女艺术家曾经长期被禁锢在临摹者、赞助人和缪斯的角色中，但近年来，她们获得了越来越多的认可，博物馆的藏品收藏政策和大型展览为女艺术家预留的席位就是明证。许多博物馆都在着力增加馆藏品的女性元素，但实现性别平等仍然是一个遥远的目标。露西亚·伊格莱西亚·昆茨（Lucía Iglesias Kuntz）联合国教科文组织
西班牙画家罗萨里奥·德·贝拉斯科（Rosario de Velasco）在马德里的提森-博内米萨国立博物馆举办了个人画展，法国电影人阿涅斯·瓦尔达（Agnès Varda）在巴黎电影资料馆举办了回顾展，美国概念艺术家珍妮·霍尔泽（Jenny Holzer）成为纽约古根海姆博物馆展览的主角……博物馆和文化基金会近年来频频向女艺术家致意，此类盛事不胜枚举。
曾几何时，女艺术家不受重视，遭人嘲笑，人们只在谈论她们与情人的关系时才会偶然说起某位女艺术家，法国雕塑家卡米耶·克洛岱尔（Camille Claudel）和墨西哥画家弗里达·卡罗（Frida Kahlo）都曾经被自己的情人——奥古斯特·罗丹（Auguste Rodin）和迭戈·里维拉（Diego Rivera）的光芒所掩盖，长期默默无闻。女艺术家遭到无视的这种现象几十年来一直备受谴责。早在1989年，女权主义群体“游击队女孩”的活动人士就在纽约大都会艺术博物馆门前贴出海报，质问这家博物馆：“女人必须裸体才能展出吗？”“女艺术家遭到无视的这种现象几十年来一直备受谴责”
要求推进性别平等，不仅涉及到原则问题；艺术界的经济平等首先取决于艺术家的知名度和认可度，而且特别看重个展。艺术家举办展览次数越多，其价值就越高，这是艺术市场的规律决定的。
© 阿里纳利档案馆，佛罗伦萨，巴黎大皇宫区 /亚历山德罗·瓦萨里（Alessandro Vasari） 意大利巴洛克画家阿尔泰米西娅·真蒂莱斯基的自画像，创作于1630年至1638年。阿尔泰米西娅·真蒂莱斯基是其所处时代最著名的艺术家之一，1616 年被佛罗伦萨著名的国立美术学院（Accademia delle Arti del Disegno）录取，她也是该校录取的第一位女性学员。
提高知名度
近年来，一些文化机构为提高女艺术家的知名度可谓不遗余力。以位于斯德哥尔摩的瑞典国立美术馆为例，该馆过去20年来一贯的政策是努力提高馆藏品中女艺术家作品的比例。美术馆藏品部主管马丁·奥林（Martin Olin）解释说：“我们主要关注19世纪北欧，特别是瑞典女艺术家的绘画和雕塑作品，同时也兼顾18和19世纪法国女画家的作品。近几十年来，我们还收购了早期女艺术家的作品，其中包括意大利画家阿尔泰米西娅·真蒂莱斯基（Artemisia Gentileschi）的一幅画作。我们还会将当代艺术家的作品纳入馆藏，以保持连贯性。”
“部分文化机构为提高女艺术家的知名度可谓不遗余力”
在德国北部的汉堡，汉堡火车站当代艺术博物馆计划在2023至2025年期间举办20场展览，其中14场是女艺术家的作品展。伦敦泰特美术馆一直注重增加藏品的多样性。“2021 年，策展人在新的收藏规划中正式确定了这项目标，明确宣告了我们一直以来致力于增加女艺术家的比例。我们主动收购的作品（非捐赠或遗赠）就是一个明证。过去五年来，我们收藏的女性作品多于男性作品，创作者中既有曾经被忽视的女性，也有新一代女性，比如雷切尔·琼斯（Rachel Jones）和库扎奈-维奥莱特·瓦米（Kudzanai-Violet Hwami），她们的作品都是首次被泰特美术馆收藏。”伦敦艺术中心的雷切尔·杨（Rachael Young）这样解释道。
