Judge, Joan2016-11-252016-11-252016-06-232016-11-25http://hdl.handle.net/10315/32742This study examines the art practices of three generations of Chinese women who were active between the 1900s and the 1970s. Its conceptual focus is on the reassessment of female talent and virtue, a moralized dichotomy that had been used to frame womens social practices and cultural production for centuries in China. The study opens in the period when female poetic practice was harshly vilified by reformists of the late Qing era (1890s-1911). It questions why womens art production was not directly condemned and examines how womens increasingly public displays of artistic talent were legitimized through the invocation of long-standing familial norms, the official sanction of new education, and the formulation of various nationalist agendas. Most importantly, this study demonstrates how women artists joined female writers, educators, and political figures in redefining gender possibilities in the early Republican period. Women artists discussed in this study practiced both Chinese-style and Western-style art. It examines their participation in several different public contexts, including art education, exhibitions, art societies, and philanthropic organizations. Representatives of the first generation, Wu Xingfen (1853-1930) and Jin Taotao (1884-1939), advanced the artistic legacy of their predecessors, the women of the boudoir (guixiu), while at the same time expanding the paradigm of traditional womens art practices. In addition to their emerging visibility in the local art world, they also exhibited works in international expositions, engaged with foreign concessions, and traveled abroad. Members of the Chinese Womens Society of Calligraphy and Painting (Zhongguo nzi shuhuahui) who represent the second generation, embraced new institutional possibilities by studying, teaching, and forming a collective to reaffirm womens position in the traditional-style art milieu. Pan Yuliang (1895-1977) and her cohort of Western-style artists who formed the third generation, contributed to modern art reform in China in the early twentieth century. Pans distinct life trajectory and subsequent career in Paris illuminate the ways race and gender figured in transcultural artistic representations from the 1940s to the 1970s. These artists public presence in both the national and global art worlds redefined and repurposed female talent as both a patriotic virtue, and new expressions of gender subjectivities.enAuthor owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.Asian studiesElectronic Thesis or Dissertation2016-11-25Chinese artWomen artistsChinese paintingCalligraphyGuohuaOil paintingArt educationLate QingEarly Republican periodChinaShanghaiBeijingFranceParisLyonItalyRomeJapanTokyoFemale talentFemale virtueNationalismGlobal art worldArt marketArt pricesWorld expositionsArt exhibitionsPeriodicalsNewspapersArt magazinesWomen’s journalsPhotographyWu XingfenWu ShujuanJin TaotaoJin ZhangFeng WenfengLi QiujunYang XuejiuHe XiangningWu QingxiaPan YuliangPan Yu-linGuan ZilanSuzanne ValadonÉmilie CharmyChang YuSanyuZhao WujiZao Wou-kiLéonard Tsuguharu FoujitaFujita Tsuguharu