loewenthal born 27-Mar 1878
Elga Sesemann born 28-Mar 1922
Dora Carrington born 29-Mar 1893
Cecile Walton born 29-Mar 1891
Helene Riedel born 30-Mar 1901

APRIL

Karin Luts – The Artist (1937)

Gertrude Bohnert born 02-Apr 1908
Emilie Charmy born 02-Apr 1878
Stella Snead born 02-Apr 1910
Hermine Aichenegg born 03-Apr 1915
Francesca woodman born 03-Apr 1958
Constance Marie Charpentier born 04-Apr 1767
Ruth Smith born 05-Apr 1913
Leonora Carrington born 06-Apr 1917
Jeanne Hebuterne born 06-Apr 1898
Kata Kalivoda born 06-Apr 1877
Hilde Rubinstein born 07-Apr 1904
Lilly Steiner born 07-Apr 1884
Annemirl Bauer born 10-Apr 1939
Gunvor Gronvik born 10-Apr 1912
Frances Foy born 11-Apr 1890
Adélaïde Labille-Guiard born 11-Apr 1749
Maggie Laubser born 14-Apr 1886
Olga Boznanska born 15-Apr 1865
Elizabeth Catlett born 15-Apr 1915
Princess Elisabeth Vilma Lwoff-Parlaghy born 15-Apr 1863
Laura Alma-Tadema born 16-Apr 1852
Inji Efflatoun born 16-Apr 1924
Charlotte Salomon born 16-Apr 1917
Hermine David born 19-Apr 1886
Eva Gonzales born 19-Apr 1849
Dod Procter born 21-Apr 1890
Raquel Forner born 22-Apr 1902
Ottilie Roederstein born 22-Apr 1859
Lee Miller born 23-Apr 1907
Christine Bacheler Nisbet born 24-Apr 1902
Lyubov Popova born 24-Apr 1889
Bridget Riley born 24-Apr 1931
Mary Brandt (Perez) born 25-Apr 1917
Mela Muter born 26-Apr 1876
Doro Ording born 26-Apr 1901
Nathalie Kraemer born 28-Apr 1891
Else Fischer-Hansen born 29-Apr 1905
Mainie Jellett born 29-Apr 1897
Karin Luts born 29-Apr 1904
Ruth Meier born 29-Apr 1888
Juana Romani born 30-Apr 1867
Thea Schleusner born 30-Apr 1879
Joronn Sitje born 30-Apr 1897

MAY

June Beer – Woman in Red (self portrait), 1984

Cecilia Beaux born 01-May 1855
Romaine Brooks born 01-May 1874
Elsa Thoresen born 01-May 1906
Eva Aeppli born 02-May 1925
Peggy Bacon born 02-May 1895
Chinwe Chukwuogo-Roy born 02-May 1952
Brigitte Fugmann born 03-May 1948
Stina Forssell born 03-May 1906
Geta Bratescu born 04-May 1926
Sylvia Pankhurst born 05-May 1882
Celeste Woss y Gil born 05-May 1891
Lucie Citti Ferreira born 06-May 1911
Suzy Freylinghuysen born 07-May 1911
Marion Gilmore born 07-May 1909
Dore Meyer-Vax born 08-May 1908
Felicita Pauluka born 08-May 1925
Paula Gans born 09-May 1883
Stanislawa de Karlowska born 09-May 1876
Hanna Klose-Greger born 09-May 1892
Grete Stern born 09-May 1904
Frida Konstantin born 10-May 1884
Helene von Taussig born 10-May 1879
Eva Schulze Knabe born 11-May 1907
Ilske Schwimmer born 11-May 1915
Monika Brachmann born 12-May 1944
Paula Lauenstein born 12-May 1898
Charlotte Wankel born 12-May 1888
Sara Afonso/Affonso born 13-May 1899
Louise Seidler born 15-May 1786
Stella Bowen born 16-May 1893
Tamara de Lempicka born 16-May 1898
Laura Wheeler Waring born 16-May 1887
Bele Bachem born 17-May 1916
June Beer born 17-May 1935
Martha Bernstein born 17-May 1874
Kati Horna born 19-May 1912
Clara von Rappard born 19-May 1857
Ellen Auerbach born 20-May 1906
Lily Furedi born 20-May 1896
Margret Hofheinz-Döring born 20-May 1910
Maria Hiller-Foell born 21-May 1880
Marisol Escobar born 22-May 1930
Erszebet Korb born 22-May 1889
Julia Diaz born 23-May 1917
Charlotte Berend-Corinth born 25-May 1880
Anita Magsaysay-Ho born 25-May 1914
Vally Wieselthier born 25-May 1895
Fanny Harlfinger-Zakucka born 26-May 1873
Amelie Lundahl born -May 1850
Heidi Vogel born 27-May 1951
Anna De Weert born 27-May 1867
Anna-Eva Bergman born 29-May 1909
Marlow Moss born 29-May 1889
Vanessa Bell born 30-May 1879
Audrey Flack born 30-May 1931
Magdalena Mira Mena born 30-May 1859
Carmen Herrera born 31-May 1915
Mireya Lafuente born 31-May 1905
Hilla von Rebay born 31-May 1890

JUNE

Biruta Baumane – Group Portrait (1969)

Vera Nilsson born 01-Jun 1888
Lotte B Prechner born 01-Jun 1877
Greta Gerell born 02-Jun 1898
Louise Amans born 05-Jun 1850
Winifred Knights born 05-Jun 1899
Biruta Baumane born 06-Jun 1922
Ricarda Jacobi born 07-Jun 1923
Laura Rodig born 07-Jun 1901
Alice Rahon born 08-Jun 1904
Montserrat Gudiol born 09-Jun 1933
Oda Krohg born 11-Jun 1860
Priscilla Warren Roberts born 13-Jun 1916
Pan Yuliang born 14-Jun 1895
Agnes Tait born 14-Jun 1894
Erna Lincke born 15-Jun 1899
Edith Meyer von Kamptz born 15-Jun 1884
Fritzi Brod born 16-Jun 1900
Henriette Browne born 16-Jun 1829
Irma Lang-Scheer born 17-Jun 1901
Margarete Kubicka born 20-Jun 1891
Emilia Bertole born 21-Jun 1896
Gwen John born 22-Jun 1876
Wangechi Mutu born 22-Jun 1972
Hilde Rakebrand born 22-Jun 1901
Olga Rozanowa born 22-Jun 1886
Madge Tennent born 22-Jun 1889
Lilo Raymond born 23-Jun 1922
Elena Shegal born 23-Jun 1924
Meraud Guinness born 24-Jun 1904
Helen Lundeberg born 24-Jun 1908
Alice Frey born 25-Jun 1895
Kay Sage born 25-Jun 1898
Vilma Eckl born 26-Jun 1892
Coba Ritsema born 26-Jun 1876
Helene Perdriat born 27-Jun 1889
Catherine Yarrow born 27-Jun 1904
Ali Goubitz born 28-Jun 1904
Florence Henri born 28-Jun 1893
Nan Youngman born 28-Jun 1906
Hannelore Neumann-Tachilzik born 29-Jun 1939

JULY

Prudence Heward – Portrait of an unknown Woman c.1920s

Herminia Arrate born 01-Jul 1896
Elizabeth Lochrie born 01-Jul 1890
Prudence Heward born 02-Jul 1896
Lydia Mei born 02-Jul 1896
Rahel Szalit-Marcus born 02-Jul 1894
Georgina Klitgaard born 03-Jul 1893
Petra Flemming born 06-Jul 1944
Frida Kahlo born 06-Jul 1907
Unica Zurn born 06-Jul 1916
Artemisia Gentileschi born 08-Jul 1593
Kathe Kollwitz born 08-Jul 1867
Carmen Mondragon (Nahui Olin) born 08-Jul 1894
Maria Tupper Hunneus born 09-Jul 1893
Helene Schjerfbeck born 10-Jul 1862
Luise Kornsand born 11-Jul 1876
Bertina Lopes born 11-Jul 1924
Ruth Starr Rose born 12-Jul 1887
Honore Desmond Sharrer born 12-Jul 1920
Helene Arnau born 13-Jul 1870
Alice Brasse-Forstmann born 13-Jul 1903
Elena Huerta Muzquiz born 15-Jul 1908
Giselle Kuster born 15-Jul 1911
Berenice Abbott born 17-Jul 1898
Marie Petiet born 20-Jul 1854
Marta Astfalck-Vietz born 21-Jul 1901
Greta Freist born 21-Jul 1904
Maral Rahmanzadeh born 23-Jul 1916
Anna Dorothea Therbusch born 23-Jul 1721
Wanda Wulz born 25-Jul 1903
Alba Calderon (de Gil) born 27-Jul 1908
Nelly van Doesburg born 27-Jul 1899
Sofia Bassi born 28-Jul 1913
Mathilda Rotkirch born 28-Jul 1813
Anna Stainer-Knittel born 28-Jul 1841
Grace Pailthorpe born 29-Jul 1883
Bettina Shaw-Lawrence born 29-Jul 1921
Friedl Dicker-Brandeis born 30-Jul 1898
Maria Szantho born 31-Jul 1897
Doris Zinkeisen born 31-Jul 1897

AUGUST

Macena Barton – Salome (1930s?)