在巴黎，乔治·蓬皮杜国家艺术文化中心也不甘示弱。这家位于巴黎的博物馆的工作人员多萝西·米勒（Dorothée Mireux）告诉我们：“我们有12万件藏品，其中女艺术家的作品目前占到18.53%；创作者的年纪越轻，这一比例越是趋于平衡。在我们收藏的70后视觉艺术家当中，女性约占40%。2018 年，我们的馆藏品中有1468位女艺术家的作品，四年间增加了5.65%。”蓬皮杜中心曾率先举办了具有里程碑意义的展览，例如“她们在蓬皮杜中心”（2009至2011年）和“她们与抽象”（2021 年）。在蓬皮杜中心的收藏中，摄影师朵拉·玛尔（Dora Maar）是最具代表性的女艺术家，她在展出作品最多的艺术家中排在第五位，仅次于摄影师曼·雷（Man Ray）、布拉塞（Brassaï）、埃利·洛塔（Eli Lotar）和雕塑家康斯坦丁·布朗库西（Constantin Brancusi）。
有些博物馆为纪念国际妇女节等特定事件制定了具体举措。例如，女性可以在3月8日免费参观庞贝古城考古遗址，或是参加马德里的普拉多博物馆举办的系列讲座，探讨博物馆馆藏珍品中的女性形象。普拉多博物馆的网站为此开设了专题页面，题为“女性视角”。此外，博物馆还积极推动女性专业人员和外部相关人员（如策展人、主讲人和编目作者）的参与。
尽管各方都希望为女艺术家提供更多空间，但性别平等仍远未实现。科学期刊《公共科学图书馆·综合》（Plos One）2019年刊载的一篇研究论文指出，在美国参观人数最多的18家博物馆中，87% 的参展艺术家为男性。西班牙视觉艺术女性协会的2024年报告显示，57%的西班牙博物馆仍未实现“性别平等”；女艺术家的个展次数至少要占到个展总数的35%，才可视为性别平等。
另一方面，一些艺术家正在展出的作品已经从世间消失了几百年。画家阿特米西娅·真蒂莱斯基（Artemisia Gentileschi，1593—1656年）就属于这种情况。她在21世纪初被重新发现，现已成为17世纪女画家的代表人物。2020年，伦敦国家美术馆专门为她举办了一场大型展览，题为“尊敬的阁下，我将向你展示女性的力量”。一时间，盛况空前。
《公共科学图书馆·综合》（Plos One）2019年题为“Diversity of artists in major U.S. museums”的论文：https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0212852西班牙视觉艺术女性协会的2024年报告：
https://journals.sagepub.com/doi/full/10.1177/19485506231163012
Long confined to the roles of copyist, patron or muse, women artists have been enjoying greater recognition in recent years, as demonstrated by museum acquisition policies and the space reserved for them at major exhibitions. But despite the efforts of many institutions to feminize their collections, parity is still a distant goal.
Lucía Iglesias Kuntz
UNESCO
Spanish painter Rosario de Velasco showcased at Madrid's Thyssen-Bornemisza National Museum. French filmmaker Agnès Varda given a retrospective at the Cinémathèque de Paris. And American conceptual artist Jenny Holzer the star of an exhibition at the Guggenheim in New York – there’s no shortage of recent examples of museums and cultural foundations honouring women artists.
