Академический Документы
Профессиональный Документы
Культура Документы
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact support@jstor.org.
Woman's Art Inc. and Old City Publishing, Inc. are collaborating with JSTOR to digitize, preserve and extend access to
Woman's Art Journal.
http://www.jstor.org
This content downloaded from 130.237.29.138 on Wed, 02 Dec 2015 06:28:29 UTC
All use subject to JSTOR Terms and Conditions
Female
Considering
Hildegard
of
Bingen
and
Agency
Francesca
Woodman
By Marian Bleeke
This content downloaded from 130.237.29.138 on Wed, 02 Dec 2015 06:28:29 UTC
All use subject to JSTOR Terms and Conditions
Sciviasmanuscript
as wellas a setofdesignsforherLiberdiviin theLucca
norumoperumthatlay behindtheilluminations
of thatwork.4AlthoughCaviness's argumentfor
manuscript
as an artisthas notbeenuniversally
Hildegard'sidentification
I do notchallengeit
acceptedamongmedievalarthistorians,
here.5Rathermyconcernis forthelargerconsequencesto be
drawnfromthatidentification.
Indeed,Cavinessherselfseems
to have been unsureof whatconsequencesto draw fromher
own argument:in certainarticlesshe claimsthatHildegard
ought to be recognizedas a "greatmaster"comparableto
Renaissancemasterssuchas Leonardoda Vinci,butelsewhere
feminist"
itis impossiblefor
she writesthatas a "post-modern
herto makesucha claim.6
in assessingthelarger
Cavinessencountered
The difficulty
of
identification
as an artistpresentsa
significance Hildegard's
arthistorythat
tensionin feminist
versionof a long-standing
was classicallyenunciatedin Linda Nochlin's "WhyHave
There Been No Great Women Artists?" Is the project of
feministarthistoryprimarilythatof recoveringthe artistic
work of women and then constructinga canon of female
"masters"to matchthe existingrosterof men? Or should
women's experienceswithartbe used to challengeexisting
arthistory
notionssuchas thegreatmasterand so totransform
Thistensionhas specialrelevanceforfeminist
as a discipline?7
scholars who work on the Middle Ages, forthe general
anonymityof medieval art and the accompanyinglack of
documentationforits productionmeans thatwe typically
littleabout the makers of the material we studyknow
from
Ecclesiafrom
theRupertsburg
ofAntichrist
Fig.3. Thebirth
menor women.Medievalartis simplynota good fit
whether
Ms 1), c. 1165.
HessicheLandesbibliothek,
Scivias(Wiesbaden,
ofarthistorical
for
models
NY.
Photo:Erich
/ArtResource,
inquirythatplace emphasison the
Lessing
the
As
RachelDressierhas written,
of
the
artist.
person
in
a
model
of
such
contemporary
importance
feministarthistoryis demonstratedby the most
recentof theanthologieseditedby NormaBroude
in whichfourteen
outoftwentyand MaryGarrard,
The impetus
threeessays focuson womenartists.8
forthisemphasisis suggestedby theanthology's
title,ReclaimingFemaleAgency,foriffemaleagency
art
feminist
is thecentralconcernof contemporary
in
their
and
Garrard
as
Broude
suggest
history,
introduction
to thisvolume,thenthatagencycan
most easily be identifiedin the work of women
formedievalists,as Dressier
artists.9Worryingly
points out, none of the essays in this volume
This absence of
addresses medieval materials.10
to thefield
medievalartfroma majorcontribution
on thepartofnonsuggestsa perceivedirrelevance,
medievalist scholars, of medieval materials to
arthistory's
feminist
keyconcerns.
ofthemedievalpastto
Thisperceivedirrelevance
feminism
is notlimitedto arthistory,
contemporary
butis a largerissueacrossthehistorical
furthermore,
:
book,HistoryMatters
disciplines.In an important
and theChallengeof Feminism,Judith
Patriarchy
in
therootcause ofthisperception
Bennett
identifies
the medieval past as
to
understand
a
tendency
ofGeorge
RI.. Courtesy
Untitled
Woodman,
(1976).Providence,
Fig.4. Francesca
simplytheantithesisof themodernworld.At one
Woodman.