Rachel Baes born 01-Aug 1912
Ida Gerhardi born 02-Aug 1862
Gretel Haas-Gerber born 02-Aug 1903
Maria Wiik born 03-Aug 1853
Laura Knight born 04-Aug 1877
Hedda Sterne born 04-Aug 1910
Edith Dettmann born 04-Aug 1898
Margit Graber born 05-Aug 1895
Irene Rice Pereira born 05-Aug 1902
Macena Barton born 07-Aug 1901
Maria Caspar-Filser born 07-Aug 1878
Lili Orszag born 08-Aug 1926
Tove Jansson born 09-Aug 1914
Eliane de Meuse born 09-Aug 1899
Cornelia Paczka-Wagner born 09-Aug 1864
Rogi Andre born 10-Aug 1900
Margret Bilger born 12-Aug 1904
Marianne Fieglhuber-Gutscher born 12-Aug 1889
Nola Hatterman born 12-Aug 1899
Ernestine von Kirchsberg born 12-Aug 1857
Helene Roth born 12-Aug 1887
Gluck (Hannah Gluckstein) born 13-Aug 1895
Xenia Cage born 15-Aug 1913
Marie Goth born 15-Aug 1887
Zsuzsi Robos born 15-Aug 1929
Tamara Natalie Madden born 16-Aug 1975
Käthe Ephraim Marcus born 16-Aug 1892
Gunnvor Advocaat born 17-Aug 1912
Gudrun Petersdorff born 17-Aug 1955
Anna Ancher born 18-Aug 1859
Kyra Markham born 18-Aug 1891
Florine Stettheimer born 19-Aug 1871
Lette Valeska born 20-Aug 1885
Hedwig Holtz-Sommer born 22-Aug 1901
Agnes Lawrence Pelton born 22-Aug 1881
Ebba Carstensen born 23-Aug 1885
Agnes Cleve born 23-Aug 1876
Hannah Frank born 23-Aug 1908
Mariette Lydis born 24-Aug 1887
Henriette Paula Häberlin born 25-Aug 1882
Dorothea Tanning born 25-Aug 1910
Fanny Rabel born 27-Aug 1922
Olga Costa born 28-Aug 1913
Else Lohmann born 29-Aug 1897
Sughra Rababi born 29-Aug 1922
Martha Schrag born 29-Aug 1870
Anna Zinkeisen born 29-Aug 1901
Siri Deckert born 30-Aug 1888
Leonor Fini born 30-Aug 1907
Amy Sherald born 30-Aug 1973
Ida Kerkovius born 31-Aug 1879

SEPTEMBER

Toyen – The Message of the Forest (1936)

Adriana Bisi Fabbri born 01-Sep 1881
Mario Miguel Mollari 01-Sep 1930
Hilda Rix Nicholas born 01-Sep 1884
Augusta Roszmann born 01-Sep 1859
Mina Carlson-Bredberg born 02-Sep 1857
Else Meidner born 02-Sep 1901
Elin Danielson-Gambogi born 03-Sep 1861
Helene Funke born 03-Sep 1869
Lis Bertram-Ehmsen born 05-Sep 1897
Piti (Francis) Bartolozzi born 06-Sep 1908
Marie-Gabrielle Capet born 06-Sep 1761
Rosa Rolanda born 06-Sep 1896
Hanna Bekker vom Rath born 07-Sep 1893
Maria Lassnig born 08-Sep 1919
Mimi Parent born 08-Sep 1924
Anna Walinska born 08-Sep 1906
Aurora Reyes Flores born 09-Sep 1908
Consuelo Remedios González del Bianco born 10-Sep 1911
Marianne von Werefkin born 10-Sep 1860
Bona di Mandiargues born 12-Sep 1926
Nan Goldin born 12-Sep 1953
Lili Pancu born 13-Sep 1908
Eva Cederström born 15-Sep 1909
Hope Gangloff born 15-Sep 1974
Rosalie Gwathmey born 15-Sep 1908
Cordelia Urueta Sierra born 16-Sep 1908
Alla Horska born 18-Sep 1929
Maud Sulter born 19-Sep 1960
Hilda Belcher born 20-Sep 1881
Denise Bellon born 20-Sep 1902
Genevieve Springston Lynch born 20-Sep 1891
Else Hagen born 21-Sep 1914
Toyen born 21-Sep 1902
Anne Winterer born 21-Sep 1894
Hansl Bock born 22-Sep 1893
Irena Rüther-Rabinowicz born 22-Sep 1900
Esphyr Slobodkina born 22-Sep 1908
Suzanne Van Damme born 22-Sep 1901
Suzanne Valadon born 23-Sep 1865
Maina-Miriam Munsky born 24-Sep 1943
Tilsa Tsuchiya 24-Sep 1928
Marguerite Zorach born 25-Sep 1887
Suzi Gablik born 26-Sep 1934
Arcangela Paladini born 29-Sep 1596

OCTOBER

Penny Slinger – I Hear What You Say (1973)

Marianne Brandt born 01-Oct 1893
Alice Prin (Kiki de Montparnasse) born 02-Oct 1901
Elisabeth Sophie Cheron born 03-Oct 1648
Kathleen Walne born 03-Oct 1915
Ester Ellqvist born 04-Oct 1880
Ellen Thesleff born 05-Oct 1869
Graciela Aranis born 06-Oct 1908
Meret Oppenheim born 06-Oct 1913
Nina Arbore born 08-Oct 1889
Elise Ransonnet-Villez born 08-Oct 1843
Faith Ringgold born 08-Oct 1930
Louise Rösler born -Oct 1907
Ithell Colquhoun born 09-Oct 1906
Zelia Salgado born 10-Oct 1904
Linda Kogel born 11-Oct 1861
Grete Csaki-Copony born 12-Oct 1893
Paula Deppe born 12-Oct 1886
Nadezhda Petrovic born 12-Oct 1873
Ruth Bernhard born 14-Oct 1905
Vilma Vrbova born 14-Oct 1905
Minna Citron born 15-Oct 1896
Lilly Hildebrandt born 16-Oct 1887
Elisabeth Chaplin born 17-Oct 1890
Cata Dujšin-Ribar born 17-Oct 1897
Agnes van den Brandeler born 18-Oct 1918
Jeanne Mandello born 18-Oct 1907
Bettina von Arnim born 19-Oct 1940
Jacqueline Marval born 19-Oct 1866
Ottilie Reylaender born 19-Oct 1882
Else-Christie Kielland born 20-Oct 1903
Gustava Engels von Veith born 20-Oct 1879
Penny Slinger born 21-Oct 1947
Lygia Clark born 23-Oct 1920
Rina Lazo (Wasem) born 23-Oct 1923
Marie-Louise von Motesiczky born 24-Oct 1906
Claude Cahun born 25-Oct 1894
Katalin Ladik born 25-Oct 1942
Ruth Light Braun born 26-Oct 1906 2003 oa
Marthe Donas born 26-Oct 1885 1967 oa
Bep Rietveld born 26-Oct 1913 1999 oa
Blanche-Augustine Camus born 27-Oct 1884
Julie Hagen-Schwarz born 27-Oct 1824
Sigrid Hjerten born 27-Oct 1885
Mary Moser born 27-Oct 1744
Paraskeva Clark born 28-Oct 1898
Bertha Müller born 28-Oct 1848
Alice Lex-Nerlinger born 29-Oct 1893
Louise Abbema born 30-Oct 1853
Maria Izquierdo born 30-Oct 1902
Angelika Kauffmann born 30-Oct 1741
Erna Schmidt-Carroll born 30-Oct 1896
Marie-Laure de Noailles born 31-Oct 1902
Marie Laurencin born 31-Oct 1883
Jóhanna Kristín Yngvadóttir born 31-Oct 1953

NOVEMBER

Débora Arango – Justice (c.1944)

Hannah Hoch born 01-Nov 1889
Hedwig Woermann born 01-Nov 1879
Venny Soldan-Brofeldt born 02-Nov 1863
Lois Mailou Jones born 03-Nov 1905
Lilias Torrance Newton born 03-Nov 1896
Charlotte Buresova born 04-Nov 1904
Elena Luksch-Makowsky born 04-Nov 1878
Milena Pavlovic-Barili born 05-Nov 1909
Ann Brockman born 06-Nov 1899
Elsa Haensgen-Dingkuhn born 07-Nov 1898
Sonja Kovačić – Tajčević born 07-Nov 1894
Angeles Santos Torroella born 07-Nov 1911
Elizabeth Sparhawk-Jones born 08-Nov 1885
Emmy Bridgwater born 10-Nov 1906 1999 oa
Lisette Model born 10-Nov 1901
Debora Arango born 11-Nov 1907
Carry Hess born 11-Nov 1889
Magda Langenstraß-Uhlig born 11-Nov 1888
Mary Kessell born 13-Nov 1914
Ekaterina Savova-Nenova born 13-Nov 1901
Sonia Delaunay born 14-Nov 1885
Julie Manet born 14-Nov 1878
Tina Blau born 15-Nov 1845
Miriam Schapiro born 15-Nov 1923
Elisa Counis born 16-Nov 1812
Katharina Sieverding born 16-Nov 1944
Louise Dahl-Wolfe born 19-Nov 1895
Lily Harmon born 19-Nov 1912
Marianne Breslauer born 20-Nov 1909
Angelika Hoerle born 20-Nov 1899
Germaine Krull born 20-Nov 1897
Elisabeth Jerichau-Baumann born 21-Nov 1819
Jeanne Mammen born 21-Nov 1890
Dora Maar born 22-Nov 1907
Bridget Bate Tichenor born 22-Nov 1917
Else Hertzer born 24-Nov 1884
Mary Foote born 25-Nov 1872
Sara Shamma born 26-Nov 1975
Audrey Buller born 27-Nov 1902
Gretchen Wohlwill born 27-Nov 1878
Mabel Alvarez born 28-Nov 1891
Hedwig Marquardt born 28-Nov 1884
Else Wex-Cleemann born 29-Nov 1890
Fridel Dethleffs-Edelmann born 30-Nov 1899

DECEMBER

Alison Watt – Alabaster (1998)

Eileen Agar born 01-Dec 1899
Jenny Mucchi-Wiegemann born 01-Dec 1895
Emilie Mediz-Pelikan born 02-Dec 1861
Marion Adnams born 03-Dec 1898
Dorte Helm born 03-Dec 1898
Grace English born 04-Dec 1891
Elfriede Lohse-Wächtler born 04-Dec 1899
Louise Catherine Breslau born 06-Dec 1856
Margaret Brundage born 09-Dec 1900
Louise de Hem born 10-Dec 1866
Zinaida Serebriakova born 10-Dec 1884
Olga Terri born 10-Dec 1916
Irène Zurkinden born 11-Dec 1909
Alison Watt born 11-Dec 1965 alive
Ragnhild Keyser born 12-Dec 1889
Emily Carr born 13-Dec 1871
Alice Sommer born 13-Dec 1898
Aino Bach born 14-Dec 1901
Remedios Varo born 16-Dec 1908
Bertha Wegmann born 16-Dec 1846
Suze Robertson born 17-Dec 1855
Jane Graverol born 18-Dec 1905
Ewa Kierska born 18-Dec 1923
Lucie Cousturier born 19-Dec 1876
Therese Schwartze born 20-Dec 1851
Trude Fleischmann born 22-Dec 1895
Margit Anna born 23-Dec 1913
Luvena Buchanan Vysekal born 23-Dec 1873
Alma del Banco born 24-Dec 1862
Sigrid Maria Schauman born 24-Dec 1877
Dorothy Johnstone born 25-Dec 1892
Ragnhild Kaarbo born 26-Dec 1889
Stella Steyne born 26-Dec 1907
Augusta von Zitzewitz born 26-Dec 1880
Annott (Jacobi) born 27-Dec 1894
Aisha Galimbaeva born 29-Dec 1917
Adela ber Vukić born 30-Dec 1888
Lucile Blanch born 31-Dec 1895
Beatrice Mandelman born 31-Dec 1912

Self-Portrait in the Studio (1579), by Lavinia Fontana, generally considered to be the first professional female artist

confessions of a godless heathen

Percy Bysshe Shelley, 1819, by Amelia Curran

Ignore the sensationalist headline; there are no confessions here, and I’m not a heathen, I’m an atheist. When I was a teenage atheist, one of my main issues with the idea of god had been neatly summed up well over a century earlier by Shelley in The Necessity of Atheism (1811):

If God wishes to be known, cherished, thanked, why does he not show himself under his favourable features to all these intelligent beings by whom he wishes to be loved and adored? Why not manifest himself to the whole earth in an unequivocal manner, much more capable of convincing us than these private revelations which seem to accuse the Divinity of an annoying partiality for some of his creatures? The all−powerful, should he not heave more convincing means by which to show man than these ridiculous metamorphoses, these pretended incarnations, which are attested by writers so little in agreement among themselves?

