Complete reading the entire volume, The Guerrilla Girls’ Bedside Companion to the History of Western Art and the Introduction of After the Revolution. (The main source using for this essay) Your essay is to include examples of five (5) women who overcame the obstacles placed before them to become professional women artists. (I will highlight and photo copy them from the book, Rosa Bonheur; Edmonia Lewis; Sonia Terk Delaunay; Pan Yuliang; Eva Hesse).

Professional Women Artists
Name
Institution
Institutional Obstacles, which Women have faced historically in their Goal to become Artists
Introduction
Evidently, women have faced numerous historical injustices in their quest to become artists due to various factors; these include the dominance of men in the art industry and lack of recognition. Furthermore, they are prejudiced in the sense that some people say that women cannot become versatile artists; additionally, there has been discrimination among women artists throughout Western history. In essence, in the Western art history, women artists were regarded as not being competent and artistic centuries were reduced to a group of white male masterpieces, as well as movements. Ideally, racism, misogyny, and repressive laws ensured that women artists could not achieve their potential (Heartney, Posner, Princenthal, & Scott, 2014). It is until the twentieth century that women have made great strides in their quest to become artists. However, this has gradually changed especially with the emergence of professional women artists that have overcome numerous obstacles that had been placed before them (Guerrilla Girls (Group of artists), 1998). This study will discuss five women artists that include Rosa Bonheur, Eva Hesse, Pan Yuliang, Edmonia Lewis, and Sonia Terk Delaunay.
Rosa Bonheur
Rosa Bonheur overcame immense obstacles to become a distinguished woman artist; she lived between 1822 and 1899. She loved animals and women as she loved to paint women. Rosa grew up in a family that consisted of political idealists although her mother passed on when she was eleven years old. On the other hand, her father was a respected artist, and a member of a famous utopian group, which advocated for gender equality (Heartney, Posner, Princenthal & Scott, 2013). Markedly, her father was also an art school director, and Rosa took advantage of this opportunity to learn how to paint as she assisted her father in his duties.
On the same note, her specialty included painting bulls, cows, and horses; she enjoyed her first success in her career at the age of twenty-six years when she was awarded a gold medal in 1848 at the Salon. This achievement made her receive recognition from the French government for her two famous paintings, which were La Mare au Diable, and Ploughing in the Nivernais (Johnson, 2013). Rosa Bonheur had admiration for George Sand, and she ensured that she dressed in men’s clothes similar to what George Sand did although she cross-dressed to ensure she became successful.
Furthermore, Rosa became famous for her endeavors such as her 1853 work referred to as The Horse Fair, which made her among the most renowned artists in Europe. Newspapers wrote about her travels, and her fans turned out in large numbers to see her. Additionally, Sir Edwin Landseer, who was a prominent painter, proposed to marry her; oddly, he promised to change his name to Sir Edwin Bonheur although she declined the offer. Her other achievements included being the first woman to be awarded the Officier de la Legion d’Honneur, for being an impressionist and making a life of her own as an eminent woman painter in art history(Heartney, Posner, Princenthal & Scott, 2014). Additionally, she was active during the early women’s movement, which advocated for women artists’ recognition.
Edmonia Lewis
Edmonia Lewis was both a Chippewa and an African-American, who traveled to Italy to make art regarding slavery in the U.S. She was born in 1845 near Albany in New York; notably, she was orphaned at the age of nine years. Subsequently, after her parents died, Edmonia was sent to live with her Chippewa tribe that lived in the Niagara Falls, her older brother returned from California during the famous gold rush (Guerrilla Girls (Group of artists), 1998). Sunrise sent her to school; first, to a Baptist College then transferred her to Oberlin College in Ohio. In 1859, she started drawing and sought to pursue it as a career although John Brown’s raid, on Harper’s Ferry, greatly influenced her decision.