andBetty
ART
JOURNAL
WOMAN'S
This content downloaded from 130.237.29.138 on Wed, 02 Dec 2015 06:28:29 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 130.237.29.138 on Wed, 02 Dec 2015 06:28:29 UTC
All use subject to JSTOR Terms and Conditions
of
TheTower
ofBingen,
Fig.7. Hildegard
from
the Rupertsburg
Savias
theChurch
HessicheLandesbibliothek,
(Wiesbaden,
/ Art
Ms 1) (. 1165).Photo:Erich
Lessing
NY.
Resource,
Also problematic is Caviness's
presentationof FrancescaWoodman
as an empowered female and even
thatI
artist.The self-portrait
feminist
in
was
made
to
compare Hildegard's
1972, when Woodman was only
thirteenyearsold. Her genitalmask
photograph was made when
Woodman was about eighteen,and
the Temple Project series that
Caviness discusses dates to 1980,
when she was almost twenty-two.
not
These photographsare therefore
artist.
of
a
mature
nor
mature
woman
work
of
a
the
medieval
for
most
Indeed,
similar
did
not
have
women
agency,
images,includingmostimagesof women,weretheproducts most of Woodman's extant work dates to her years as a
studentat theRhode Island School of Design (1975-78),and
ofmalepatronsand artists.Hildegard,Cavinessclaims,stands
of
her
own
as an exceptionto thatruleas theproducer
images, criticshave remarkedthatmuchof her workappears to be
Her oeuvreis limitedto thisearly
solutionsto set problems.22
with
that
of
some
and so her work bears comparison
she tookherown lifein 1981.
work
because
and
women.18
experimental
contemporary
is
included with Caviness's
information
this
None
of
Caviness's presentationof Hildegard as an exceptional
work.
of
Woodman's
it
medieval female artist/agentis problematic because
presentation
In herwritings,
conflictswithHildegard'sself-presentation.
Today'sscholarsand criticshave struggledto understand
bothHildegard'sdenial of herown agencyand Woodman's
forexample, Hildegard presents herselfas exceptional
suicide. The two are comparable in that suicide can be
preciselyin thatshe is notan agent; she is speaking and
writingnoton herown behalfbutas a mouthpieceforGod.19 understoodas theultimatedenial of one's own agencyas it
removestheselffromtheworld:how are we to understand
This exceptionality without agency also appears in
In herbiographyofHildegard,Sabina
suchactsofself-denial?
Hildegard's self-portrait in the Rupertsberg Scivias
Flanagan argues that we must accept Hildegard's selfmanuscript.The red flamesthatdescend to touchher face
as a mouthpieceforGod as a genuineexpression
markheras an exceptionalbeing.The flames,whichrepresent presentation
23Caviness, on the otherhand,
of her self-understanding.
herpropheticgiftfromGod, stimulateheractivitywithinthe
contestsHildegard'sdenial of herown agency,seeingit as a
boththewordsshe speaks to Volmarand
image,motivating
conventional monastic humilitytopos, or possibly as a
in this
theimagesshe sketcheson hertablet.As represented
deliberaterhetoricalstrategynecessaryforher to writeand
image,neithertextnor image is Hildegard's own product;
createartwithinthechurchmilieu.24In thecase ofWoodman,
insteadbothare theresultof thedivineforcethathas chosen
haveexpressedconcern
In her writings,furthermore, ChrisTownsendand CarolArmstrong
her and acts throughher.20
suicide has served to
Woodman's
on
in
that
with
her
lack
of
her
associates
overemphasis
femininity
agency
Hildegard
She repeatedly pathologizeherphotographs.
