See for Yourself
This is no ordinary guide.
CREATE YOUR OWN
museum experience
using these fun,
interactive art cards.
NATIONAL MUSEUM of WOMEN in the ARTS
Welcome
to the NATIONAL MUSEUM OF WOMEN IN THE ARTS!
SEE FOR YOURSELF
cards correspond to selected works
from NMWA’s collection and special exhibitions. Use
them to engage with the artwork, discover fascinating
facts, and reflect on your experience.
What next?
Begin to SEE FOR YOURSELF by searching for
on object
labels in the galleries. When you find one, take out the related card.
Interested in a work with no card? You can still SEE FOR YOURSELF .
These suggestions can get you started:
1. What’s going on in this artwork? What do you see that makes
you say that? What more can you find?
2.Move around the work. Look closely but please do not touch.
Then step further away. How does the work change from
different viewpoints?
3.What materials, tools, and techniques do you think the artist
used to make this work?
4.What personal associations or memories does this artwork
evoke?
5.Before reading the label, give the artwork a title. Compare yours
to the one on the label. Does knowing the published title change
your understanding of the work?
Are you visiting with
children?
Younger visitors can also learn to see for themselves. Share
information from the cards that you think will interest them.
Or try some of these ideas:
1. Go on a colors quest. What colors did the artist choose?
How do they make you feel?
2.Hunt for SHAPES —geometric, organic, and fantastic!
3.Try a senses walk. Imagine you could take a step into the work
of art. What would you see, hear, feel, smell, and taste?
4.Tell a STORY. What happened just before this scene? What
happened just after?
5.Look at the FIGURES . Imagine you are one of the people
represented in the artwork. What’s on your mind? How do you
feel?
About the Museum
Founded by Wilhelmina and Wallace Holladay to redefine traditional
histories of art, the National Museum of Women in the Arts (NMWA)
is the foremost museum dedicated to celebrating the diverse artistic
accomplishments of women. Today the museum honors women artists
of the past, promotes the accomplishments of women artists of the
present, and assures the place of women artists in the future. NMWA
opened to the public in 1987, housed in this historic Renaissance Revival
structure—a former Masonic Temple.
S E E FO R YO U R S E L F cards are supported in part by the Women’s Committee of the National
Museum of Women in the Arts.
Get more!
Get guided
Book a docent-led group tour of the
collection or a special exhibition at
http://nmwa.org/visit/book-tour.
Get active
Attend a workshop, gallery talk, film,
or performance. Check our calendar
for upcoming programs at
http://nmwa.org/visit/calendar.
Get social
Follow NMWA on Facebook, Instagram,
Twitter, and YouTube.
Get schooled
Read our blog Broad Strokes to learn more
about art, artists, and upcoming
exhibitions and programs at
http://broadstrokes.org.
Get involved
Become a member, a volunteer, or an
intern. Find information on our website at
http://nmwa.org/support.
Orsola Maddalena Caccia
St. Luke the Evangelist in the Studio
(San Luca Evangelista nello Studio)
NATIONAL MUSEUM of WOMEN in the ARTS
Orsola Maddalena Caccia
St. Luke the Evangelist in the Studio
(San Luca Evangelista nello Studio), ca. 1625
Nun Better
Orsola Maddalena Caccia (1596–1676), like many women
artists of her era, learned to paint from her father. A nun,
Caccia contributed financially to her convent through
public and private commissions. In this way, she continued
a centuries-long tradition of talented artist-nuns.
Take a closer look
Caccia helped to introduce still-life painting to Northwestern
Italy and often included meticulous detail in religious works.
Note the chisel shavings, identifiable tomes, and lectern with
Gospel manuscript, which all reinforce the scene’s reality.
Other elements function symbolically—roses reference the
Virgin, and the ox represents Jesus’s sacrificial death.
Who knew?
St. Luke’s sensitive written portrayal of Mary in his Gospel
contributed to the popular Christian belief that he depicted
the Virgin and Child in visual as well as literary form. Many
images worldwide are still credited to his hand.
