The essay describes the transition of female artists from amateur to professional through an analysis of female participation in professional exhibitions during the early 20th century in Italy. Specifically, it examines the history of the Società delle Artiste, the group of pioneers who want to identify themselves in the field of professional art, and the first two exclusively women's international exhibitions organized in Italy. Furthermore, this study contains the analysis of part of the Swedish artist Tyra Kleen's correspondence with two exponents of the Italian cultural elite, Arnaldo Cervesato and Sibilla Aleramo. The method of analysis used is discourse analysis in combination with Pierre Bourdieu's theory of cultural fields.The study identifies the factors behind the change in the status of female artists in Italy as a product of the influence of the phenomenon of female associations as promoters of the "new woman" and her social positioning as a useful and functional element in general modern renewal. The analysis of Tyra Kleen's correspondence confirms the importance of the relational network required for a female artist in Italy to establish herself and identifies the connections to the sphere of women's associations. / Uppsatsen beskriver kvinnliga konstnärers övergång från amatörmässigt till professionellt slag genom analys av kvinnligt deltagande i professionella utställningar under början av 1900-talet i Italien. Specifikt granskas historien om Società delle Artiste, den gruppen av pionjärer som vill legitimera sig inom området för professionell konst, och de två första exklusivt kvinnliga internationella utställningar som organiserats i Italien. Vidare innehåller denna studie analysen av en del av den svenska konstnären Tyra Kleens korrespondens med två exponenter för den italienska kultureliten, Arnaldo Cervesato och Sibilla Aleramo. Analysmetoden som används är diskursanalys i kombination med Pierre Bourdieus teori om kulturfält. Studien identifierar faktorerna bakom förändringen i status för kvinnliga konstnärer i Italien som en produkt av inflytandet från fenomenet kvinnliga föreningar som främjare av den "nya kvinnan" och hennes sociala positionering som ett användbart och funktionellt inslag i  allmänn modern förnyelse. Analysen av Tyra Kleens korrespondens bekräftar vikten av det relationsnätverk som krävdes för att en kvinnlig konstnär i Italien skulle kunna etablera sig och identifierar kopplingarna till de kvinnliga föreningarnas sfär.

This thesis is about two Swedish artists named Julia Beck (1852–1935) and Maj Bring (1880–1971). The idea was to see what kind of differences there were between these two Swedish female artists. They both studied at the Swedish Art academy and both had very successful careers, though they belong to different generations of artist. The first question to be answered, was is if you could see any similarities or differences in their education and career. The other question in this thesis was how the female art was perceived during the different art exhibitions which Julia Beck or Maj Bring participated in. Could you see if the art were perceived and judged differently due to, they being female artist? And could you see if there were any kind of resistance towards them as artists or towards their art and if so, how did it express itself? To answer that question the analysis is based on art exhibit reviews with a theory based on a gender perspective and of Linda Nochlins essay Why have there been no great women artists? This to help with looking after what kind of social barriers or resistance is visible in these art critics reviews.                                                                  The results of the biographical comparison showed many similarities and some differences. Such as them both studying in Paris after their education in the Swedish Art academy and both frequently traveled back and forth to stay in France for as long as possible. Eventually Julia Beck moved to France and stayed there until her death. While Maj Bring lived her entire life in Sweden and started an art school in Stockholm and paused her artist career for a while. Meanwhile Julia Beck dedicated her entire life to her artistic career. In the results of the analysis, you could clearly see several kinds of resistance to both the female art and the female artists. They were very much treated differently than their male colleagues. For example, in Paris there were specific places where the female artists showed their art. The critique reviews often explained the female art with female qualities and said that female artist had specific characteristics that made them more qualified in specific areas that was thought women belonged too.

