\u017denska umetnost<\/figcaption><\/figure>\n\n\n\nRazlozi za to su gre\u0161ke napravljene i namerno i slu\u010dajno. Naime, od praistorijskog pa sve do savremenog doba \u017eene su bile u senci mu\u0161karaca. \u010cak se nekada nije ni prijavljivalo ra\u0111anje \u0107erke, odnosno biografija \u017eenskog deteta nije bila potpuna.<\/p>\n\n\n\n
Srednji vek<\/h2>\n\n\n\n
Postoje brojni zapisi i dokumenti koji ukazuju na to da su \u017eene radile i stvarale zajedno sa mu\u0161karcima. Umetnice kao \u0161to su Klarisa<\/strong>, Diemudus<\/strong>, Ende<\/strong> i Guda<\/strong> radile su na vezovima, iluminacijama rukopisa i izra\u0111enim kapitelima. Pripadale su dvema klasama: bile su ili iz bogate aristokratske porodice ili monahinje.<\/p>\n\n\n\nNajpoznatiji vez iz tog perioda bila je \u201eBaje Tapiserija<\/strong>\u201d koja opisuje bitku kod Hejstingsa <\/strong>i normansko osvajanje Engleske. Veruje se da je vez napravila ili aristokratska \u017eena kao rezultat njene patnje ili monahinja.<\/p>\n\n\n\nSrpska plemkinja i monahinja Jefimija<\/strong>, udovica Uglje\u0161e Mrnja\u010devi\u0107a<\/strong>, napisala je jadikovku za svog preminulog sina Uglje\u0161om<\/strong>. Me\u0111utim, kako je bila ve\u0161ta graverka i rukopisac, re\u010di pesme uklesala je u ikonu sa dve plo\u010de. Ikonu Bogorodice sa detetom mali Uglje\u0161a dobio je na poklon od episkopa Sere<\/strong> na kr\u0161tenju. Ikona, ukra\u0161ena dijamantima i zlatom, postala je simbol svih majki koje su izgubile svoju decu.<\/p>\n\n\n\nRenesansa i Barok<\/h2>\n\n\n\n
Tokom Renesanse<\/strong> \u017eene po\u010dinju da se pojavljuju kao umetnice, \u0161to dovodi do porasta \u017eenske umetnosti. Me\u0111utim, zbog dru\u0161tvenih normi njihova uloga je bila ograni\u010dena. Ipak, zahvaljuju\u0107i kulturnim promenama i filozofiji koja poma\u017ee u podizanju statusa \u017eene, omogu\u0107eno im je da se vi\u0161e bave umetno\u0161\u0107u. Studiranje umetnosti vi\u0161e nije bilo rezervisano samo za mu\u0161karce, i \u017eene su mogle da u\u010de, i to ne samo slikarstvo, ve\u0107 i muziku i knji\u017eevnost.<\/p>\n\n\n\nNajzna\u010dajnije umetnice ovog doba su Sofonisba Anguisola<\/strong>, Lavinia Fontana<\/strong>, Artemisia \u0110enteliski<\/strong>, Propercia De’ Rosi<\/strong> i druge. Pokazale su ne samo ogroman talenat, ve\u0107 i snagu i hrabrost da se suo\u010de sa dru\u0161tvenim ograni\u010denjima. Svojim radom pomerile su granice i uticale na umetni\u010dki izraz. Na\u017ealost, ve\u0107ina njihovih dela nije sa\u010duvana.<\/p>\n\n\n\nU vreme Baroka<\/strong> umetnice postaju poznate po slikanju \u017eenskih tela i mrtvih priroda. Njihove slike prikazivale su \u017eene kao svesna bi\u0107a, sa manama i vrlinama. Primer je slika \u201eJudita odseca glavu Holofernu<\/strong>\u201d, Artemisie \u0110entilski<\/strong>. \u017dena je predstavljena kao sna\u017ena osoba koja se bori za sebe i svoju sudbinu.<\/p>\n\n\n\nSlikanje mrtve prirode posebno je odgovaralo \u017eenama, prvenstveno zbog lakog pristupa materijalima. Iako \u017eanr nije bio mnogo popularan kod mu\u0161karaca, umetnice su sve vi\u0161e napredovale.<\/p>\n\n\n\n
XIX. i XX. vek<\/h2>\n\n\n\n