In the same suit, two of her roommates in 1862 fell ill while in the company of two men and Edmonia was accused of poisoning them with wine, which had been laced with an aphrodisiac; this event enraged local racists and shocked the residents of Oberlin town (Johnson, 2013). One night, a mob carried Edmonia, beat her up, and left her unconscious. She faced trial for poisoning her roommates but her lawyer, John Mercer Langston, put up a good defense, and she was eventually acquitted due to lack of evidence.
However, the trial adversely affected her and she never recovered since she was later accused of minor crimes such as stealing brushes that belonged to her art teacher. These accusations made her not to be allowed to register for her final term classes. Eventually, she relocated from Oberlin to Boston at the age of eighteen years to become a sculptor and to redeem her reputation (Heartney, Posner, Princenthal & Scott, 2013). In Boston, she joined an intellectual circle and started making Abolitionist heroes’ sculptures; notably, she was able to sell 100 plaster copies of a Civil War hero. These ventures earned her money, and she moved to Rome since other American sculptors had already established themselves there.
Importantly, while in Rome, she learned the neoclassical artistic style and became a member of the first all-female art movement club; after that, she made marble carvings and sculptures that she later sold in the U.S. Unfortunately, neoclassicism became unfashionable, and Paris replaced Rome. Many of her expatriate colleagues returned to America although she opted to remain in Rome where she eventually disappeared from the artistic scene. However, there are no records to indicate whether she continued with her art career or when she died (Guerrilla Girls (Group of artists), 1998). The majority of her work was lost although her famous work referred to as The Death of Cleopatra, is currently at the Smithsonian after its 1970’s discovery in Chicago.
Sonia Delaunay
Sonia Terk Delaunay lived between 1885 and 1974; in 1908, she had her first painting exhibition followed by another one in 1953. Sonia together with her painter husband known as Robert Delaunay developed the famous simultanism color theory. She was born in Russia, in a financially unstable family although her rich uncle adopted her and sent her to study art in Paris. Later, she married Robert after divorcing her Parisian art dealer husband. Sonia transformed her home into a simultanism gallery whereby the ceiling, floors, and walls were covered with brazenly painted surfaces. Conversely, she operated a boutique and designed costumes, tapestries, rugs, and sets for films, ballets and operas. She was always coming up with new artistic ideas, which applied to the world since her work revolved around life and art (Heartney, Posner, Princenthal & Scott, 2014).
Pan Yuliang
Pan Yuliang was a Chinese painter that moved to Paris; Yimou Zhang, a Chinese film director, portrayed her as a heroine since she had overcome numerous challenges to live as she wished. She was born in 1899 in Yangzhou, and was orphaned at a tender age and was later sold to a brothel. Her patron and lover, Pan Zhanhua encouraged her to pursue oil painting (Heartney, Posner, Princenthal & Scott, 2014). During this period, Chinese painters used traditional styles specifically ink, Yuliang admired Western-style oil paintings, as well as their prominence in individual expression. Evidently, this was among the reasons many of her early nude paintings were of herself, and this made her a daring, respected westernized artist. In 1921, she graduated and won a scholarship to study in Europe; accordingly, she worked in Paris and Rome for seven years and she won numerous awards. She returned to China in 1928 and became a professor at the famous National Central University where she taught until 1935. She returned to Paris in 1935 where she spent the rest of her life making sculptures and painting. In 1959, she was awarded the Gold Medal of the City of Paris, and she later died in 1977. Prior to her death, she donated her work, which was unsold, to her hometown in China where a museum is supposed to be built to preserve her artistic work (Johnson, 2013).
Eva Hesse
Eva Hesse died at thirty-four years although she was regarded as a woman of renowned artistic caliber. Her art career, which lasted for only five years, transformed contemporary artwork significantly. She was a Jewish war refugee that had immigrated to New York with her parents though they later separated. She wanted to become a renowned painter despite her low art grades in Yale, Cooper Union, and Pratt Institute. She made different works using unconventional materials such as string, fiberglass, polyester resin, and latex (Heartney, Posner, Princenthal & Scott, 2013). Evidently, this was her idea of minimalism art combined with various organic forms. When she died, the Guggenheim Museum recognized her for her artistic achievements.