As an adult atheist I still think that, but I think a lot of other things too. I should possibly point out here that though I don’t believe in any deities, the god I primarily didn’t and don’t believe in was the Christian one, simply because that’s the one who most prominently didn’t and doesn’t exist in my own personal experience. My lack of any kind of religious belief is something I’ve given a lot of thought to over the years and mentioned many times in passing on this website. I’ve never written specifically about it, but several things I’ve recently come across made me want to. One is the slightly dubious, clickbaity claim that (as one headline put it) “God is back” and that Gen Z (or some such amorphous group) is embracing the Catholic church. I’m sure that to some extent that’s true, as the Catholic church is just as evident as always, the choosing of a new Pope is TV news etc, but it’s also true that there have been other, substantially similar news stories about Gen Z embracing astrology and conspiracy theories and feminism and anti-feminism and fretting about world war three. None of those things are mutually exclusive of course (most of them should be; maybe feminism & anti-feminism actually are), and what it seems to add up to is that kind of end-times malaise normally associated with the end of a century or millennium.

I feel like it’s necessary to take those kinds of stories with a pinch of salt though, simply because over the years I’ve read all kinds of similar stories about Gen X which occasionally apply to me and often don’t, but in either case I’ve never been asked my opinion in order to gauge it and neither I presume have most people. And since every generation seems to spawn its own Nazis, centrists, communists and anti-fascists and everything in between, its philanthropists, misanthropes and bystanders, its religious zealots, libertines and atheists (etc, etc, ad nauseam), it seems fair to assume that any theory about a generation, just like any theory about a gender, race or sexuality is going to involve the kinds of generalisations which, once really examined, make the whole theory redundant. Presumably, church attendances are on the rise, but does that mean that belief is on the rise, or just that the desire for belief – quite a different thing – is? Or both? Who knows.

Alongside that, not coincidentally, more and more (inevitably right wing) politicians have been yammering on at first in the USA and now here, about “Judeo-Christian” values. It seems that this is mostly because they don’t like foreigners and Islam and are immune to irony. Because in insisting on the values of two ancient foreign religions from what we now in the West call the Middle East and denying the very similar values of another, very similar (though not quite as ancient) religion also from what we now call the Middle East does seem ironic, especially when one is tying it in with one’s national identity. There’s been a growing rhetoric (again, on the right) that suggests that Christians are becoming an oppressed minority in the UK, which is both tiresome and laughable but nicely (and again not coincidentally) complements the growth of a men’s rights movement that claims feminism (which, like atheism has arguably only recently began to have a fairly minor influence if any on the power structures underlying British society) has ‘gone too far’ and all that fun stuff.

Although my attitude has changed over the years, I don’t think my views really have. I genuinely think that it’s terrible and damaging that all over the world people are punished or ostracised or oppressed or killed or made to feel bad about themselves for offending arbitrary rules established in the name of imaginary beings. And in a way worse, the idea that there are omniscient, omnipotent beings who would be offended by actions which they must have foreseen at the moment of creation but decided to allow anyway, in order to punish them.

That kind of thing seems to be the basis of a lot of atheist polemic. Sometimes I find it entertaining and (depending on the writer) interesting, but, even while still believing every word of it, and feeling that it’s worth insisting on if asked about my views, as a middle aged atheist I wonder about the usefulness of saying it polemically at all. Because – for me at least – the opposite of religious faith isn’t science and logic (though I do believe in those), it’s simply non-faith. And I’m not sure there’s much to learn from that.

It’s not an argument that strengthens any cause, let alone mine, but I have come to think that lack of belief in a god or gods is just as instinctive, reflexive and fundamental as faith in them is. My mother was a Christian in her youth (in an atheist household, oddly for the 1950s) to the point where she considered becoming a nun. During her life, she wavered from various kinds of Christianity, to Taoism and Buddhism and a kind of vague paganism, but – and I think this is the most important point – although she lost her faith in many belief systems over the years, she never lost her essential faith in some kind of benevolent god or spirit at the heart of creation. For me it’s almost the opposite.

I have always been very interested in religions from Animism to Zoroastrianism in the exact same way that I’ve always been interested in mythology (I don’t really distinguish between the two) and I find pretty much all religions to some degree fascinating. I love churches and places of worship, I love the atmosphere of ‘holy’ places (even pre-historic places we now assume were once sacred) and I love the imagery and paraphernalia of religions, in the exact same way I love art and history. But it’s good that I’ve never wanted to belong to a faith or to become involved with those mythologies, because I can’t remember a time when I ever believed in even the possibility that a deity of any kind was an actual, real thing. Santa Claus either for that matter, although presumably at some pre-remembered point I did believe in him (Him?)

I have no idea where my lack of faith came from but I can pinpoint when I first became aware of it. I went to three ordinary Scottish primary schools, which in the 1980s meant reciting the Lord’s Prayer every morning before the class started. Not surprisingly, I still remember most of it, though mysteriously I can’t work out which bit I thought in my childhood mentioned snot; I was quite deaf then, but I definitely remember a snot reference, which always seemed odd. In my memory that daily recital was just part of a greater daily ritual which also involved (in the early years) chanting the alphabet and (through all of Primary school) greeting the teacher in monotone unison (The phonetic version of Mrs expresses it more accurately) “GOOD MOR-NING ‘MI-SIZ WAT-SON” or whoever the teacher happened to be – seemingly there were no male Primary School teachers in my day.

I have surprisingly sharp memories of looking round the class during the morning prayer to see who else didn’t have their eyes closed – there were usually a few of us, and sometimes we would try to make each other laugh – but a key part of that memory for me is the sureness of the feeling that I wasn’t talking to anybody. The praying itself wasn’t something I questioned or minded – if anything I quite liked it. It didn’t feel at all ‘bad’ or rebellious not to believe, it just never occurred to me at any point that god was real and might be listening, any more than I remember feeling that the notes put up the chimney to Santa would be read by an old man with a red suit and white beard, or that the carrot for Rudolph would be eaten by an actual reindeer.

At school we went to church (I think) three times a year – at Christmas, Easter and (an anomaly) Harvest Festival – and so folk horror-ish paraphenalia like corn dollies are always associated with church in my mind. The sermons were boring, as were some of the hymns, although others, the ones where the kids invariably sang the wrong lyrics, were fun – but I liked (and like) churches. I liked the musty, chilly smell and the wooden pews and the acoustics and the stained glass windows and especially the holiday feeling of being at school but not at school. And, though they only came into school life at these times of year I liked the Bible stories too. It seems funny now, but until well into adulthood the image that the word ‘Palestine’ summoned in my mind was an illustration of Jesus wandering around in pink and turquoise robes; I presume it’s from some forgotten book of Bible stories. But to me, stories – sometimes good ones (in the case of the early days of Moses and the last days of Jesus, very good ones), sometimes boring ones, are all that they were.
But where does lack of belief come from? The same place, presumably as belief.

Bowie in 1976 by Michael Marks

In Word on a Wing (1976), one of my favourite David Bowie songs – also I think one of his most deeply felt and certainly one of his most open and revealing songs – Bowie, then in LA and in the middle of a drug-fuelled existential crisis but soon to withdraw to Berlin to live a relatively austere and private life, sings:
Just because I believe
Don′t mean I don′t think as well
Don’t have to question everything in heaven or hell

 

For me, that sums up (non-blind) faith perfectly. Essentially, it’s what Keats (those romantics again!) summarised as ‘negative capability’ (“Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason” – from an 1817 letter to his brothers) but applied to one of the most fundamental human impulses. I completely respect it and see what both Keats and Bowie mean by it, but it’s completely alien to me. Well, not completely: I don’t need to know how a jet engine works to travel by plane, I do indeed have ‘faith’ in it, but what the (nowadays many) commentators who characterise scientific belief as a kind of religious faith seem to overlook is that I don’t believe it because a scientist says it’s true, but because I can actually travel on a jet plane, and even before I did travel on a jet plane I could see that other people travelled on jet planes, that planes really do fly and engines really do work. Which seems like the build up to some kind of New Atheism gotcha of the ‘if God is real why doesn’t he just prove it’ type popular in the 2000s (essentially a more sneery version of the Shelley quote). but that’s not really me either. Although I am definitely an actual ‘speculative atheist’ and I suppose even an ‘atheist fundamentalist’ and though I genuinely do believe that the world and humanity would be better off without religion, I’m just not sure how much better off it would be.

It’s not that the New Atheists were wrong (or even new, thinking again of Shelley). Most of the arguments that were raised against them are easily picked apart. The idea that there is no morality without religion is so obviously wrong that it seems pointless even to argue against it. The same basics of morality (murder and stealing and cheating and lying are bad, treat people as you wish to be treated etc) are and have been all but universal, though not without different nuances, throughout history and throughout world cultures.
But the problem with lack of faith as certainty (and for myself I really am certain about it) is that its arguments, though more logical – at least up to a point, as we shall see – have precisely as much effect on the certainty of faith as the arguments of faith have on the certainty of non-faith. Logic is no help here.

From my point of view, in the certain absence of a god or gods, religion is purely human and therefore many of the (in themselves solid) arguments against it are kind of a cop-out. It’s not unreasonable to find it laughable that a supreme supernatural being should care what food you eat on which days, or what you wear or how you like to have your hair. It seems bizarre that an almighty creator who could presumably do whatever it liked, would take the time to tell humans which crops they prefer to have planted where or that male masturbation is bad rather than simply preventing the possibility of rule-breaking ‘at source’. But the omnipresent invisible elephant in the room is that whether or not a god really felt or feels strongly about these things, whether or not a god had them written down in words, they really were written down in words, by human beings, some of whom definitely did want these rules to exist and to be enforced. And it’s human beings that still enforce them. Also, it’s just as true that primarily secular or entirely secular societies also have rules and customs regarding things like clothing, food, hairstyles and even names, although they rarely come with threats of severe retribution and never with the threat of ongoing retribution after death. And yes, many of these customs – like the acceptable length of women’s skirts in western society – ultimately derive from religious directives, but any authoritarian society, not only theocracies or weird, nominally religious ones like Nazi Germany, but even states where religion is completely anathema like Stalinist Russia, Communist East Germany or the North Korea under its current regime are hardly relaxed about the individual’s freedom of expression.