However,PeggyPhelanhas the
accentuateherexceptionality.
orderto further
describesherselfas a "weakwoman"and so as someonewho
opposite concern, that Woodman's suicide has been
wouldbe incapableofproducingherworkson herown.These
downplayed in order to rescue her as an empowered
1believethatHildegard'sdenialofher
artist.25
witha Christianlogicofoverturning, female/feminist
areconsistent
statements
own agencyand Woodman'ssuicide may ultimatelyreflect
or thelowlytobe
in whichGod choosestheweak,theinferior,
each woman's internalstruggle:Hildegard's to understand
exalted:so he has chosenherto be his instrument.
Theyare
ofmedieval
herselfand herexperienceswithintheconstraints
likewise consistent with her descriptions of herself as
culture,and Woodman's to findher place in the world. By
uneducatedand even illiterate,whichagain identifyher as
inferiorand as someone who could not produce her texts
examiningselected images by Hildegard and Woodman,I
As Sabina Flanaganand BarbaraNewmanbothwrite, hope to illuminatehow theirshared visual interestsin the
herself.
female body and architecturalformsspeak both to their
the "weak woman" statementsalso suggestthatHildegard
thatidentified similarstrugglesand to ways in whichthosestruggleswere
medievalgenderconstructions
had internalized
worlds.
withweakness.21
shapedbytheirdifferent
femininity
ART
JOURNAL
WOMAN'S
This content downloaded from 130.237.29.138 on Wed, 02 Dec 2015 06:28:29 UTC
All use subject to JSTOR Terms and Conditions
NY.Courtesy
of
Woodman,
Untitled,
(1979).NewYork,
Fig.8. Francesca
and
Woodman.
George Betty
powerfulmother.At the same time,as this virgin's form
replicatesthatoftheMotherChurch,Hildegardseemstoclaim
forherselftheidentity
ofthepowerfulmother.32
In the Scivias,however,Hildegard consistently
portrays
maternalfiguresas endangered.The Churchas Motheris
attackedby some of her own children,who "abandon the
maternalwomband thesweetnourishment
oftheChurchand
troubleherwithmanyerrors,and withdifferent
oppressions
tearto pieces herlaws."33Likewise,theChurchas a toweris
underattack,forsome "act insane...burstintothebuilding;
theyinvade the tower,carryingon and hissing at it like
serpents."34
Synagoga,too,despitethepowersuggestedbyher
in
is
trouble:
she is black fromher navel to her feet
size,
because she has been "soiled by deviationfromtheLaw and
oftheheritageofherfathers";
herfeetarered
bytransgression
because she "killed the Prophetof Prophetsand therefore
slippedand felldown herself';she has no eyesbecauseshe is
blindto thetruth;and herhands are tuckedintoherarmpits
because of her laziness.35
In Hildegard'svisionofAdam and
Eve as well,a massiveblackshape loomsoverthetinywhite
cloud thatrepresentsEve and expels its blacknessonto her.
The corruptedmaternalbody of theChurchfinallytakesthe
formof themonstrousgenitalmask representing
Antichrist
thattortures
herbodybeforeexplodingaway fromher.36
This
image of the Church as a battered woman is one that
Hildegard shared with certainof her contemporaries,in
withRupertofDeutz,who used itto call forchurch
particular
reform.37
Hildegard'suse of thisimage,however,can also be
read as expressingherunderstanding
of herown femininity
and itsconsequences:iffemininity
as motherhood
is a source
ofpower,itis also a sourceofdangerto themotherherself.
WINTER
2010
FALL/
This content downloaded from 130.237.29.138 on Wed, 02 Dec 2015 06:28:29 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 130.237.29.138 on Wed, 02 Dec 2015 06:28:29 UTC
All use subject to JSTOR Terms and Conditions
FALL
2010
/WINTER
This content downloaded from 130.237.29.138 on Wed, 02 Dec 2015 06:28:29 UTC
All use subject to JSTOR Terms and Conditions
totheVirgin
inHildegard's
30.Ibid.,77.Onsimilar
12.Ibid.,10-11,59-60.