Conclusion
In summation, women were not allowed to own an atelier, join artists’ academies or guilds, or attend art schools. Nevertheless, this has changed particularly with the growing number of various professional women artists that have undergone many challenges before them. These women include Rosa Bonheur, Eva Hesse, Pan Yuliang, Edmonia Lewis, and Sonia Terk Delaunay as discussed in this paper.
References
Guerrilla Girls (Group of artists). (1998). The Guerrilla Girls’ bedside companion to the history of Western art. New York: Penguin Books.
Heartney, E., Posner, H., Princenthal, N., & Scott, S. (2013). After the revolution: Women who transformed contemporary art. Munich: Prestel.
Heartney, E., Posner, H., Princenthal, N., & Scott, S. (2014). The Reckoning: Women Artists of the New Millennium. Mu¨nchen: E-Books der Verlagsgruppe Random House GmbH.
Johnson, C. (2013). Femininity, time and feminist art. Basingstoke: Palgrave Macmillan.

Complete reading the entire volume, The Guerrilla Girls’ Bedside Companion to the History of Western Art and the Introduction of After the Revolution. (The main source using for this essay) Your essay is to include examples of five (5) women who overcame the obstacles placed before them to become professional women artists. (I will highlight and photo copy them from the book, Rosa Bonheur; Edmonia Lewis; Sonia Terk Delaunay; Pan Yuliang; Eva Hesse).

Professional Women Artists
Name
Institution
Institutional Obstacles, which Women have faced historically in their Goal to become Artists
Introduction
Evidently, women have faced numerous historical injustices in their quest to become artists due to various factors; these include the dominance of men in the art industry and lack of recognition. Furthermore, they are prejudiced in the sense that some people say that women cannot become versatile artists; additionally, there has been discrimination among women artists throughout Western history. In essence, in the Western art history, women artists were regarded as not being competent and artistic centuries were reduced to a group of white male masterpieces, as well as movements. Ideally, racism, misogyny, and repressive laws ensured that women artists could not achieve their potential (Heartney, Posner, Princenthal, & Scott, 2014). It is until the twentieth century that women have made great strides in their quest to become artists. However, this has gradually changed especially with the emergence of professional women artists that have overcome numerous obstacles that had been placed before them (Guerrilla Girls (Group of artists), 1998). This study will discuss five women artists that include Rosa Bonheur, Eva Hesse, Pan Yuliang, Edmonia Lewis, and Sonia Terk Delaunay.
Rosa Bonheur
Rosa Bonheur overcame immense obstacles to become a distinguished woman artist; she lived between 1822 and 1899. She loved animals and women as she loved to paint women. Rosa grew up in a family that consisted of political idealists although her mother passed on when she was eleven years old. On the other hand, her father was a respected artist, and a member of a famous utopian group, which advocated for gender equality (Heartney, Posner, Princenthal & Scott, 2013). Markedly, her father was also an art school director, and Rosa took advantage of this opportunity to learn how to paint as she assisted her father in his duties.
On the same note, her specialty included painting bulls, cows, and horses; she enjoyed her first success in her career at the age of twenty-six years when she was awarded a gold medal in 1848 at the Salon. This achievement made her receive recognition from the French government for her two famous paintings, which were La Mare au Diable, and Ploughing in the Nivernais (Johnson, 2013). Rosa Bonheur had admiration for George Sand, and she ensured that she dressed in men’s clothes similar to what George Sand did although she cross-dressed to ensure she became successful.