Orsola Maddalena Caccia, St. Luke the Evangelist in the Studio (San Luca Evangelista nello
Studio), ca. 1625; Oil on canvas; 109 x 743/8 inches; Parrocchia Sant’Antonio di Padova,
Moncalvo, Asti
Picturing Mary: Woman, Mother, Idea is organized by the National Museum of Women
in the Arts, Washington, D.C., with the support of MondoMostre, Rome. The exhibition
is made possible thanks to the sponsorship of an anonymous donor, Jacqueline Badger
Mars, and Alejandra and Enrique Segura, with additional funding provided by Barbara
and Thomas Hale Boggs, Jr., Vincent C. Burke III, Rose and Paul Carter, The Honorable
Bonnie McElveen-Hunter and other generous supporters. The exhibition is supported
by an indemnity from the Federal Council on the Arts and the Humanities. NMWA
gratefully acknowledges its partnerships with the Embassy of Italy and The Catholic
University of America.
NATIONAL MUSEUM of WOMEN in the ARTS
Elisabetta Sirani
Virgin and Child
Painting Prodigy
Elisabetta Sirani was a prolific young artist from the progressive
city of Bologna, Italy. Trained as an artist by her father, Sirani
produced almost 200 artworks between the age of seventeen
and her untimely death ten years later.
NATIONAL MUSEUM of WOMEN in the ARTS
Elisabetta Sirani
Virgin and Child, 1663
Take a closer look
In this painting, Elisabetta Sirani (1638–1665) portrayed an intimate moment between a loving mother and child. Mary wears a turban favored by Bolognese peasant women.
Yet, the garland of roses foreshadows both the crown she will wear as Queen of Heaven and her son’s crown of thorns.
Something to talk about
In painting this Christian subject, Sirani emphasized the humanity rather than the divinity of the Holy Family. If you
did not know the title of the work, would you still recognize
the subject? Why or why not?
Who knew?
Sirani completed paintings very quickly. But her speed, together with her gender, led to accusations that her father
was lending a hand. To counter this suspicion, Sirani opened
her studio, inviting the public to observe her at work.
Elisabetta Sirani, Virgin and Child, 1663; Oil on canvas; 34 x 27 1/2 inches; National
Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; Photograph by Lee Stalsworth
NATIONAL MUSEUM of WOMEN in the ARTS
Artemisia Gentileschi
Madonna and Child (Madonna col Bambino)
Family Matters
As a teenager, Artemisia Gentileschi painted this image of
the Virgin Mary and infant Jesus. Portrayed with sensitivity
beyond her years, it affirms skills nurtured by her artist-father
and foretells her future success.
NATIONAL MUSEUM of WOMEN in the ARTS
Artemisia Gentileschi
Madonna and Child (Madonna col Bambino), 1609–10
Take a closer look
Here, Artemisia Gentileschi (1593–1656) expressed both the
secular and sacred qualities of her subjects. Mary’s simple
garb and surroundings suggest humility, while her solid
physicality anchors her in this world. Yet Gentileschi subtly
reminds us this is no ordinary mother and child. Cherries
reference heaven, and halos signify holiness.
Something to talk about
Depictions of the Egyptian goddess Isis holding her infant son
Horus likely inspired early Christian images of the Virgin and
Child. Likewise, such religious portrayals influenced everyday
representations of maternity. View Mary Cassatt’s Mother
Louise Nursing Her Child on the third floor. In what ways does it
relate to Gentileschi’s painting? Where does it depart?
Who knew?
Hindered by 17th-century laws not applicable to male artists,
women could not independently purchase art materials, sign
contracts, or travel. Only admission to an art academy would
quash these restrictions. Gentileschi, the first woman elected
to the Florentine academy, thereby enjoyed unprecedented
autonomy.
Artemisia Gentileschi, Madonna and Child (Madonna col Bambino), 1609–10; Oil on
canvas; 46½ × 337/8 inches; Galleria Palatina, Palazzo Pitti, Florence; inv. 1890 no. 2129
Picturing Mary: Woman, Mother, Idea is organized by the National Museum of Women
in the Arts, Washington, D.C., with the support of MondoMostre, Rome. The exhibition
is made possible thanks to the sponsorship of an anonymous donor, Jacqueline Badger
Mars, and Alejandra and Enrique Segura, with additional funding provided by Barbara
and Thomas Hale Boggs, Jr., Vincent C. Burke III, Rose and Paul Carter, The Honorable
Bonnie McElveen-Hunter and other generous supporters. The exhibition is supported
by an indemnity from the Federal Council on the Arts and the Humanities. NMWA
gratefully acknowledges its partnerships with the Embassy of Italy and The Catholic
University of America. NATIONAL MUSEUM of WOMEN in the ARTS
Sofonisba Anguissola
Self-Portrait at the Easel
Picturing Me, Picturing Mary
Sofonisba Anguissola touted her virtues and talents in selfportraits by including books, musical instruments, and
inscriptions. This painting-within-a-painting identifies her as
an accomplished artist, equally adept at rendering portraiture
and religious subjects.