Religious wars and religious persecution are bad, not because they are religious per se, but because wars and persecution are bad. Wars and persecution may often be provoked by religion, but surely if like me you don’t believe in god, then blaming that non-existent creature for religious wars is just euphemistic buck-passing bullshit? The Crusades were horrific, bloody and unjustifiable, but to blame “Christianity” for them, rather than Christians, that is, actual European human beings, is like blaming, or giving credit to, Tengri for Genghis Khan’s conquest of vast tracts of Asia, or suggesting that Jupiter, Neptune and co enabled the Romans to found their empire. “Catholicism” didn’t create the Spanish Inquisition any more than the concept of Nazism created the Holocaust or Islam as a belief system resulted in 9/11 or the Taliban. Left to themselves, religions, ideologies and philosophies don’t do anything; they just sit there. And they all have one common denominator, and it’s not a deity.

This morning, I saw that the Pope had made a statement that some policy or other of the current US administration is “un-Christian and un-American.” Well. I am glad to see anyone with any kind of authority challenging inhumane, intolerant and fascistic regimes. But those actions are only un-Christian insofar as Christ himself wouldn’t like them, according to the Bible. But Christ was one single man-god who acted a certain way and said certain things. All manner of atrocities are entirely in keeping with the actions of two millennia of Christians. As for un-American, again, the acts the Pope condemns are not compatible with the statements made by the founding fathers of the Unites States of America; but they are probably no worse than the actions carried out by those same founding fathers in their lives or many of the successive governments of the USA. Or indeed many, many other governments in the world. And, to be all New Atheism about it, when it comes to the welfare of children for instance, it’s not like the Catholic church itself has an impressive record. Does that mean the Pope shouldn’t condemn things or that American people shouldn’t try to hold their government to account using the egalitarian rules set down when the country was founded? Of course not; but invoking some kind of imaginary, ideal standard of behaviour really shouldn’t be necessary to do so. There’s human decency after all

Another (non-conclusive, because none of them are) argument for the human, rather than divine nature of religion is that the religions that have survived the longest and strongest in the modern world are those which are most compatible with it. The paternalistic, to varying degrees misogynistic Abrahamic religions all defer their ultimate spiritual rewards (but more on the non-ultimate ones later) until after death. They have no in-built expectation of much material happiness or contentment on this plane of existence and to varying extents they actually value hardship, while prioritising men within the earthly realm. Well, the paths that led us to 21st century culture, especially imperialism and capitalism, are fine with all that. Work and strive now, happiness comes later, unless you are one of the privileged few. Communism in theory isn’t fine with that, but naturally, having been formulated during the Industrial Revolution, when the vast mass of people were already oppressed by a tiny ruling class (itself a mirror image of the earlier rule of Church & monarchical elite vs peasant majority), it is defined by its opposition to capitalism. Early Communism therefore took hardship as a given (there is no proletariat without it) and, in lieu of heaven, deferred the payoff of universal prosperity and equality to some future time when the world revolution has been achieved and all opposition to itself removed. It’s a cliché to say that communism is itself a kind of religion, but the parallels are unignorably consistent; trust the leaders, put up with the shit now, eventually if we’re true to our cause it’ll all work out, if those heretics don’t spoil it.

On the other hand, various older kinds of religions, animism and ‘earth mother’ paganism and so on, value (quite logically) the need to look after the world we live in. It’s not that the religions of the book explicitly say not to, but they aren’t primarily concerned with this world – and imperialism and capitalism and even communism, which have other uses for the material world than care and stewardship, have historically all been fine with that. It’s somehow not very surprising that the aspects of non-Christian religions that became most taboo during the age of imperialism, and therefore attributed to “savage” or primitive cultures – human sacrifice, cannibalism, idol worship and so on – should be parts of Christianity itself. Without human sacrifice, even if it’s only the sacrifice of one special token human, there is no Christianity. The divinity of Christ kind of goes without saying – that’s what makes it a religion. But his humanity is what makes him more than just the old Testament god. And insisting on his humanity inevitably made the eating of his flesh and drinking of his blood controversial. But seriously, whether someone believes they are literally eating the flesh and drinking the blood of an actual human being or only symbolically doing so, it’s a cannibalistic ritual just as atavistic and visceral as any of the imagined horrors that the Christians of the crusading period or the Europeans who spread their faith across the world believed they had encountered. It doesn’t seem too fanciful to say that what really horrified those Christians was the discovery that things they saw as fundamental to their own civilisation might be just as fundamental to civilisations that they had to believe were inherently inferior in order to destroy them.

Monkey (1979) Buddhism & Taoism that was fun for kids

The fact that there are analogous stories to those in the Bible throughout history and world cultures (death, rebirth, sacrifice, enlightenment) suggests that whether or not one has any faith in these stories, they aren’t ‘just’ stories. In fact, a lesson that stayed with me (because it suits my personality I suppose) from the 70s TV show Monkey, based on Wu Cheng’en’s 16th century novel, Journey to the West – something like “winners make losers, therefore remove yourself from competitions” purports to be from a Taoist religious text. Eating the fruit of the tree of knowledge (I like to think a banana) and paying the unexpected price for it is, even as a mythological story, one that has real life analogies all through human history. I remember as a child when plastic coca cola bottles began to replace glass ones. It seemed futuristic and in a weird way utopian – lightweight like a can but resealable, far less risk to your drink if you dropped it than a glass bottle; less broken glass in the streets and parks. Whether or not scientists were already concerned with the problem of plastic’s lifespan or the sheer accumulation of it I don’t know, but kids weren’t, for a few years at least. Which has nothing to do with religion – but the attempt to do good turning out not only to be bad, but to be something that has to be dealt with and paid for down the generations is hardly an alien one. And in this case it was made worse not by religion, but by the inability or unwillingness of people under capitalism (myself included) to distinguish between convenience in the sense of people not having to waste half of their lives in drudgery and convenience in the sense of not having to get up to change TV channels. There’s probably a parable in there somewhere.

A favourite anti-atheist argument is the ‘intelligent design’/watchmaker one. It’s clearly an empty argument, but my counter arguments would only be convincing to an atheist – and not even to all atheists. The argument, put simplistically, that because a watch, or a computer, or anything human-made and complex didn’t just evolve on its own, but had to be consciously invented, therefore means that life, earth and everything else must have been consciously invented too requires an obvious leap of logic. The universe is not a machine, life is not the same as battery life.

The most complex things in our world seem to be human beings, and human beings also produce other human beings, often with no conscious thought and rarely with any kind of design at all. People are accidentally invented all the time. The idea that creation is accidental or ‘just happens’ is hardly a difficult one to grasp. The people that people produce are every bit as complex as their parents and grandparents, but only occasionally, and in the most superficial way, are they designed. Worse than that, logically, we know how humans are created, but even so it’s hardly unusual for them to be produced even when the people doing it very much desire not to do so. To look at the way that the most complex creations on earth are usually made and to label it “intelligent design” would be a strange thing to do, since it doesn’t necessarily include much intelligence or any actual design. Of course that doesn’t prove that things weren’t originally designed, but the gulf between organic living things and intelligently designed things as we experience them, even at the beginning of the AI age, is so fundamentally different that you might as well argue that a cat must have designed clouds because you once saw a cloud that was cat-shaped.

As mentioned in passing before, it’s popular among a certain kind of (usually, but not exclusively right-wing, American) Christian to compare ‘faith’ in science to faith in god, which is a false equivalence, for the jet plane kind of reasons mentioned above – but although I do believe science to be superior in every way to religion – because it learns from experience, for one thing – I do sometimes wonder whether it suffers from being (this sounds very different from how I mean it) homocentric (is ‘anthropocentric’ better? It sounds worse) in a similar kind of way. I remember learning (in a very basic way) about the big bang at school and asking the teacher, not unreasonably I think, *what* was supposed to have exploded and where that came from and being told “that isn’t a scientifically interesting question.” Well, quite possibly all the teacher meant is that at the current time any answer to that question must be pure speculation of a non-mathematical kind, but teen-me felt that it was basically “science works in mysterious ways” and he/I didn’t like that.

Somewhere in this article I had been going to say that Shakespeare was was as right as anybody when he wrote “Nothing will come from nothing” but now that I’ve reached this point I wonder whether being creatures that are born, who come from somewhere, who live for a while, who are subject to time and then who die and stop existing (or go somewhere else) shapes our understanding of everything. I do believe in the big bang because the evidence around us confirms its likelihood. The universe started, it expanded and at some point it will end. The idea of something that just is, forever, or that exists outside of time, whatever that would mean, seems as incomprehensible as non-existence does. That things, including human beings do stop existing is in one way obvious – but things breaking down, decomposing, changing from one form to another and (romantically) melding with the universe or (prosaically) enriching the soil or whatever is a process that is understandable. The personality and individual human consciousness switching off and simply not existing is the hard part to take in. As far as we can tell this isn’t a change in energy type, the electrical impulses that are us don’t seem go anywhere or do anything. But maybe that whole frame of reference; beginning, middle, end isn’t everything, it’s just the limits of human understanding. Which doesn’t, to me, imply the existence of any kind of creator or supreme being, just that there’s scope there for whatever you care to imagine but which you can never truly know. Keats would be fine with that.

Similarly, to apply logic to the existence of god will always be self-defeating, because logic is (as far as we know) a specifically human way of explaining the universe to its/our own satisfaction. The laws of physics and nature and mathematics do seem to work according to logic, which is very helpful for teaching and learning and science, but human beings themselves routinely defy logic in both profound and trivial ways. Many of the things that humans value most highly are completely resistant to logic, like art and god and love and money. Even something as humble as sports; one human being being able to run faster than another or play a game better than another is only dubiously something to celebrate, and if it is, then logically one might expect people to support only the best teams and athletes. If, alternatively it’s to do with identification with and loyalty to one’s own area, then fans might only be expected to support teams or athletes from the same geographical location as yourself, which is occasionally how it works, but just as often isn’t. There’s nothing especially logical about the enjoyment of a race or a game in which you aren’t involved for its own sake. Does that mean that logic is a faulty way of understanding the universe? I don’t know; but it is a faulty way of understanding human beings. The idea that god’s existence is a logical reality in a 2 x 2 = 4 way makes about as much sense as the position of the planets at the time of your birth dictating your future.

As Bowie implied, faith needn’t – and in many cases I’m sure doesn’t – preclude seriously considering the implications of one’s belief. But sometimes it does. I’ve never wanted to believe (I don’t really get why anyone would, if they don’t; which is my deficiency), but as an adult I have always wanted to understand people who do. And in general, I find it frustrating to try to do so, as two different but very similar anecdotes about my encounters with people of faith illustrate. I am aware though that these may say more about me than they do about the believers.