Mary
hymns
imagery
Embodiment
and
Voice:
"Flesh
of
the
Wood
see
Bruce
Holsinger,
13.Ibid.,60-83.
ofBingen,"
intheMusicofHildegard
ofDevotion
theHomoerotics
14.Ibid.,43,125-26.
inSigns(Autumn
1993):100-02.
andCommunities, 31.Hildegard
Sexualities
Medieval:
15.Carolyn
Dinshaw,
Getting
use of
of Bingen,Scivias,451, 455; on Hildegard's
NC:DukeUniv.
Pre-andPostmodern
Press,1999),12-21,
(Durham,
Allat
Know
and
"To
see
architectural
Hear,
See,
Caviness,
imagery
34-36,39-54.
Once,"118-22.
16.Bennett,
10-11,
59,76
Matters,
History
tofemale
identifies
32.BruceHolsinger
relationship
figures,
Hildegard's
inhermusic,
as appearing
thefigure
oftheVirgin
inparticular
153-56.
HaveThereBeenNoGreatWomen
17.Nochlin,
Mary
Artists,"
"Why
"FleshoftheVoice,"116desire:Holsinger,
as oneofhomoerotic
intheMiddle
Women
18.Caviness,
Ages,136.
Visualizing
22.
ofthe
St.Hildegard's
ofWisdom:
Sister
19.Barbara
Newman,
Theology
196.
ofBingen,
33.Hildegard
Scivias,
ofCalifornia
Univ.
Feminine
Press,1987),2-3,34-35,82(Berkeley:
461-63.
34.
Ibid.,
452,
ofBingen
179):A
(1098-1
83,246-47;SabinaFlanagan,
Hildegard
Life(London:Routledge,1998),4, 13-14;Barbara 35.Ibid.,133-34.
Visionary
LifeandTimes,"in
Newman,"SibyloftheRhine:Hildegard's
Mews, 36.Ibid.,493,498,507-08.
6-7;andConstant
Newman,
ed., VoiceoftheLiving
Light,
'Smokeinthe
37.Kathryn
'A FrailHumanBeing'on FieryLife,"in
"Prophetand Reformer:
Kerby-Fulton,
"ReligiousThinker:
78-84.
of
the
Voice
in
89.
of
the
Newman,
ed.,
Voice
Living
Light,
52,
ed.,
Vineyard,"'
Newman,
Living
Light,
model
see
artist
and
as
both
dualrole
see Lynn 38.On Woodman's
textandself-images,
issuesinHildegard's
Armstrong,
20.On authority
Likea
"Just
"Francesca
Solomon-Godeau,
"TheTropeoftheScribeandtheQuestionof
Woodman,"
353;Abigail
StaleyJohnson,
Work
Woodman:
inFrancesca
andMargery
ofNorwich
ofJulian
intheWorks
Woman,"
(Wellesley,
Photographic
Authority
Literary
"A
MA:Wellesley
Riches,
1986),19-21;Harriet
66(1991):823-24.
inSpeculum
CollegeMuseum,
Kempe,"
ofa Reputation,"
Portrait
Woodman's
Francesca
Act:
Disappearing
ofWisdom,
Sister
21.Newman,
239,246-47;Flanagan,
2-3,35,182-85,
27:1 (2004):98-99.
ArtJournal
inOxford
ofBingen,
13-14,
42,53-54.
Hildegard
ofFrancesca
ThePhotography
Point:
Sundell,
"Vanishing
Problem 39.Margaret
Woodman:
"Francesca
Rosalind
22.See forexample,
Kraus,
: An
Visible
Inside
the
de
in
Catherine
ed.,
Woodman,"
Zegher,
MITPress,1999),161-77;George
Sets,"inBachelors
(Cambridge:
from
the
and
Art
Twentieth
of
Traverse
of,
in,
Century
Elliptical
and Margaret
LauraLarson,
AnnDaly,NancyDavenport,
Baker,
also
see
MIT
Feminine
Phelan,
436;
1996),
Press,
(Cambridge:
inArtJournal
Sundell,"FrancescaWoodmanReconsidered,"
993.
"Woodman's
Photography,"
"ScatteredinSpace and
2003):59; ChrisTownsend,
(Summer
"JustLikea
40.