NATIONAL MUSEUM of WOMEN in the ARTS
Sofonisba Anguissola
Self-Portrait at the Easel, 1556
Take a closer look
Sofonisba Anguissola (ca. 1532–1625) expertly used
implied and actual lines to guide viewers’ eyes throughout
the composition. After her gaze draws you in, follow the
maulstick—used to steady her right hand—and paintbrush to
her warm depiction of the Madonna and Child. This painting
appears in several of Anguissola’s self-portraits, suggesting
such a work actually existed.
Something to talk about
The artist portrayed herself in the act of painting, a
departure from typically static portraits of her day. Compare
Anguissola’s work to Alice Bailly’s Self-Portrait on the third
floor. How are these depictions similar? Different?
Who knew?
Anguissola and her siblings were named for relatives of the
Carthaginian general Hannibal. Hannibal’s granddaughter,
Sophonisba, was known for her beauty, charm, and cleverness.
Sofonisba Anguissola, Self-Portrait at the Easel, 1556; Oil on canvas; 26 × 223/8 inches;
Museum-Zamek, Łańcut; inv. 916MT
Picturing Mary: Woman, Mother, Idea is organized by the National Museum of Women
in the Arts, Washington, D.C., with the support of MondoMostre, Rome. The exhibition
is made possible thanks to the sponsorship of an anonymous donor, Jacqueline Badger
Mars, and Alejandra and Enrique Segura, with additional funding provided by Barbara
and Thomas Hale Boggs, Jr., Vincent C. Burke III, Rose and Paul Carter, The Honorable
Bonnie McElveen-Hunter and other generous supporters. The exhibition is supported
by an indemnity from the Federal Council on the Arts and the Humanities. NMWA
gratefully acknowledges its partnerships with the Embassy of Italy and The Catholic
University of America.
NATIONAL MUSEUM of WOMEN in the ARTS
Mary Ann Croswell (attributed)
George III child’s rattle
Shake, Rattle, and Roll This multipurpose infant’s toy—a “coral-and-bells”—includes
a whistle, rattle, and coral teething surface. Silversmiths often
incorporated coral into rattles because it was believed to
promote health and good fortune. At a time when infant
mortality was high, these objects served both as amusements
and amulets.
NATIONAL MUSEUM of WOMEN in the ARTS
Mary Ann Croswell (attributed)
George III child’s rattle, London, 1808
Take a closer look
This rattle offers a feast for our eyes and a child’s developing
senses. Smooth coral contributes color while soothing
teething gums. A whistle and jingling bells entertain. Engraved
decorations add texture. The play of light and shadow across
the reflective silver surface delights even the youngest eyes.
Something to talk about
Rattles are among the oldest recorded toys still in use today.
Early versions were made of materials less durable than silver,
such as clay or dried fruits containing seeds. What types of
toys engage and distract infants today?
Who knew?
More than 300 women silversmiths worked in England
between the late-17th and mid-19th centuries. These expert
artisans acted as teachers, instructing apprentices in their
craft. Records indicate that Mary Ann Croswell (ca. 1775–?)
taught the trade to her son Henry in 1819.
Mary Ann Croswell (attributed), George III child’s rattle, London, 1808; Silver with
coral; 5 3/8 inches long; National Museum of Women in the Arts, Silver collection
assembled by Nancy Valentine, purchased with funds donated by Mr. and Mrs.
Oliver R. Grace and family; Photograph by Lee Stalsworth
See For Yourself cards are partially supported by the Homer and Martha Gudelsky
Family Foundation and the New Mexico State Committee of NMWA.
NATIONAL MUSEUM of WOMEN in the ARTS
Sarah Bernhardt
Après la tempête (After the Storm)
Drama Queen
Though known as an actress, Sarah Bernhardt sculpted more
than fifty works; twenty are known today. Always dramatic,
Bernhardt posed for photographs wearing her “sculptor’s
outfit,” which included a long lace-trimmed jacket, trousers,
and low-heeled pumps.
