Edouard Manetís A Bar at the Folies-Bergere, 1881-2, reflects feminist concerns. As mentioned in the earlier section on the objectification of the female body, she is a counter worker in the service sector. Rather than being married, barefoot and pregnant, this woman (for better or worse) is employed outside of the household, we will optimistically say, self-supporting and empowered.

 

From our cultural perspective, the concept may not seem revolutionary, but this is one of the first paintings by a male artists of a woman legitimately employed outside of the home.

 IN THIS BOX INSERT ďMORISOTĒ

 

Berthe Morisotís View of Paris, 1872, reflects feminist concerns from a female painterís perspective. As mentioned in the earlier section on objectification of the female body, the women in the park are dressed in their finery, to be seen. They are objects within the landscape, within the view of the viewer. The young girl at the baseline defines the womenís maternal roles and obligations. What is most surprising is that while the artist was a woman, the narrative reinforces and/or at least makes visible, the old-fashioned, patriarchal roles and obligations of women.