We’ve come a long way since the days when women artists were ignored, mocked or mentioned only in relation to their partners, as were French sculptor Camille Claudel or Mexican painter Frida Kahlo, long overshadowed by their respective paramours, Auguste Rodin and Diego Rivera.This invisibilization has been decried for several decades. Back in 1989, activists from the feminist collective Guerrilla Girls challenged the Metropolitan Museum in New York with their posters asking “if they had to be naked to be exhibited”.“The invisibilization of women artists has been decried for several decades”The demand for greater parity is not simply a question of principle; financial equality in the art world depends above all on the visibility and recognition of artists, particularly through solo exhibitions. The logic of the art market dictates that the more an artist is shown, the higher their value.In recent years, however, a number of cultural institutions have spared no effort to give visibility to women artists. This is true of the National Museum of Fine Arts in Stockholm, for instance, which for the past twenty years has been pursuing a policy aimed at increasing the representation of women artists in its collections. “We concentrate on paintings and sculptures by Nordic women artists, particularly Swedish, from the 19th century, but also French women painters from the 18th and 19th centuries,” explains Martin Olin, director of collections at the museum. “In recent decades,” he adds, “we have also acquired works by women artists from earlier periods, including a painting by the Italian painter Artemisia Gentileschi. We also try to integrate the work of contemporary artists into our collection, for the sake of coherence.”“Some cultural institutions have spared no effort to give visibility to women artists”In Hamburg, in northern Germany, of the twenty exhibitions scheduled at the Hamburger Bahnhof – Nationalgalerie der Gegenwart between 2023 and 2025, fourteen will be devoted to women. In London, the Tate Gallery has long been committed to increasing the diversity of its collections. “In 2021, the curators formalized this objective in a new collection strategy that sets out our ongoing commitment to increasing the representation of women artists. This commitment is clearly visible in the works we actively purchase (as opposed to those donated or bequeathed to us). Over the past five years, we have acquired more pieces by women than by men. These may be works by women who have gone unnoticed or those who belong to new generations, such as Rachel Jones or Kudzanai-Violet Hwami, who have joined the Tate collection for the first time,” explains Rachael Young, from the London art centre.In Paris, the Centre Georges Pompidou is not to be outdone. “Currently, 18.53 per cent of the total number of artists represented in our collection of 120,000 works are women, but the younger the generation, the more this figure balances out (around 40 per cent of the visual artists born after 1970 who make up our collection are women),” says Dorothée Mireux from the Paris museum. “In 2018, the collection included 1,468 women artists, which represents an increase of 5.65 per cent in four years”. The Centre Pompidou, which was a pioneer with landmark exhibitions such as elles@centrepompidou (from 2009 to 2011) and Elles font l'abstraction (Women in abstraction)(2021), has made photographer Dora Maar the most represented female artist in its collection, ranking fifth among the most exhibited artists, behind photographers Man Ray, Brassaï, Eli Lotar and sculptor Constantin Brancusi.Other museums develop specific initiatives to mark certain events, such as International Women's Day. On 8 March, for example, women can visit the archaeological site of Pompeii free of charge, or attend series of lectures organized by the Prado Museum in Madrid to discuss the role of women in the museum's masterpieces. Its website has a special page entitled “Prado en Femenino” (The Prado in the feminine). In addition, the museum actively promotes the participation of female professional staff and external contributors such as exhibition curators, lecturers and catalogue authors.But despite this desire to make more room for women artists, parity is far from the norm. According to a study published in the scientific journal Plos One in 2019, 87 per cent of the artists exhibited in the eighteen most visited museums in the United States were men. In Spain, a 2024 report by the Association of Women in the Visual Arts revealed that 57 per cent of Spanish museums still do not achieve “parity”, which is considered to have been reached when at least 35 per cent of solo exhibitions are devoted to women artists.In the meantime, the work of certain artists is currently being showcased, sometimes centuries after their disappearance. This is true, for example, of the painter Artemisia Gentileschi (1593-1656), rediscovered in the 2000s and now emerging as an emblematic figure among women painters of the 17th century. In 2020, the National Gallery in London devoted a major exhibition to her entitled “I will show Your Illustrious Lordship what a woman can do”. Quite an undertaking.A study published in the scientific journal Plos One in 2019 titled “Diversity of artists in major U.S. museums”:https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0212852A 2024 report by the Association of Women in the Visual Arts:https://journals.sagepub.com/doi/full/10.1177/19485506231163012![]()
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https://unesdoc.unesco.org/ark:/48223/pf0000192331
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