National Museum of Women in the Arts
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Sarah Bernhardt
Après la tempête (After the Storm), ca. 1876
Take a closer look
Sarah Bernhardt (1844–1923) transformed cold marble into
smooth and wrinkled skin, frothy sea foam, and coarse fishing
nets. Complex both in technique and narrative, critics argue
this sculpture is Bernhardt’s most ambitious work.
Something to talk about
In Après la tempête, a woman from the north coast of France
cradles her grandson after a storm at sea has passed. Look
carefully at Bernhardt’s handling of the figures. Will this story
have a happy ending?
Who knew?
Ever the eccentric, Bernhardt kept a menagerie of animals
in the walled garden of her London home. In fact, she sold this
work to purchase a cheetah, a wolf, and six chameleons—one
of which rode on her shoulder.
Sarah Bernhardt, Après la tempête (After the Storm), ca. 1876; White marble; 29 1/2 x 24
x 23 inches; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina
Holladay; Photograph by Lee Stalsworth
S e e Fo r Yo u r s e l f cards for the New York Avenue Sculpture Project: Niki de Saint
Phalle are supported by donations from J. Willard and Alice S. Marriott Foundation
and SunTrust Foundation.
National Museum of Women in the Arts
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Mary Cassatt
The Bath
NATIONAL MUSEUM of WOMEN in the ARTS
Mother Louise Nursing Her Child
Mary Cassatt
The Bath, 1891
Mother Louise Nursing Her Child, 1899
Baby Boom
Mary Cassatt (1844–1926) is known for exploring the
nuanced relationships between mothers and children.
While she objected to being stereotyped as a “lady” painter,
Cassatt created an expansive body of work that illustrates
her commitment to representing the experiences of modern
women.
Take a closer look
A prolific printmaker, Cassatt expertly evoked affectionate
moments like these. Her prints are distinguished by their
radical economy of line—note the simple shapes and limited
detail. Through these minimal means, the artist maximized
the visual and emotional impact of such scenes.
Who knew?
Although associated with the ideals of domesticity and
maternity, Cassatt never married or had children. She believed
that single life proved more conducive to a successful artistic
career. Cassatt prioritized her independence but remained
close to family, frequently using them as subjects.
Mary Cassatt, The Bath, 1891; Soft-ground etching with aquatint and drypoint on
paper; 123/8 x 95/8 inches; National Museum of Women in the Arts, Gift of Wallace and
Wilhelmina Holladay; Photograph by Lee Stalsworth
Mary Cassatt, Mother Louise Nursing Her Child, 1899; Etching with drypoint on paper;
15½ x 97/8 inches (overall); National Museum of Women in the Arts, Gift of Wallace
and Wilhelmina Holladay; Photograph by Lee Stalsworth
NATIONAL MUSEUM of WOMEN in the ARTS
Suzanne Valadon
The Abandoned Doll
NATIONAL MUSEUM of WOMEN in the ARTS
Suzanne Valadon
The Abandoned Doll, 1921
Growing Pains
Before picking up a paint brush, Suzanne Valadon (1865–
1938) worked a variety of unconventional jobs, including
trapeze performer and artists’ model. The latter connected
her to artists including Pierre-Auguste Renoir and Henri de
Toulouse-Lautrec. Though largely self-taught, Valadon also
learned artistic techniques by watching these masters work.
Take a closer look
Fiercely independent, Valadon never fully embraced the
artistic trends favored by her contemporaries. Rather, she
developed her own distinctive style. Note her unidealized
figures, compressed space, bold colors and patterns, and
heavy black outlines that differentiate forms.
Something to talk about
Though the sitters have been identified as Valadon’s relatives,
the artist chose to keep them anonymous. Therefore, this
painting speaks to universal human experiences, such as
adolescence. What evidence does Valadon provide to suggest
that the girl depicted is still a child? Almost an adult?
Who knew?
Passionate about animals, Valadon supposedly kept a goat in
her studio to eat artwork she did not like and fed caviar to her
cats.