In my professional capacity I was once interviewing a prominent American black metal musician whose latest album went on about blasphemy a lot. Given that black metal encompasses everything from orthodox satanists to heathens and pagans and occultists and chaos magicians and nihilists, I asked what I thought was a reasonable question; what meaning does blasphemy have unless one believes in god? Doesn’t the concept of blasphemy essentially reinforce the religion it attacks by affording it some kind of legitimacy?* The musician’s response was the black metal version of these go up to eleven. I think what he actually said was “Everyone knows what blasphemy is.” And he was right I suppose, but he was also characterising his band as purveyors of simple shock and outrage to the very few people who are still shocked and outraged by blasphemy. Ho hum.*

The archetypal image of black metal, Nattefrost of Carpathian Forest, photo by Peter Beste

*this made me think of an occasion in high school where I muttered “of for god’s sake” or something like that and my maths teacher said “don’t blaspheme, William!” and I replied “it would only be blasphemy if god existed” and was given a punishment (lines). It was only years later than realised I deserved the punishment, not because of god, but because I was being a smart arse to a teacher – at the time I just felt righteously angry about the lines.

Likewise, a visit from some very pleasant Jehovah’s Witnesses left me with unexpected admiration for them, but also some frustration; they also left prematurely, which my younger self would have regarded as a victory. The respect was for their answer to the kind of question that seems like a typical smart-arse one, but I was genuinely curious. If there are only 144, 000 places in heaven in your religion (I had only recently learned that strange fact) and those are all spoken for already, why are you knocking on people’s doors trying to spread the word about your faith? I hadn’t expected their response, which was something like “Oh, we don’t expect to see heaven. Heaven is for god and the saints and angels, Earth is the paradise that god made for humans, it just needs to be fixed.” A version of Christianity that withholds the promise of paradise even after death was weird to me, but also impressive. Having a faith where you never expect to attain the best bit seems coolly ascetic, but also kind of servile, which it literally is. The fact that servility seems distasteful to me is I suppose my weakness not theirs.

I was less impressed with the response to what I felt and still feel is a serious question and not just a cynical gotcha; If god is all you say it is, all powerful, blah blah, then why create evil? There was a stock answer ready, which was to do with free will and choice, but even though there are holes to be picked in that too (the ‘free will’ of transgressors has nothing to do with the free will of their victims, what about their will?) – that wasn’t what I meant. What I was asking is, If you can do whatever you like, can see everything that has ever happened and everything that will ever happen, if you are capable, presumably, of endless satisfaction and happiness, why create ‘bad’ – or, more personally perhaps, why create even the concept of ‘things you don’t like’ at all? To that question, I got the Jehovah’s Witness version of “these go up to eleven” and a quick goodbye. But I genuinely wasn’t trying to catch them out, I really wanted to know what they thought about it, but apparently they didn’t think anything. Having said that, I can see now that I write about it, that interrogating your belief system for the benefit of a stranger who obviously isn’t going to be persuaded to join you is probably not all that attractive. Still, I didn’t knock on their door.

Guy Pearce as Peter Weyland in Ridley Scott’s Prometheus (2012) – something to aspire to?

So much of religion seems to me to be saying that that, whatever the wonders and horrors and joys and pains of life, it’s not enough and they want more. But again, that’s not exclusive to religious people. I recently saw an unsettling but also unintentionally funny video in which the PA of a shadowy, influential and incredibly wealthy figure was talking about transhumanism and his master’s ultimate Roy Batty/Weyland-from-Prometheus plan not to die at all. Which feels very sci-fi, but also very late Roman Empire. At the same time, my generation grew up with the rumour that Walt Disney’s head is in a refrigerator, awaiting medical science until he can be resurrected when the technology catches up enough. Rebirth and resurrection; there really is nothing new in human history.

detail of the crucifixion from the Isenheim altarpiece (1512 – 6) by Matthias Grünewald

All a bit bleak, maybe; but if religion only offered oppression, judgement, condemnation and war then far fewer people would devote their lives to it. And if the negative aspects of religion all exist independently of religion, then so do the positive aspects, and without the same arbitrary punishment/reward structure underlying it.

Religion offers comfort to people in distress, it offers a sense of community and belonging, it offers contact to people who feel isolated. It offers various kinds of love.  I can’t think of many artworks more moving than Matthias Grünewald’s crucifixion from the Isenheim altarpiece (1512-6), painted to comfort people who were suffering from skin diseases, by showing them the scourged Christ’s suffering, which mirrored their own. But just as the Quran didn’t issue a fatwa against Salman Rushdie and the Bible didn’t take babies from unmarried mothers and kill them and bury them in the grounds of institutions, neither do those books feed the poor, embrace the lonely, paint pictures or create a sense of community. Human beings do those things, and they do them regardless of religion. They do it in societies where religious beliefs aren’t based on the Judeo-Christian tradition and they do it in societies where religious beliefs are actively frowned on. After the dissolution of the USSR, few people were nostalgic about the food queues or the secret police, but many were nostalgic about the sense of community that came from masses of people being in the same situation together. And now that capitalism which, unlikely though it seems, is not always so far removed from Soviet communism, has created its own underclass and hierarchical power structure and pogroms and whatnot, people have also created their own communities, support groups, charities and friendships.

The one positive thing that faith offers that non-faith of my kind doesn’t, is a personal relationship with god – and that’s where we came in; you either believe or you don’t. I can completely understand that having a direct line to someone who knows you and understands you better than you know yourself, who accepts and forgives you could be nice and comforting. Maybe in pre-Christian or non-monotheistic societies that voice was the voice of the ancestors or the spirits of the trees and rivers. I can see how that would be nice too, but for myself I can’t imagine having such a thing or longing for it or even wanting it. For me, you either disbelieve or you don’t.

And maybe that’s really the strongest argument, not against faith, which there is no argument against, but against religions as institutions, as rules and directives of the kind that people are so keen to re-establish. Because if there’s one thing you can see, looking not just at the diversity of religions but at the diversity of beliefs within them, at the different ways that people relate to and communicate with their gods, it’s that god is just as personal and individual as any of its believers and disbelievers and so making an orthodoxy of it can only ever harm more people than it helps.

chocolate eggs & bunnies & pregnancy & blood: happy Easter!

ceramic sculpture of a Moon Goddess and her rabbit or hare partner, Mexico, c.700 AD

Imagine a culture so centred on wealth, property and power that it becomes scared of something as fundamental to human existence as sex, and frets endlessly about what it sees as the misuses of sex. A culture that identifies breeding so closely with with money, wealth and status, and women so closely with breeding and therefore with sex that, when looking to replace the traditional symbols of birth and regeneration it rejects sex and even nature and, in the end makes the embodiment of motherhood a virgin and the embodiment of rebirth a dead man. Unhealthy, you might think; misanthropic even – and yet here we are.

But when that misanthropic culture loses the religious imperative that fuelled it for centuries, what should be waiting but those ancient symbols of fertility; rabbits and eggs. But whereas Christianity in its pure, puritanical form found it hard to assimilate these symbols, preferring instead to just impose its own festival of rebirth on top of the pagan one, capitalism, despite being in so many ways compatible with the Judeo-Christian tradition, is essentially uninterested in spiritual matters. So even though capitalism is mostly pretty okay with Christianity, which creates its own consumer-friendly occasions, it proves to be equally okay with paganism, as long as it can sell us the pagan symbols in a lucrative way.

In Christianity the idea of the life cycle is almost surreally reproduced in the (male) Trinity; God the Father, God the Son and God the Holy Spirit – defined by the Lateran Council of 1213 – 15 as “the Father who begets, the Son who is begotten, and the Holy Spirit who proceeds” – there’s no room for anything as earthly or earthy as motherhood. The Virgin Mary is essentially a token female presence, and one with her biological female attributes erased. And yet in every society that has worshipped under the Christian banner, child-bearing has historically only been done by women and child-raising has almost entirely been ‘women’s work’ too. Which makes you think that really, patriarchy is one of the great mysteries of humanity and the fact that it’s seen by many as the natural order of human society is even stranger.

But anyway; Easter. Easter is a mess, even to begin with; its name is pagan (Ēostre or Ôstara, Goddess of the spring) and its Christian traditions, even when embodied in the tragic idea of a man being murdered/sacrificed by being nailed to a cross, were never entrenched enough to suppress the celebratory, even frivolous feeling that spring traditionally brings. Okay, so Christ ascending to heaven is pretty celebratory without being frivolous; but as, in the UK at least, represented by a hot cross bun, with the cross on the top to represent the crucifix and even – to play up the morbid factor that is so central to Christianity – its spices that are supposed allude to the embalming of Christ’s dead body, it’s hardly solemn: it’s a bun.

On the other hand, birth, since the dawn of time and to the present day, is not just a simple cause for rejoicing and in that, the Christian tradition – although it tries to remove the aspects that seem most central to birth to us: women, labour (the word presumably wasn’t chosen accidentally) and procreation – probably tells us more about the seriousness and jeopardy of childbirth than the Easter bunny does.

St Margaret, “reborn” after being eaten by a dragon

Childbirth is the central and most fundamental human experience and, until the 20th century it was one of the most perilous ones, so naturally the church had to address it. And so there’s a ‘patron’ (interesting choice of word) saint of childbirth; clearly the Virgin Mary is too specialist to be identified with (and perhaps it would even be blasphemous to do so?) so instead there’s St Margaret. Not much help; firstly, St Margaret should surely be a ‘matron saint’ but that’s not a thing, and secondly, in herself she has nothing to do with birth, although she was presumably born. Instead she becomes the saint of childbirth through the symbolic act of bursting out of the dragon who ate her – a strange analogy but one that reflects the hazardous nature of childbirth in medieval times, when mortality rates were high, not just for babies but for their mothers. And what mother couldn’t relate to bursting out of a dragon? But Christianity’s real issue with the whole topic of birth has less to do with birth itself than how humans reproduce in the first place. Rabbits and hares may represent – in ancient cultures across the world, from Europe to Mexico and beyond – fecundity, but it’s an animal idea of fertility for its own sake that has nothing to do with the practical or emotional aspects of producing new human beings, or the legal, dynastic and financial ones that the Old Testament and the ancient world generally saw as the purpose of reproduction.

Jan & Hubert Van Eyck’s Eve from the Ghent Altarpiece (completed c 1432)

Pregnancy in Western art was a rarity until fairly recently and the puritanical ideas inherited by Victorian Christianity shaped art historical studies, to the point that people (until quite recently) tended to deny the evidence of their own eyes. Surely to believe that Jan and Hubert van Eyck’s hyper-realistic Eve – the mother of the human race – from Ghent Altarpiece (completed in 1432) just has the preferred medieval figure, rather than being pregnant, is perverse, isn’t it? Or that Mrs Arnolfini (Costanza Trenta) in the Arnolfini Portrait of 1434, who is touching her swollen stomach and who had died, presumably in childbirth – the year before this painting was completed, is just an example of that same fashionable shape, seems ridiculously far-fetched. (My favourite among the many theories about the Arnolfini portrait is Margaret Koster’s – which is explored in Waldemar Januszczak’s excellent short film about the painting.)

