Underwood, Rebecca: “Women’s Roles in Society” A Hymn, and How the Gossip Grew 

 

“Women’s Roles in Society” A Hymn

In A Hymn Millet depicts a woman in Greco-Roman costume, with what appears to be a lyre. The viewer only sees her profile as she looks ahead of herself as if she’s concentrating on something in front of her. This aesthetic painting is reminiscent of classical composition. The background is minimal. This painting’s technical execution is refined and is overall pleasing to look at. It’s one of those that is simple and easily digestible, lacking a narrative.
In the late nineteenth century, there was a trend amongst American artists who created decorative images of women. This painting is another reflection of this style that American and English artists had, the function of these paintings was to simply make something aesthetically pleasing, and to create art for art’s sake. Bailey Van Hook explores these types of paintings and the formal function of purely decorative images. The emphasis on technique over content, the pure aesthetic with a lack of a narrative, and the use of women as subjects not as individuals but more as ornamental factors. (Van Hook, 1990, Milk White) For the decorative style these attributes are kept in order to be considered decorative as a painting, a simple composition, a light color palette, a non-narrative gentile woman sometimes wearing costume representing that of classical art adding in either a musical or dance element to the composition. While the woman would be a main element of the composition, the attention of the viewer would be diverted to another object in the painting, (Van Hook 1990, Decorative, 46-52) in this case the title A Hymn, calls to the theme of music and the Lyre the woman is holding. In the article by Hope B. Wearness, she discusses how this genre of painting is reflective towards the latter half of the 19th century and the American idea of women. Women were synonymous with the home, and this was considered to be ‘the angel of the house’ a common phrase used during this time. These types of depictions reflect that which a patriarchal society wanted of women in their roles. To be a proper wife and mother and has an obligation to not complain and be submissive. (Werness 1984, 7-8) While Millet didn’t exclusively dabble in this art archetype, but it would be fair to assume that he, who had traveled through Europe and had been in England during the rise of the Aesthetic Movement would have at least been influenced by this type of content and other artists who might be doing the same thing. Millet being an American artist was likely also exposed to this idealized form of a woman and due to its popularity among American’s it can be assumed that he too created his share of these decorative pieces.

“Women’s Roles in Society” How the Gossip Grew

How the Gossip Grew, shows two women sitting across from each other in a quiet common space that seems to just be occupied by the two of them. The woman on the right side of the painting peers over at the piece of paper she brought with her, to share its contents with the woman sitting across from her, as she leans in, listening tentatively. Between them they seem to be sharing tea, and snacks as they discuss this seemingly juicy information. It’s easy for the viewer to want to know what it is they’re talking about, what is this gossip? The viewer can infer sufficient information about the relationship these two women seemingly have. And while gossip is something that is understood by all as a part of our life, there are still certain aspects that perhaps as humans aren’t easily understood until you look deeper. As mentioned by Alexander Rysman in the article he explores the role of gossip within woman relationships and the negative connotation applied by patriarchal society. Frank Millet seems to have an understanding of this relationship and solidarity between women and that gossip. (Rysman 1977) Women who would have lived during the late 19th century one of their few ways of interacting outside of a patriarchal setting would be in their domestic setting, as represented in this work of art. Since gossip has been around for a long time and will continue to be as it’s a part of human evolutionary development and one of the most used social navigation tools Francis McAndrew looks into the reason why humans have a difficulty resisting gossip and while it’s something that often is considered to be bad socially, it’s still something that is and will continued to be used. This is how people manage their friendships, how they know who to seek out as a life partner. Social intelligence is required for social success, and for women, more so during this time period would have had to rely on their own reputation in order to be successful. (McAndrew 2017) While it might be bold to say that Millet knew the ins and outs of women friendships, but it would be fair to say he at least understood the special dynamic and communal relationship that women tend to have with their friends. Whether this could be taken in a negative way, Rysman in his article proposes that gossip being negative about women has more to do with a patriarchal society’s resentment of female solidarity. (Rysman 1977, p.179) Though there is not as much evidence that men are less likely to gossip than women, the nature of the gossip is a bit different between the genders. In David Watson’s research, he brings up the idea that female friendships are different from male friendships. Women tend to be more communal; their friendships are how women fulfill their needs for intimacy and sharing information about themselves to reach a mutual self-understanding with friends. Inversely, with regard to those women view as competition in social environments, women are far more aggressive with their gossiping and even used a “higher level” of gossip. (Watson 2012, p.496) The concept of woman solidarity and friendship aided by gossip comes through in Millet’s painting. The subject matter of two women communally gathering sharing information, whether it be reputational gossip about someone of their social competition or just something fun they heard about someone who they have mutual interest in. This representation of women and gossip is cheeky in the wholesome retrospect of simple friendship.

Literature

McAndrew, Francis T. 2017. ““the Gossip” Became a Woman and How “Gossip” Became Her Weapon of Choice.” Edited by Maryanne T. Fisher. In “The Oxford Handbook of Women and Competition.” N.p.: Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199376377.013.13.

Rysman, Alexander. 1977. “How Gossip Became a Woman.” Journal of Communication 27 (1): 176-80. https://doi.org/10.1111/j.1460-2466.1977.tb01814.x.

Van Hook, Bailey. 1990. “Decorative Images of American Women: The Aristocratic Aesthetic of the Late Nineteenth Century.” Smithsonian Studies in American Art 4 (1): 45-69. http://www.jstor.org/stable/3108996.

Van Hook, Bailey. 1990. “”Milk White Angels of Art”: Images of Women in Turn-of-the-Century America.” Woman’s Art Journal 11 (2): 23-29. http://www.jstor.org/stable/3690695.

Watson, David C. 2012. ““Gender Differences in Gossip and Friendship.”” Sex Roles: A Journal of Research 67, no. 9-10 (November): 494-502. 10.1007/s11199-012-0160-4.

Werness, Hope B. 1984. “The Modest Maiden in 19th-Century Art: Evolution of a Theme.” Woman’s Art Journal 5 (2): 7-10. 10.2307/1357959.