Tokom XIX.<\/strong> i XX.<\/strong> veka, \u017eenska umetnost do\u017eivljava zna\u010dajnu promenu. \u017dene po\u010dinju da dobijaju priznanja koja ranije nisu imale. U ovom periodu stvarale su portrete i pejza\u017ee. Ipak, i dalje su bile ograni\u010dene u obrazovanju; mnoge umetni\u010dke akademije i dalje su \u017eenama branile pristup.<\/p>\n\n\n\nU XIX.<\/strong> veku umetnice poput Berte Morisot <\/strong>i Meri Kasat<\/strong> postale su poznate impresionistkinje. Bili su to po\u010deci emancipacije; po\u010dele su da se bore za pravo na obrazovanje i izlaganje svojih radova.<\/p>\n\n\n\nUmetnice kao \u0161to su Nade\u017eda Petrovi\u0107<\/strong> i Beta Vukanovi\u0107<\/strong> ostavile su zna\u010dajan trag u slikarstvu i grafici.<\/p>\n\n\n\nUmetnice u XX<\/strong> veku se uklju\u010duju u avangardne pokrete kao \u0161to su kubizam, dadaizam i nadrealizam. Jedna od najuticajnijih umetnica ovog vremena bila je Frida Kalo<\/strong>. Crtaju\u0107i svoje portrete, istra\u017eivala je li\u010dne i politi\u010dke teme.<\/p>\n\n\n\nTokom 60-ih<\/strong> i 70-ih<\/strong> godina, zahvaljuju\u0107i feministi\u010dkom pokretu, po\u010dele su da istra\u017euju teme roda i identiteta. Radile su na \u017eenskoj ravnopravnosti i slavile doprinos \u017eena kroz istoriju.<\/p>\n\n\n\nKrajem XX veka po\u010dinju da koriste digitalne alate i na taj na\u010din pro\u0161iruju granice tradicionalne umetnosti.<\/p>\n\n\n\n
\u017denska umetnost kroz istoriju, iako \u010desto marginalizovana, pokazuje bogatstvo i raznolikost izra\u017eavanja koje su \u017eene postigle uprkos dru\u0161tvenim i kulturnim preprekama. Od praistorijskih vremena do savremenih avangardnih pokreta,<\/p>\n\n\n\n
umetnice su se suo\u010davale s izazovima, ali su istovremeno pomerale granice i ostavljale neizbrisiv trag u svetu umetnosti.<\/p>\n","protected":false},"excerpt":{"rendered":"
\u017denska umetnost kroz istoriju, iako \u010desto marginalizovana, pokazuje bogatstvo i raznolikost izra\u017eavanja koje su \u017eene postigle uprkos dru\u0161tvenim i kulturnim preprekama. Od praistorijskih vremena do savremenih avangardnih pokreta,
\numetnice su se suo\u010davale s izazovima, ali su istovremeno pomerale granice i ostavljale neizbrisiv trag u svetu umetnosti. Renesansa i barok ozna\u010davaju va\u017ene trenutke kada su \u017eene po\u010dele da se afirmi\u0161u kao umetnice, a njihova dela su postala simbol snage i hrabrosti. U 19. i 20. veku, zahvaljuju\u0107i feministi\u010dkom pokretu, umetnice su se borile za prava i priznanje, istra\u017euju\u0107i teme identiteta i roda. Danas, kroz kori\u0161\u0107enje digitalnih alata i novih medija, \u017eene umetnice nastavljaju da oboga\u0107uju umetni\u010dku scenu i inspiri\u0161u budu\u0107e generacije. Njihov doprinos umetnosti je neprocenjiv, a njihova borba za ravnopravnost i priznanje ostaje klju\u010dna u oblikovanju savremenog umetni\u010dkog diskursa.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"colormag_page_layout":"default_layout","footnotes":""},"categories":[159],"tags":[1085,1088,1086,1087,1084,1089,1083],"class_list":["post-3669","post","type-post","status-publish","format-standard","hentry","category-umetnost","tag-barok","tag-beta-vukanovic","tag-frida-kalo","tag-nadezda-petrovic","tag-renesansa","tag-zenska-ravnopravnost","tag-zenska-umetnost"],"yoast_head":"\n
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Me\u0111utim, nema podataka ko su bili autori, pa se \u010desto sve, kao i kasnije u budu\u0107nosti, prepisivalo mu\u0161karcima. \u017denska umetnost oduvek je bila u drugom planu u odnosu na mu\u0161ku umetnost.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cresimos.com\/onlinemagazin\/zenska-umetnost\/https-cresimos-com-enciklopedija\/umetnost\/\" \/>\n<meta property=\"og:locale\" content=\"sr_RS\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u017denska umetnost –\" \/>\n<meta property=\"og:description\" content=\"Jo\u0161 u praistorijsko doba postoje studije koje ukazuju da su \u017eene stvarale grn\u010dariju, tekstil, korpe, oslikavale zidove i pravile nakit. 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