Suzanne Valadon, The Abandoned Doll, 1921; Oil on canvas; 51 x 32 inches; National
Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; Photograph
by Lee Stalsworth
NATIONAL MUSEUM of WOMEN in the ARTS
Angela Strassheim
Untitled (Babies)
NATIONAL MUSEUM of WOMEN in the ARTS
Untitled (Nicole with Bird)
Angela Strassheim
Untitled (Babies), 2005
Untitled (Nicole with Bird), 2006
Framed
Works by Angela Strassheim (b. 1969) have an uncanny
quality that derives in part from her experience as a forensic
photographer. Documenting crime scenes taught her to
approach subjects with clinical detachment. She also learned
to treat a composition’s background details and focal point
with equal significance.
Take a closer look
Strassheim’s calculated compositions establish a tension
between documentation and fabrication. Photographs
exploring the artist’s childhood memories or girls’ lives appear
to record ordinary experiences. Closer consideration reveals
unrealistic perfection—immaculate rooms and impeccable
children—which introduces an undercurrent of disquiet.
In her own words
“Every aspect of every picture is controlled and important.
The place is as specific as the person as what’s worn as what
they’re doing. They’re all staged. Everything is framed very
specifically.”
Angela Strassheim, Untitled (Babies), 2005; Chromogenic color print; 40 x 30 inches;
National Museum of Women in the Arts, Gift of the Heather and Tony Podesta
Collection, Washington, D.C.; © Angela Strassheim; Photograph by Lee Stalsworth
Angela Strassheim, Untitled (Nicole with Bird), 2006; Chromogenic color print; 40 x 30
inches; National Museum of Women in the Arts, Gift of the Heather and Tony Podesta
Collection, Washington, D.C.; © Angela Strassheim; Photograph by Lee Stalsworth
NATIONAL MUSEUM of WOMEN in the ARTS
Petah Coyne
Untitled #781
Light My Candle
Wax intrigued Petah Coyne as she watched it melt, drip,
congeal, and harden throughout churches in Europe. After this
trip in the early 1990s, a gift of candles blessed by the Pope
inspired the artist’s first wax sculpture and ignited her interest
in the medium.
NATIONAL MUSEUM of WOMEN in the ARTS
Petah Coyne
Untitled #781, 1994
Take a closer look
Untitled #781, like many sculptures by Petah Coyne (b. 1953),
hangs from the ceiling by chains, an unconventional approach
that captures viewers’ attention. Suspending the work ensures
that the armature won’t crush the delicate wax accretions.
Something to talk about
Coyne experiments with a range of mediums besides wax—
sand, taxidermied animals, and dead fish, for example. What
do you imagine might be the benefits of using non-traditional
materials for sculpture? Challenges?
In her own words
“They look fragile, but they’re not. Like women, they’re really
tough inside.”
Who knew?
Coyne originally struggled to work with wax due to its
fragility and low melting point. To stabilize future sculptures,
she worked with a chemist who developed a formula for a wax
that can survive temperatures from 40 to 180 degrees.
Petah Coyne, Untitled #781, 1994; Wax, plastic, cloth, and steel; 62 x 35 x 44 inches;
National Museum of Women in the Arts, Gift of Steven Scott, Baltimore, in honor
of the artist; © Petah Coyne, Courtesy Galerie Lelong, New York; Photograph by Lee
Stalsworth
NATIONAL MUSEUM of WOMEN in the ARTS
Magdalena Abakanowicz
4 Seated Figures
NATIONAL MUSEUM of WOMEN in the ARTS
Magdalena Abakanowicz
4 Seated Figures, 2002
That’s a Wrap
Magdalena Abakanowicz (b. 1930) is best known for figures
like these. She modeled them using burlap mixed with resin
and glue, which she applied to a mold made from an actual
human form.
Take a closer look
Though created using the same human mold, the figures
each have unique qualities. For many viewers, the texture
of the burlap evokes tree bark, mummy wrappings, exposed
musculature, or insect exoskeletons.
Something to talk about
The artist deliberately chose to present these figures as
headless, armless, and backless. How might we experience
the work differently if the figures were complete?
Who knew?
Born in Poland, Abakanowicz saw firsthand many of the horrors
of World War II and its aftermath. Her works speak to her own
history and that of her country, but also to our experience as
human beings.
Magdalena Abakanowicz, 4 Seated Figures, 2002; Burlap, resin, and iron rods; 53 1/2
x 24 1/4 x 99 1/4 inches (overall); National Museum of Women in the Arts, Gift of the
Artist
NATIONAL MUSEUM of WOMEN in the ARTS