Washington, D.C.: The exhibition ‘Brilliant Exiles’ showcases the significant yet often neglected influence of American women artists in Paris from 1900 to 1939, inviting a reevaluation of historical narratives around the Lost Generation and highlighting their contributions to modern art and culture.
The National Portrait Gallery in Washington, D.C. recently hosted an exhibition titled “Brilliant Exiles: American Women in Paris, 1900–1939,” curated by Robyn Asleson. This exhibition sheds light on the often overlooked contributions of female artists, writers, and cultural influencers who were part of the vibrant expatriate community in Paris during the early twentieth century. The retrospective invites viewers to reconsider the historical narrative of the Lost Generation—not only through the lens of prominent male figures such as Ernest Hemingway and F. Scott Fitzgerald but also through the diverse experiences and achievements of women.
The exhibition’s theme aligns well with the romantic imagery established by Hemingway’s “A Moveable Feast,” a memoir which encapsulates the allure of Paris during the 1920s and portrays a provocative aura that surrounded expatriate living. Hemingway, reflecting on this era, often celebrated the heroic pursuits of male writers, leaving a significant gap in the understanding of women’s contributions in the same milieu. Asleson’s exhibition fills this void by featuring over sixty women who traversed the Atlantic to carve out their own artistic identities and communities in Paris.
The artists highlighted came from various parts of the United States, seeking a refuge in Paris that offered both cultural richness and radical freedom. Paris represented an innovative hub where traditional art was both studied and subsequently challenged. Among those featured are Marion H. Beckett, Katharine Nash Rhoades, and Mercedes de Cordoba Carles, all of whom rejected the societal norms associated with their privileged upbringings to pursue artistic education in the French capital.
Edward Steichen’s illustrious wall panels set the tone for the exhibition, embodying the spirit of the early New Woman, a concept gaining traction among modern American women. This artistic venture not only celebrated their personas but also documented their contributions to movements such as post-Impressionism. Additionally, the exhibition contextualizes the multi-faceted backgrounds of women like Rose O’Neill, once a successful cartoonist, who sought to explore her artistic boundaries beyond commercialism, ultimately revealing a deeper complexity in her work.
Fashion also plays a significant role in this narrative. Elizabeth Hawes stands out as a figure dedicated to redefining fashion in the context of freedom. A fashion writer and designer who critiqued haute couture, Hawes found her calling in advocating for ready-to-wear styles and disenchantment with the impracticalities of Parisian fashion. Her experiences underscore a growing belief that American designers had the potential to establish a distinct sartorial identity free from European constraints.
The exhibition furthermore highlights the experiences of women seeking personal liberation in Paris, where social norms regarding romance were more fluid. This space offered possibilities for queer relationships, a stark contrast to the restrictions faced in the United States. The lives of notable figures such as Josephine Baker and Harlem Renaissance artists were intertwined within this framework, reflecting a broader social tapestry impacted by both race and gender politics.
As the exhibition progresses, it acknowledges the complex interplay of freedom and restriction in the lives of these women. While many American expatriates found an oasis in Paris, it is crucial to recognize that not all who arrived shared equal advantages. The exhibition calls attention to the plight of artists from French African and Caribbean colonies, echoing a more complex narrative that still requires examination.
While “Brilliant Exiles” presents a compelling portrait of these cultural influencers, the exhibition could benefit from a more thorough exploration of their creative outputs. Asleson’s choice of portraiture brilliantly captures their identities but may thin the representation of their artistic achievements. The reliance on male artists for a significant portion of the displayed works further illustrates the historical gender imbalances still prevalent in museum collections. Despite these challenges, the exhibition provides a pathway toward rediscovering and honouring the rich histories of women in the arts, encouraging ongoing discussions about their roles in modernism and cultural heritage.
Source: Noah Wire Services