To go back to Eve; the idea of the first woman pregnant with the first child makes more sense for the 15th century, which was neither squeamish about or embarrassed by the realities of life in the same way that the 19th and early 20th century gentlemen who codified the canon of Western art history were. It’s not impossible that she is just the medieval/gothic ideal of femininity as seen in illuminated manuscripts and carvings; small shoulders, small breasts, big hips and stomach – given an unusually realistic treatment, but it’s hard to believe that even in the 15th century the first reaction of viewers – especially given the realism of the picture – wouldn’t have been to assume she was pregnant. Culture and society has changed a lot in the intervening centuries, but biology hasn’t.

For subsequent generations, the status of women and the perils of childbirth and childhood gave pregnant women and babies a strange presence in secular art. While there’s no reason to assume that people were less caring or sentimental about their partners or their children, portraits were rarely about sentiments, but status. Portraits of women, with the rare exception of Queens, were generally portraits of wives or potential wives, and pregnancy was of crucial dynastic importance. But in times when childbirth was almost as likely to end in death as life for both mother and child, it was presumably a risky thing to record; there are not very many pregnant portraits. Maybe – I should probably have investigated this before writing it – the time a portrait took from commission to completion was also a factor that made it risky? A portrait wasn’t a particularly inexpensive thing, possibly commissioning a portrait of someone who would quite likely be dead within the next nine months felt like an iffy investment, or (to be less mercenary about it) courting bad luck? In the generations that followed, female artists – such as Elizabeth Vigee-Lebrun – could celebrate motherhood in self-portraits, but for the kind of reasons mentioned above – and because of contemporary ideas of ‘decency’ – they were hardly likely to portray themselves as obviously pregnant.

Gustav Klimt – Hope 1 (1903)

As time went on and connoiseurship and ‘art history’ became a thing I don’t think it’s too much of an exaggeration to say that the arbiters of high culture in the paternalistic (at best, misogynistic at worst) society of Europe were intimidated by the female power inherent in the creation of the human race. The other side of that coin is the (slightly titillating) sense of the beauty, magic and wonder of pregnancy that the pro-female (philogynist? There must be a word) Austrian Gustav Klimt brought to art with Hope I. Beautiful though that is, Klimt’s vision isn’t really so far from the pure virgin/corrupt whore binary of medieval times, especially when you see his beautiful female figure of hope and renewal glowing against a background of death and peril. It really only when women enter the art world in greater numbers that the symbolic and magical aspects of motherhood are reconciled with the more sombre, earthly spirituality that Christianity preferred to represent in a dying man and that pregnant women can just be pregnant women.

For me, Paula Modersohn-Becker – one of my favourite painters – is the artist of pregnancy and childbirth and a painting like her Reclining Mother and Child II (1907) shows all of the human aspects that were embodied in the contorted Christian images of the Virgin Mary, crucifixion and Christ’s rebirth. In her self-portraits, the magic of Klimt without the titillating overtones, the fragility and peril of the older periods and the prosaic facts of pregnancy and what it does, good and bad, to the body, are all acknowledged. For once, it doesn’t seem ironic, only tragic, that Modersohn-Becker would be one of the many thousands of women of her era to die from complications shortly after giving birth.

Paula Modersohn-Becker – Reclining Mother & Child II (1906)
Käthe Kollwitz, 1920

But once the reality had been captured, where to go from there? Anywhere, essentially; after Paula Modersohn-Becker pregnancy becomes just a subject, if a special one; art as creation representing creation. That’s a lofty way of putting it, but for the generation of German artists that followed, ‘realism’ was the whole point, some of the time at least. If Paula Modersohn-Becker represented pregnancy from the point of view of experience, capturing both its beauty and discomfort, Otto Dix the arch-realist gives us just the discomfort. His pregnant mothers are almost all exhausted working class women, heavy, swollen, weighed down by their burden. It’s a beautifully-observed point of view, and an empathetic one, but possibly a very male one too. Although Dix claimed, possibly sincerely, “I’m not that obsessed with making representations of ugliness. Everything I’ve seen is beautiful.” he nevertheless took a definite pride in shocking viewers with his art. As he also said; “All art is exorcism. I paint dreams and visions too; the dreams and visions of my time. Painting is the effort to produce order; order in yourself. There is much chaos in me, much chaos in our time.” By the time Dix painted these pictures he was a father himself, but although his paintings of his family reveal a more tender, if just as incisive, aspect to his art. When he paints these mothers-to-be, with their hard lives in the terminally unstable Weimar Republic, he paints as a pitiless observer, knowing that his work was challenging and confrontational to the generally conservative audience of his time; a time when, like ours, forces of intolerance and conservatism were closing in on the freedom embodied in art this truthful. It’s notable that, while dealing in the same harsh realities as Dix, but with a socially conscious, rather than clinical eye, the artist Käthe Kollwitz gives her women a more studiedly pitiable, though no less ‘realistic’ aura.

But the fact that Dix’s realism, though ‘objective’ was dramatically heightened is highlighted by a comparison between two paintings, one by Dix and the other by his female student Gussy Hippold-Ahnet, painted in 1931/2 and of – I think – the same model. In Dix’s painting, his most famous painting of a pregnant woman, the mother-to-be’s face is averted, hidden in darkness and it’s her almost painful roundness and heaviness that is the focus of the picture. In Hippold-Ahnet’s painting, far less dramatically, the mother sits more or less neatly, looking big but not unhappy. It’s a less dynamic and less assured piece of work – but is it any less real? In Dix’s realism, reality is generally harsh and pitiless, with no veneer of politeness or sentimentality. But although that represents a kind of underlying truth, especially about nature, people are often savage and cruel are nevertheless just as often also polite and sentimental. Gussy’s painting seems less powerful, but she is not showing us, as Dix seems to be, a faceless being representing the eternal, but rarely-remarked-on hardship involved in the joyous business of continuing the human species. Instead, sh3 shows us a woman who happens to be pregnant; both paintings are realistic, both are objective and, as with the symbolic sacrifice of Christ and the eternally recurring Easter bunny, both display different aspects of the truth.

Otto Dix – Pregnant Woman (1931) & Gussy Hippold-Ahnert – Pregnant Woman (1932)

Since the 1920s, attitudes towards pregnancy and women have fluctuated but female artists are no longer the exception within the art world and so women in art can be women in art and not women as a symbols in art. And although male artists have continued – and why not? – to paint pregnant sitters (Lucian Freud’s Pregnant Girl is a beautiful, not uncomplicated example), not surprisingly women do it better. And while I’m not sure if my favourites – Alice Neel and Paula Rego spring to mind – add anything in terms of content and meaning to Paula Modersohn-Becker’s example, what they do add is more experience, wider experience and therefore bring a truer reflection of the source and the central experience of humanity to the world. Regardless of whether or not one believes in a god, everyone believes in that creation story; which is kind of more important than an old, bearded man, a young, sacrificed man and a bird; but it doesn’t matter, there’s room in art for everything. Anyway, enjoy your chocolate eggs.

Paula Rego – The First Mass in Brazil (1993)
Bonus picture: my favourite bunny in art: detail from Piero di Cosimo’s Venus, Mars & Cupid (1505)

 

courbet’s birthday – the case for conscious iconoclasm

 

Gustave Courbet was born 101 years ago today, but although he remains one of the key figures in nineteenth century art and the roots of modernism, this isn’t about his painting.

During the Franco-Prussian war, Courbet, by then in his 50s and an elder statesman of French art, proposed that the Column erected in the Place Vendôme by Napoleon to commemorate his military victories be pulled down as a symbol of aggressive imperialism, and moved to a location that both neutralised and cast light on its true meaning; he suggested the military hospital, the Hotel des Invalides.

Place Vendôme, 1871

He also suggested that a new monument be made from melted down cannons and dedicated to the people, both French and German, and the peaceful federation of the two nations.
During the brief period of the Paris Commune the next year, the revolutionary government followed half of his advice and issued a decree that the Vendôme column should be demolished – and replaced by a figure representing the Commune itself.

It was duly pulled down, but the Commune was too short-lived for its replacement to be built, and the suggestion that the Place Vendôme column be moved elsewhere was ignored. Instead, when the Commune was overthrown and the government reinstated, Courbet was imprisoned (ironically, he had by then fallen out with the leaders of the Commune too, disagreeing with their more repressive measures) and after his release was charged with the expense of rebuilding the column (he fled France to avoid paying), which remains in the Place Vendôme to this day. Which is a shame. Had Courbet’s original suggestion been followed, the column would have been both a memorial to Napoleon and the might of his armies as it is now, but also to the real meaning of military glory; death, pain and horror.

Courbet and the Communards (not THE Communards; Jimmy Somerville was not present) with the ruins of the Vendôme column, 1871

In the past week, statues have been toppling (notably the statue of slave traders Edward Colston in Bristol and Robert Milligan in London; and it’s good I think; Britain is full of statues and memorials and it’s only right that, rather than seeing them simply as decoration, we should see them as history, and ask who they are and why they are there. And their removal is history too; and I hope that in removing the layers of time and dust and whitewash between us and the past, we can take into account that removing and ignoring parts of history that – for whatever reason – we don’t like, is and always has been part of the problem. A statue that glorifies one man while ignoring the countless, now unfortunately mostly nameless, people he exploited and whose lives he destroyed is an abomination and a symbol of so many things that are wrong with this country; so it should be used to educate and illuminate that sordid corner of history, and to ensure it isn’t forgotten.

Edward Colston’s statue – Ben Birchall/PA Wire/PA Images

I don’t know the best way to do that, but as a matter of course I think that – at the very least – the monuments that litter the country should be looked at, evaluated, explanations added that tell people what history really means. History is the lives of people, not something abstract, and not just those people who pleased the authorities or the populace enough to be celebrated and commemorated – what was the context? Why are we supposed to still care, where does that part of history fit in with where we are now? In a post-modern age it’s not too much to ask that our landscape becomes post-modern too. If statues and monuments of individuals are to mean anything more than personal glory for their subject it doesn’t seem too much to ask to have a basic overview in whatever form (plaque/recording/who knows?) – who is it/what did they do/why are they here* – and the latter two things may only be tenuously linked. In the case of (since he’s in the news) Edward Colston, a few lines can tell a story that I think is worth telling; Edward Colston (1636-1721)/businessman responsible for the slavery of an estimated 84,000 African men, women and children, 19,000 of whom died in transit to the West Indies, many of whom were sadistically branded with his company logo/statue erected as a reward for investing his fortune in British charities, churches and hospitals. The wording would be important and require more thought than I’ve given it here though. I don’t think this would condone anything, but it explains something about history, what the empire was, how it worked and why things are as they are now, in a way that a name and birth/death dates doesn’t.

