The Research Question
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Research question
How is the social transformation of the role of women (determined by economic and political changes) reflected in aesthetic representations, particularly caricatures?
The investigation time frame, as mentioned, is the time around the turn of the 19th into the 20th century.
The following will discuss a few illustrative topics. One or more caricatures will be analyzed for each topic.
Modern marriages
There is hardly any topic which has been so frequently used by artists for satirical representation as that of marriage. At the same time, the representations of this specific form of gender relation contain across-the-board prejudices to a degree like no other topic (see Killisch 1988: 189)
Images that depict the conduct and position of women within the constellation of marriage exist from as early as the 16th century. An example is the frequently-modified theme of the "battle against trousers” (see Der Kampf um die Hosen 1500) and Der Kampf um die Hosen (1700) in Fuchs, S. 68
The quarrelsome, dominant wife has also enjoyed a century-long iconographic continuity (see caricature Die Dame und der Affe) Depending on the era, the function of each of these images of women varied. But when each of these functions is abstracted, it’s safe to say that the ideological power of these negative portrayals of women (and wives), albeit to a lesser degree, remains steady to this day.
At the end of the 19th century, Simplicissmus exposed the reader to traditional stereotypes of women in spite of a changed social background. Merely the aesthetic covering was modified.
Examples:
The cold-blooded, unfaithful wife with the constant tendency towards excess – and her cheated-on husband (see caricature Ein Ehering)
The quarrelsome wife who has her husband under her thumb
The dumb housewife standing her post at the oven
The stereotypical housewife and mother
These images are in contrast to the so-called “new woman,” the emancipated woman who in 1890 stepped onto the social scene. This image of women quickly made it into the sphere of satirical magazines.
The following two examples are to be understood as caricature answers to the discussion on marriage reform around the turn of the 19th century:
“And Mr. Graf, what do men like you provide us young ladies with in marriage?” –
“Our souls, my dear.” (see caricature: Gute Aussichen)
The latent irony that resounds from the question is clear. The attractive lady won’t be content simply with the soul of the bald-headed gentleman.
She skeptically examines her male counterpart. Her self-confident demeanor, and her provocative, aggressively posed question underscore this impression.
Rezniceks female image in this picture no longer corresponds to the image of a shy, naïve, helpless girl from a nice home who defenselessly lets a husband be found for her. In all likelihood, this young lady will be having nothing to do with the structures that require women to conform to the norms of “typical” marriage (see Killisch 1988: 191).
“Evil progress” is the title of the depiction of a couple whose publisher is also Reznicek (please see this website or the caricature Böser Fortschritt)
“You know, if you don’t have any more money, just get married” is the laconic suggestion of a young woman to her lover.
“You’re telling me! Broads these days are degenerate. They don’t have ideals any more. None of them are giving themselves up.”
There’s no mistaking this caricature: The traditional gender relations are increasingly out of control.
The repressive mentality of the so-called “lords of the manor,” i.e. men who expect or want to maintain absolute power over their wife is satirically addressed in this picture.
Dudovich’s “Amazon” (please see this website or the caricature Die Amazone) embodies the classic emancipated woman, first of all through her demeanor, second of all through her attitude towards marriage.
The beach vixen puts her hands squarely on her hips and proclaims:
“I’d like to see the hurricane that can blow me into the harbor of marriage!”