<p>Cilj istraživanja je konstrukcija profesionalnog<br />identiteta vizuelnih umetnica koje stvaraju u<br />Vojvodini krajem 20. i početkom 21. veka,<br />analiza njihovog umetničkog rada i života,<br />ukazivanje na mogućnosti njihovog povoljnijeg<br />položaja.<br />Hipoteza 1: Nedovoljna je valorizacija<br />vizuelnih umetnica Vojvodine, naročito onih<br />koje se bave novim tehnologijama.<br />Hipoteza 2: Nevidljiv je njihov doprinos<br />značaju za razvoj aktuelne umetničke prakse i u<br />sistemu visokog obrazovanja.<br />Hipoteza 3: Značaj umetničkog rada ovih<br />vizuelnih umetnica ne prepoznaju masovni<br />mediji, &scaron;to jo&scaron; vi&scaron;e doprinosi njihovoj<br />nevidljivosti u javnosti.<br />U istraživanju su primenjene analize:<br />svedočenja (intervjui) umetnica; analize<br />tekstova o umetnicama, analize umetničkih<br />radova umetnica.<br />Osnovni korpus istraživanja čine razgovori<br />autorke sa umetnicama, ukupno 12 umetnica<br />vezane za Vojvodinu, tekstovi o njima i njihovi<br />umetnički radovi.<br />Rezultati istraživanja su pokazali da je<br />umetnicama profesionalni identitet<br />najistaknutiji, ostalim pristupaju kao<br />promenljivim kategorijama; da pridaju važnost<br />preno&scaron;enju znanja i formiranju novih kadrova,<br />te uvođenju ženskog identiteta u umetnost;<br />ističu da im nedostaje finansijska sigurnost u<br />profesiji, te da re&scaron;enje vide u udruživanju i<br />izgradnji mreže saradnica (međugeneracijskih,<br />umetničkih, interdisciplinarnih, lokalnih,<br />regionalnih i internacionalnih).<br />Zaključujem da je istraživanje ukazalo da su<br />umetnice koje se bave novim medijima u<br />Vojvodini delimično valorizovane. O njima je<br />pisan veći broj tekstova, ali su oni rasutu po<br />različitim izvorima, na mnogim jezicima i<br />mestima (lokalno, regionalno, internacionalno).</p><p>Politika institucija kulture im nije posvetila<br />dovoljno pažnje kada su u pitanju monografske<br />publikacije i retrospektivne izložbe, otkupi<br />umetničkih radova i sl. Njihov doprinos nije<br />dovoljno vidljiv u sistemu visokog obrazovanja,<br />a značaj njihovog umetničkog rada ne<br />prepoznaju dovoljno mas-mediji.<br />Istraživanjem su prvi put umetnice koje se bave<br />novim medijima u Vojvodini krajem 20. i<br />početkom 21. veka okupljene u jednu celinu.<br />Izneti podaci o njihovoj generacijskoj,<br />medijskoj, umetničkoj i drugoj povezanosti<br />predstavljaju samo početak budućih istraživanja<br />u okviru istorije i teorije umetnosti. Za njih je<br />izgrađivanje profesionalnog identiteta kao<br />bogatstva različitosti najvažnije, ali je on<br />uklopljen u mnogostruke ženske mreže i<br />povezanosti jer je to jedan od načina njegovog<br />razvoja i opstanka.<br />Ukupni podaci o različitim aspektima identiteta<br />umetnica novih medija mogu doprineti op&scaron;toj<br />diskusiji o prirodi identiteta.<br />Preporuka je da se uspostavi sistem čuvanja ne<br />samo radova, već arhiviranja dokumentacije o<br />umetnicama novih medija budući da su podaci<br />rasuti po različitim izvorima i privatnim<br />kolekcijama, slabo dostupni javnosti; da se u<br />galerijama i muzejima koji nemaju posebno<br />izdvojena sredstva za mlade umetnike/ce, za<br />produkciju umetničkih radova i sl. uvede slična<br />praksa; takođe nedovoljno kritičara i kritičarki<br />koji prate nove medije predstavlja problem koji<br />treba re&scaron;avati.<br />Iz svega izloženog pokazali smo da je reč o<br />umetničkim izrazima i umetničkim praksama<br />koje osvajaju prostor i otuda je prvi važan<br />rezultat analize u ovom radu to &scaron;to su na<br />jednom mestu pokazane različite prakse i to<br />tako da se sučeljavaju ocene o njihovom radu sa<br />svedočenjem samih umetnica o sopstvenim<br />radovima i dilemama.</p><p>&nbsp;</p> / <p>The aim of the research is the construction of<br />the professional identity of female visual artists<br />who are creating in Vojvodina in the late 20th</p><p>and early 21st century, an analysis of their<br />artistic work and life, pointing to the<br />possibilities of their favorable position.<br />Hypothesis 1: Valorization of female visual<br />artists of Vojvodina is insufficient, especially<br />those dealing with new technologies.<br />Hypothesis 2: Their contribution for the<br />development of current art practice and in the<br />higher education system is invisible.<br />Hypothesis 3: The importance of the artistic<br />work of these female visual artists is not<br />recognized by the mass media, which further<br />contributes to their invisibility in the public.<br />The research involved these analyzes: female<br />artists testimonies (interviews); analysis of texts<br />about female artists, analyzes of art works by<br />female artists.<br />The main research corpus is the interviews of<br />the author with female artists, a total of 12<br />female artists related to Vojvodina, texts about<br />them and their art works.<br />The results of the research have shown that for<br />the female artists the professional identity is the<br />most prominent identity, to other identities they<br />approach as to variable categories; they give<br />importance to the transfer of knowledge, to the<br />formation of new personnel and to the<br />introduction of women&#39;s identity in art;<br />emphasize that they lack financial confidence in<br />the profession and that they see the solution in<br />the merging and building of a network of<br />collaborators (intergenerational, artistic,<br />interdisciplinary, local, regional and<br />international).<br />I conclude that the research indicated that<br />female artists dealing with new media in<br />Vojvodina are partially valorized. A number of<br />texts are written about them, but they are spread<br />across different sources, in many languages and<br />places (locally, regionally, internationally). The<br />politics of the cultural institutions did not give</p><p>them enough attention when it comes to<br />monographic publications and retrospective<br />exhibitions, the purchase of art works, etc. Their<br />contribution is not sufficiently visible in the<br />higher education system and the importance of<br />their artistic work is not sufficiently recognized<br />by mass media.<br />This research is the first time that female artists<br />who are engaged in new media art in Vojvodina<br />in the late 20th and early 21st century have been<br />integrated into one whole. The presented data<br />on their generational, media, artistic and other<br />connections are only the beginning of future<br />research within the history and theory of art.<br />For them, building the professional identity as<br />the wealth of diversity is the most important,<br />but it is integrated into multiple women&#39;s<br />networks and connections because it is one of<br />the ways of its development and survival.<br />The overall data on different aspects of the<br />identity of female new media artists can<br />contribute to a general discussion of the nature<br />of identity.<br />It is recommended to establish a system for<br />storing not only works, but also archiving<br />documentation about female new media artists,<br />since the data that is scattered across different<br />sources and private collections is not readily<br />available to the public; that in galleries and<br />museums that do not have special funds<br />allocated for young artists/female artists, for the<br />production of works of art, etc., introduce<br />similar practices; also insufficient critics and<br />female critics who follow new media art is a<br />problem that needs to be addressed.<br />From all of the exhibited we have shown that it<br />is about artistic expressions and artistic<br />practices that conquer space and hence the first<br />important result of the analysis in this paper is<br />that different practices have been shown in one<br />place, so that the evaluation of their work is<br />confronted with the testimony of the female</p><p>artists themselves about their own works and<br />dilemmas.</p><p>&nbsp;</p>

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