*immediately you have to admit that this could become absurd; but it needn’t

A statue isn’t a museum, but I don’t see any reason why they shouldn’t do the same job as one; not just preserving, but educating. There’s a parallel argument here too about museums and the repatriation of items stolen from different peoples; and it’s hard to see a good argument against repatriation in an age where the contents of a museum a thousand miles away is as easily accessible to most people as the contents of one a hundred, or fifty miles away. But that’s another discussion.

Importantly, this isn’t – to me at least – an argument for less public art, but for more. Heroines and heroes are not necessarily those people whose fame was great enough to warrant erecting statues of them within living memory. The heroes, as they were then considered, of the Napoleonic wars, or the British Empire, or of World War Two, may not be – and mostly shouldn’t be – our heroes now – but it’s never too late to remember other figures, who exemplify what we retrospectively see as the virtues of their age (deciding who you would memorialise is irresistible; was very glad to see Sylvia Pankhurst memorialised myself). And though some argue (such as Rachel Holmes in this article that I mostly agree with) that there are too many statues in the UK, I don’t think so. The more our history is clear to see and to question, the healthier it is. Hiding it, or limiting public memorials to people we all approve of (impossible) seems the worst kind of self censorship. That said, it gives me some kind of patriotic pride to note that, despite the number of memorials to forgotten military people and monarchs in my own capital city, the best-known statues there are to a writer (albeit one whose role in Scottish history is both illustrious and ambiguous, depending on your political point of view) and  and a dog (ideologically pretty okay).

Probably the Emperor Claudius, 1st century AD

But anyway; time and memory and history are complex, fluid things. There’s a life size bronze head, probably of the Emperor Claudius, in the British Museum which, for whatever reason was removed from its statue and thrown into the river Alde nearly 2000 years ago. The most attractive theory is that the statue was destroyed during Boudicca’s rebellion of native British tribes in AD 61 – and while we can never know if this is true, knowing that the statue existed and that it was dismembered tells us more about Imperialism, resistance and human history than if it had simply been melted down and erased from the world.

The year before Courbet’s birth, Shelley, like Courbet a socialist of sorts, published Ozymandias.

I met a traveller from an antique land,
Who said—“Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.”.

 

 

a true state – cut and paste and the art of collage (Edinburgh, summer 2019)

Francesca Woodman, Untitled (1977)

2019 has, in many ways, not been a good year so far. But this summer, the National Galleries of Scotland had (well, has; they are still on) three particularly outstanding exhibitions that brought a bit of light and intelligence to a period of more-than-usual stupidity. At the National Gallery itself, there was the excellent, eye opening and brain-frying Bridget Riley exhibition (closes 22nd September), at the National Portrait Gallery the superb Self Evidence (closes 20th October) in which Francesca Woodman’s tiny, intimate, self-enclosed photographs vibrate balefully in their little corner, overshadowing (for me) the also (but in an entirely different way) intimate and at times frankly challenging monumental works of Robert Mapplethorpe* and, to a lesser extent, the brilliant but (I guess appropriately) don’t-quite-fit-in Diane Arbus portraits of the lives of people marginalised and made invisible by mainstream culture.

*though the Mapplethorpe pictures were the ones that moved me the least, they did provide the priceless spectacle of parents hurrying their curious kids past the notorious 1978 Self Portrait With Whip. They had been warned!

But for me, the highlight of the National Galleries’ summer programme is Cut and Paste: 400 years of Collage at Modern Two (closes 27th October).

Thanks to its inclusive definition of collage (which covers photomontage, traditional collage, plus bits of decoupage, pressed plant samples and even quilting) as well as its historical scope, the exhibition manages to be both focused and wide-ranging, and also (I found) surprisingly moving. What collage does, or at least amplifies – perhaps paradoxically given its use of found/ready-made materials – is that aspect of art that disappears most quickly in reproduction; the hand of the artist. This is art not only as a reflection/projection of culture but one that includes material culture itself.* There is, sometimes regardless of the picture/object, a poignant quality that comes from the materials used, in a way that doesn’t happen with paint, unless you are the kind of conservator who can isolate pigments used to specific periods (I’m not, unfortunately).

*I don’t think this is just pretentious bullshit; but you never know

Pablo Picasso, Bottle and Glass on a Table (1912)

I’m getting ahead of myself here, but a seminal collage that makes an appearance in the exhibition, Pablo Picasso’s Bottle and Glass on a Table (1912) is a classic/typical Picasso cubist/spatial experiment, but the use of newspaper – a very specific, dateable piece of ephemera (from Le Journal, 3 December 1912) – gives the work, instantly and inherently, a dimension largely absent in conventional painting. The feeling that the collage is both artwork and artefact; literally as well as figuratively multi-layered, makes a case for collage as a distinct and special art form, a feeling echoed by the Scottish artist Eduardo Paolozzi (represented by some outstanding works in the exibition), for whom the form offered clarification, where formal art training raised problems and questions: “Unlike the world of school where the universe was systematised in a certain order, the reassembly of this disparate material reflected a true state, both autobiographic and dynamic.” (quoted in the exhibition catalogue,  p. 126)

So anyway; the exhibition is arranged chronologically, in the usual Modern Two layout; in various rooms, up the stairs, through the corridors etc, always I think a layout that makes for an engaging, surprising way of looking at art. Partly deliberately (there were too many people in the first room), I went around the exhibition in reverse chronological order and in retrospect that seems like a good decision. This meant that the exhibition opened with the Chapman Brothers’ The Disasters of Everyday Life (2017), a spectacular-looking wall-like object consisting of 80 of Goya’s horrific etchings, The Disasters of War, with of course added bits and pieces, sometimes powerful, sometimes deliberately absurd, I think (though I’d have to go through again the other way) it serves better as a kind of abstract for what is to follow than it would as a conclusion, where peering at a lot of small images might have seemed a bit anticlimactic.
I’m not going to mention every picture in the show, though I can’t think of anything that doesn’t deserve a mention. The first thing to have a major impact for me was Lucy Williams’ 2015 Crescent House, as much a piece of model making as a collage, a strange, small scale (just under a metre long) recreation of a bit of postwar architecture, but simplified and made more colourful, giving it a feeling of harmony almost like a kind of 3D Mondrian.

Lucy Williams – Crescent House (2015)
Linder – Pretty Girl (1977)

Crescent House captures something of the intended optimism of the postwar new town planning that’s most often associated now with neglect and urban decay. I don’t know if it’s a generational thing (Williams is around my age), but for me there was something powerfully bittersweet about the feeling of an abandoned, never-quite-attained future, heightened by the realness of the work as an object.

The aesthetic of Crescent House – though that is far lighter in tone – makes me think of the late 70s work of Linder (Sterling), another exhibition highlight. Although similar in its reference points to the pop art collages of Richard Hamilton a couple of decades before (sadly his iconic 1956 collage Just What Is It That Makes Today’s Homes So Different, So Appealing is not in the exhibition, though they do have a nice work by him, Desk from 1964), the feel of Linder’s work is far darker (it makes me think of the confrontational industrial work of Throbbing Gristle and COUM Transmissions around the same period) and the satire more pointed. Works like her Pretty Girl series(1977) exemplify a particular approach to collage. Using the detritus of everyday life; magazines, posters, advertising, it became a way of embodying in the art a criticism of the culture that it’s a reaction to as well as a product of. It’s a feminist criticism of the objectification of women that uses already depersonalised women (part of the problem) and merges them with actual ‘objects of desire’ from a patriarchal culture that above all else believes in commodification for its own benefit.

Craig W. Lowe, Bedroom Cupboard door covered with stickers, 1987-1997

Thanks to the exhibition’s open-minded and inclusive approach, there are some unexpected revelations (but aren’t all revelations unexpected? I mean, that’s obvious). While Craig W. Lowe’s bedroom cupboard door covered in stickers c. 1987-1997) may appeal most as nostalgia, the inclusion of Jamie Reid‘s original Sex Pistols Never Mind The Bollocks cover collage (1977; copyrighted image so I’d better not share) opens realms of not-previously-considered information (at least to me) about one’s record collection. Firstly, the collage is black and white, and secondly, it isn’t just a picture or a ‘file’, it’s an actual thing. Like, presumably all album cover art (and book cover art etc) before the digital age, the NMTB cover in all its yellow and pink (or pink and green) glory, taken for granted forever, is not a picture, it’s a photograph of a picture. In its final form it’s been overlaid with colours, but that object there on the wall in Edinburgh is the thing itself. A strange feeling, like looking at the inscription on a ten pound note and considering that it is a representation of something, rather than ten actual pounds.

The Sex Pistols cover primes the viewer (at least the viewer going through the exhibition backwards) for the various bits of Peter Blake’s Sgt Pepper’s Lonely Hearts Club Band cover that are on show – and, great though they are (and I like Sgt Pepper quite a bit more than I like Never Mind The Bollocks), without that priming, the Beatles items wouldn’t have the same impact; perhaps because the cover itself is clearly a photograph of objects and cut-outs and seeing them is very cool but not really revelatory, the whole is too familiar and iconic to give the frisson of a moment captured. In fact, Blake’s superb, possibly slightly twee The Toy Shop (1962) is a far more vivid time capsule; clearly pointing to Sgt Pepper, its a conglomeration of bits and bobs familiar to children of the 60s – but also to children of later generations as belonging to the same family as the bits & bobs of their own youth (in my case, comics, football stickers, sweets, TV tie-in toys (He-Man et al), but also the odd antiquated throwbacks that still existed, like bows and arrows and balsa wood or polystyrene gliders which came with a weighted plastic propeller so they flew when thrown – do they still make those?). It’s hard to imagine that there will be a generation that can’t relate to The Toy Shop at all, however virtual entertainment becomes, kids will always like stickers.

Peter Blake – The Toy Shop (1962)

But Blake’s pop art nostalgia – powerful though that is – is one of the few purely positive and joyous post-war works in the show. More typical are the mischievous collage book covers made by Joe Orton and his partner and eventual murderer Kenneth Halliwell. These were put on library books and returned to the library – an act that eventually cost them a six month prison sentence – and they exemplify the sense of the significant, perhaps subversive and illogical accident that drew the surrealists to collage a few generations earlier.