8.
435; Solomon-Godeau,
Point,"
Woodman
in
Francesca
Sundell,
Phaidon,
2006),
"Vanishing
(London:
Time,"
and
theWorld:
"The
Self
and
Helaine
Posner,
31;
Woman,"
203.
ofBingen,
23.Flanagan,
183-84,
Hildegard
Ana
of
in
Art
the
Boundaries
Mendieta,
Kusama,
Yayoi
Negotiating
andQueen,"11;and"ToSee,Hear,
24.Caviness,
Abbess,
"Anchoress,
inDawnAdes,ed., Mirror
and FrancescaWoodman,"
Images:
AllatOnce,"124.
andKnow
MIT
and Self-Representation
Surrealism,
Women,
(Cambridge:
1998),169-70.
Press,
inSpace andTime,"8; CarolArmstrong,
"Scattered
25.Townsend,
"FrancescaWoodman:A Ghostinthe Houseofthe'Woman 41. Armstrong,
350.
"Francesca
Woodman,"
de Zegher,
andCatherine
inCarolArmstrong
eds.,Women
Artist,"'
Woodman's
"Francesca
42.
Jui-Ch'i
Liu,
Transforming
Self-Images:
MITPress,2006),350-51;
Artists
at theMillennium
(Cambridge:
in Woman'sArtJournal
BodiesintheSpaces of Femininity,"
the
Death
and
"Woodman's
Phelan,
Image
Photography:
Peggy
2004):26-31.
(Spring/Summer
inSigns27/4(Summer
OneMoreTime,"
2002):979-1004,
esp.98343.Ibid.,26.
85.
see also Solomon44.Ibid.,26-27;on Woodmanand Surrealism,
A
Rider
Nina
26.See, forexample,
Rowe,"SynagogaTumbles,
"A
Like
a
"Just
Act,"
of
Riches,
Woman,"
19;
the
Viewers
and
Godeau,
Disappearing
Clerical
Bamberg
Furstenportal
Triumphs:
100-02;and Susan RubinSuleiman,"Dialogue and Double
inGestaXLV/1
(2006):15-42.
Cathedral,"
andtheHistorical
Artists
Woman
SomeContemporary
Allegiance:
27.Caviness,"Anchoress,
Abbess,and Queen," 115; "Gender
Surrealism
Mirror
in
, and
Women,
ed.,
Ades,
Avant-Garde,"
Images:
as
and
Text
and
83;
"Hildegard
ImageRelationships,"
Symbolism
146-51.
Self-Representation,
32.
Designer,"
"ADisappearing
Likea Woman,"
"Just
19;Riches,
HartandJane 45.Solomon-Godeau,
Columba
Mother
trans.
of
28.Hildegard Bingen,
Scivias,
and
andDoubleAllegiance,"
129-33;
Suleiman,
100;
Act,"
"Dialogue
Bishop(New York:PaulistPress,1990), 201-10; Caviness,
"Francesca
162,165,172-73.
Woodman,"
Kraus,
40.
as
"HildegardDesigner,"
985-1002.
"Woodman's
46.Phelan,
Photography,"
ofBingen,
29.Hildegard
133,169.
Scivias,
ART
JOURNAL
WOMAN'S
This content downloaded from 130.237.29.138 on Wed, 02 Dec 2015 06:28:29 UTC
All use subject to JSTOR Terms and Conditions
Pl.13.Niki
LtoorLacrucifixion
de SaintPhalle,
andvarious
fabric,
(c.1965),
paint,
objectsonwiremesh,
ArtFoundation.
961/2"x70".2010Niki
Charitable
Photo:
Laurent
Condominas.
Sc/V/as
PL14.Hildegard
ofBingen,
from
theRupertsburg
Ms1)
Hessiche
Landesbibliothek,
(Wiesbaden,
Wikimedia
Commons.
(c.1165).Photo:
This content downloaded from 130.237.29.138 on Wed, 02 Dec 2015 06:28:29 UTC
All use subject to JSTOR Terms and Conditions