The story of Johann Georg Zoffanie as a demonstration of gender stereotypes in the art of modern age


  • Liliya Ivanytska Taras Shevchenko National University of Kyiv



the Royal Academy of Arts, gender art history, Johan Zoffany, Angelika Kauffmann, Mary Moser


The article touches upon some problems of the establishing the most influential and authoritative association of British artists – the Royal Academy of Arts as a professional artistic educational institution. The aim is to analyse the gender-role practises within the Academy membership. Particular attention is paid to two artists who were founding members of the Royal Academy of Arts – Angelika Kauffmann and Mary Moser. The author reveals the ways of possible participation of women in fine arts in general and in the functioning of the Academy in particular.  It is emphasized that the artists made efforts to fight for their rights and preserve honor and dignity in the context of the domination of stereotypes that deepened gender inequality in fine art. The author reveals the gender stereotypes of the modern era based on visuality. Through the example of the painting by the German Neo-classical artist Johan Zoffany «The Academicians of the Royal Academy» the main gender stereotypes of the modern age visual culture were revealed. One can note that the participation of women in creating of the so-called high art was purely marginal.  The compostition of painting underlines women’s role as an object of art, rejecting at the same time her creative abilities. The author come to conclusion that the works of artwere not just reflected theideology, but also worked as confirmation andreproduction of contemporary social practices. Therefore, the comprehensive research and deep source studies allow a researcher not only to broaden his knowledge of historical realities, but also to look at them in the literal sense of the word.



How to Cite

Ivanytska Л. (2021). The story of Johann Georg Zoffanie as a demonstration of gender stereotypes in the art of modern age. TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY, 2(4).