Kenneth Halliwell & Joe Orton – collage on library book cover (c.1960-2)

For the surrealists, collage was almost a manifestation of the galvanising quotation from Lautréamont’s Les Chants de Maldoror (1869) where a boy could be described as being “as beautiful as a chance meeting on a dissecting table of a sewing machine and an umbrella.” This aspect of surrealism is brilliantly captured in Max Ernst’s gothic ‘collage novels’ (one of the most exciting inclusions in the show is an unpublished picture from his 1934 collage novel Une semaine de bonté) as well as in beautiful works by Toyen and some of the collaborative exquisite corpse collages made by André Breton, Jacqueline Lamba and Yves Tanguy, where each artist could only see their own part of the work until it was complete. Again, what I hadn’t really anticipated was the difference it makes seeing these items in real life – for example, I had seen and liked (and own a postcard of) Roland Penrose’s untitled 1937 postcard collage, but seeing it, life size, and looking at the actual real postcards stuck to it, was a weirdly moving experience. But why? It’s something about the immediacy and associations of familiar things, the thought perhaps of Roland Penrose actually going into a newsagent and buying the postcards one day in 1937. Why that should be more moving than an artist using paint I don’t know, except that, like the scrapbooks owned by Tristan Tzara (very exciting to see) and the paper cutouts by Matisse (which until now I’ve never been a fan of) it brings the whole process of making art into an immediate, almost tangible one.

Roland Penrose – Untitled (1937)

The work of the Dadaists (Hannah Höch was the main reason I wanted to see the show) is less self-consciously unconscious (well, that makes no sense) than the surrealist works, but the element of satire and sometimes bitter humour – especially in John Heartfield’s iconic anti-Nazi photomontages – make them the spiritual ancestors of the works of artists like Carolee Schneemann and Nancy Spero in the 1960s as well as Linder and even Terry Gilliam in the 70s. Highlights for me were the selection of works by Kurt Schwitters, whose own version of Dada, Merz, even had a collage-like genesis, the word itself apparently derived from a fragment of text relating to a banking firm (Kommerz und Privatbank). The fact that the word Merz also has echoes in the words schwerz (pain) and ausmerzen (to weed out or discard) adds to the sense that this was a movement (if you can call one person a movement) for which collage wasn’t an entertaining diversion, but a central idea. The cumulation of meanings and associations in works like Merz 229: Heet Water (1921) makes these small works with their train tickets, textiles, playing cards – pretty much anything that could be cut up and stuck down – powerfully evocative, as well as decorative in themselves.

John Heartfield – Adolf the Superman – swallows gold and spouts junk (1932)
Kurt Schwitters – Merz 229: Heet Water (1921)

 

 

 

 

 

 

 

 

 

 

 

The section on the birth of modernist collage features a group of Picasso works including the the aforementioned Bottle and Glass on a Table, which form year zero of modernist collage, alongside works by peers including Braque (who may actually be the first modernist collage-maker) and Juan Gris (whose The Sunblind, 1914 is a highlight) and then the ripples spreading outwards from that explosive group of works, including the Russian constructivists and suprematists, the Italian Futurists and even the Bloomsbury group in the UK; I was very impressed to come across a painting by Vanessa Bell (Portrait of Molly MacCarthy, 1914-5) that didn’t immediately wilt into insignificance when surrounded by the big names of European modernism.

Juan Gris – The Sunblind (1914)

It seems obvious to say that collage is comparatively egalitarian insofar as you don’t need to be able to draw or paint to do it – and it’s true that works by generally non-visual artists like Breton and Joe Orton have a similar energy and atmosphere as those by more conventional artists, but it’s also noticeable that, pre-modernism, although the idea of collage existed and there was sometimes that same element of playfulness, the work is more notable for its skill and ingenuity – especially in the Victorian photomontages – than for any disruptive or ironic qualities. But collage being what it is, it’s here that the sense mentioned earlier of the collage as actual material culture comes into play again, sometimes – especially for me in the small character pieces by George Smart from the early 19th century – powerfully so. Somehow, these little watercolour paintings adorned with carefully cut out and arranged pieces of paper and fabric (irresistibly reminiscent to me of the ‘fuzzy felt’ sets I played with as a child) bring us closer to the artist than just paint on canvas would do.

This is perhaps art history as human interest and association rather than as aesthetics (this is especially true in the case of the Victorian scraps and scrapbooks, perhaps because the ready-made nature of the scraps themselves makes the objects feel less like the works of an artist and more like a hobby; nothing wrong with that, but as the sort of things you see in auctions and junk shops they have the aura of being ephemera, rather than using ephemera to make something else; a false distinction perhaps), but for me this exhibition brings those two aspects of art – the human/historical and the aesthetic/technical together in a deep and very satisfying way.

I have no real criticisms of the exhibition; it is thought provoking, beautiful to look at and put together with care and imagination. It might have been nice to have had something by some of the other artists most strongly associated with collage, like Romare Bearden and Wangechi Mutu; but if an exhibition leaves you wanting more that can’t be a bad thing.

***POSTSCRIPT***

Since I mentioned the anyone-can-do-it aspect of collage, I might as well mention that I went through a phase, especially in my student days of making collages, and while they are nothing special, they do have a kind of diary-esque subtext which has only really become apparent over time. Since it’s my website and no-one can stop me, here are a couple of examples, plus a more recent one.

untitled collage, c. 1998?
untitled collage c. 1998-9

 

 

 

 

 

 

 

untitled collage, 2019
untitled collage, late 90s

Woman Power! Ms Marvel & 1970s ‘Farrah Fawcett Feminism’

woman power

Problem: It’s the 70s, you are editor-in-chief for Marvel Comics, the biggest (or joint-biggest) comicbook publisher in the USA. Your readers are mostly fairly young; you want to move with the times. Your top titles regularly receive mail from female readers who want to feel represented, not just as a sidekick or team member, but as a bona fide title character.

DC has Wonder Woman after all, and for all her old-fashioned qualities, she is iconic. Marvel doesn’t (yet) do ‘old fashioned’. Simple; except for the fact that the majority of the readership (and indeed the vast majority of comicdom’s creators) is still male. By and large, these young men and boys are okay with empowered, intelligent and charismatic women. They do want them to be sexy though. After all, to be ‘an ordinary person’ is kind of not what superheroes are about, and in the comicbook universe of the time (and even now, mostly), the superheroine is ‘feminine’ (ie curvy), athletic and fond of tight clothing, where her male counterparts are musclebound and fond of tight clothing. So…

Ms Marvel – whose name alone is strongly redolent of the 70s – was one of many comics launched by Marvel in that period to cash in on (or, more charitably, to fulfil a recognised demand for) a specific phenomenon or corner of the comics market hitherto neglected; at the high end of the scale, they attempted to redress the racial balance of their output a little with Luke Cage; Power Man  (and, a few years before that, the superior Black Panther) and far further down the ladder of actual relevance, Captain Britain was launched as part of the then-new Marvel UK imprint (and, several leagues of magnitude more trivial even than that, with the great Dazzler they cashed in on the disco craze), but Ms Marvel was all about a very glamorous, Charlie’s Angels*/Cagney & Lacey, 1970s version of feminism. Despite the disclaimers around their creation, there’s a lot to be said for these kind of characters; comic readers are used to different artists/writers stamping their personal style on Wonder Woman, Batman, Superman, Spider-man & co; but anything perceived as messing with an icon (witness the Supermullet fiasco of the early 90s) does not go down well. These kind of less venerable characters are far more flexible; writers and artists can experiment with them, change them with the times and, if the central core is strong enough, all is well (which is not to say people don’t have their favourite teams/stories etc; see below).

*she even borrowed Farrah Fawcett’s iconic hairstyle, albeit in a manner more suitable to gymnastic crime fighting. Unlike the Angels though, she had no ‘Charlie’ pulling her strings…

joe
a typical moment of Ms Marvel Mayhem

 
In the original Ms Marvel series, Carol Danvers was a successful journalist who, in a moment of slightly uninspired (but damn it,  still brilliant!) Stan-the-Man-ism became a female version of Marvel B-list superhero Captain Marvel (himself rather uninspired & definitely not to be confused with the legendary golden age Captain Marvel later known as Shazam.)

As a Marvel title in its own right, Ms Marvel didn’t run for long, but at its best it is pure entertainment with a slightly compromised but definitely not half-hearted message of female empowerment. Although (naturally) a sexy superheroine, Carol Danvers was the usual put-upon Marvel character, endlessly worrying about work deadlines, angry bosses etc. However, her insistence on her equality with (or her evident superiority to) her male colleagues (leotarded and otherwise) and her general lack of husbands or steady boyfriends – though old news in the world of actual real people by 1977 – was refreshing in the muscles and capes world of the Marvel Universe.

Mainly written by the eternally underrated Chris Claremont, the comic had heart and action aplenty, although at times the superheroics (Ms Marvel battled an endless list of Marvel’s more ridiculous non-iconic villains during her brief run) get in the way of the rather more fun soap opera-like elements of the strip.

mooneysinnott
Mooney & Sinnott make Ms Marvel look good

The nearest thing the book had to a regular art team was Marvel greats Jim Mooney and Joe Sinnott, perhaps not as glamorous as John Buscema or Jack Kirby, but with their own stylish, hard-edged approach, which in the early issues gave the series a bold, dynamic feel in keeping with its forthright character. Although other artists were to draw Ms Marvel, it is undoubtedly the Mooney/Sinnott team (like the individualistic work of Mike Vosburg on the generally quite comparable Savage She-Hulk around the same time) that gives Ms Marvel its vibrant character.

shulk
Mike Vosburg’s individualistic She-Hulk


The only ‘star’ artist to ever draw Ms Marvel in her original 70s series was the great (and sadly now late) Carmine Infantino, who gave her a finely detailed, subtle sparkle very different from the  feel of the classic issues, but it was too little, too late and shortly after premiering a new, vastly less good (though at least not second hand) outfit (which however seems popular with cosplayers, which is something), the comic was cancelled.  Ms Marvel herself continued (and continues) to pop up all over the Marvel universe,* but it’s the Claremont/Mooney/Sinnott issues that have that special something missing from many a ‘better’ comic series.

*2019 update; she finally got her own movie, kind of. Captain Marvel wasn’t quite Ms Marvel, but it was good

It’s easy to mock the sometimes clunky melodrama of Ms Marvel, but in fact the book is absolutely typical of Marvel comics in the late 70s, regardless of gender. Her outfits (especially the original/best) are no skimpier than most Marvel heroes, and her domestic woes are absolutely on the same level as Peter Parker and co, and in that sense Ms Marvel; glamorous, tough, funny and hard-done-by, is a true feminist icon of her era; albeit one designed to entertain while reflecting the changing social landscape, rather than actually challenging the status quo. It’s just a shame, though not a surprise, that in the 70s, no woman actually got to write or draw her strip.

carminefanto
Carmine Infantino’s stylish and elegant Ms Marvel