Furthermore, Rosa became famous for her endeavors such as her 1853 work referred to as The Horse Fair, which made her among the most renowned artists in Europe. Newspapers wrote about her travels, and her fans turned out in large numbers to see her. Additionally, Sir Edwin Landseer, who was a prominent painter, proposed to marry her; oddly, he promised to change his name to Sir Edwin Bonheur although she declined the offer. Her other achievements included being the first woman to be awarded the Officier de la Legion d’Honneur, for being an impressionist and making a life of her own as an eminent woman painter in art history(Heartney, Posner, Princenthal & Scott, 2014). Additionally, she was active during the early women’s movement, which advocated for women artists’ recognition.
Edmonia Lewis
Edmonia Lewis was both a Chippewa and an African-American, who traveled to Italy to make art regarding slavery in the U.S. She was born in 1845 near Albany in New York; notably, she was orphaned at the age of nine years. Subsequently, after her parents died, Edmonia was sent to live with her Chippewa tribe that lived in the Niagara Falls, her older brother returned from California during the famous gold rush (Guerrilla Girls (Group of artists), 1998). Sunrise sent her to school; first, to a Baptist College then transferred her to Oberlin College in Ohio. In 1859, she started drawing and sought to pursue it as a career although John Brown’s raid, on Harper’s Ferry, greatly influenced her decision.
In the same suit, two of her roommates in 1862 fell ill while in the company of two men and Edmonia was accused of poisoning them with wine, which had been laced with an aphrodisiac; this event enraged local racists and shocked the residents of Oberlin town (Johnson, 2013). One night, a mob carried Edmonia, beat her up, and left her unconscious. She faced trial for poisoning her roommates but her lawyer, John Mercer Langston, put up a good defense, and she was eventually acquitted due to lack of evidence.
However, the trial adversely affected her and she never recovered since she was later accused of minor crimes such as stealing brushes that belonged to her art teacher. These accusations made her not to be allowed to register for her final term classes. Eventually, she relocated from Oberlin to Boston at the age of eighteen years to become a sculptor and to redeem her reputation (Heartney, Posner, Princenthal & Scott, 2013). In Boston, she joined an intellectual circle and started making Abolitionist heroes’ sculptures; notably, she was able to sell 100 plaster copies of a Civil War hero. These ventures earned her money, and she moved to Rome since other American sculptors had already established themselves there.
Importantly, while in Rome, she learned the neoclassical artistic style and became a member of the first all-female art movement club; after that, she made marble carvings and sculptures that she later sold in the U.S. Unfortunately, neoclassicism became unfashionable, and Paris replaced Rome. Many of her expatriate colleagues returned to America although she opted to remain in Rome where she eventually disappeared from the artistic scene. However, there are no records to indicate whether she continued with her art career or when she died (Guerrilla Girls (Group of artists), 1998). The majority of her work was lost although her famous work referred to as The Death of Cleopatra, is currently at the Smithsonian after its 1970’s discovery in Chicago.
Sonia Delaunay
Sonia Terk Delaunay lived between 1885 and 1974; in 1908, she had her first painting exhibition followed by another one in 1953. Sonia together with her painter husband known as Robert Delaunay developed the famous simultanism color theory. She was born in Russia, in a financially unstable family although her rich uncle adopted her and sent her to study art in Paris. Later, she married Robert after divorcing her Parisian art dealer husband. Sonia transformed her home into a simultanism gallery whereby the ceiling, floors, and walls were covered with brazenly painted surfaces. Conversely, she operated a boutique and designed costumes, tapestries, rugs, and sets for films, ballets and operas. She was always coming up with new artistic ideas, which applied to the world since her work revolved around life and art (Heartney, Posner, Princenthal & Scott, 2014).
Pan Yuliang
Pan Yuliang was a Chinese painter that moved to Paris; Yimou Zhang, a Chinese film director, portrayed her as a heroine since she had overcome numerous challenges to live as she wished. She was born in 1899 in Yangzhou, and was orphaned at a tender age and was later sold to a brothel. Her patron and lover, Pan Zhanhua encouraged her to pursue oil painting (Heartney, Posner, Princenthal & Scott, 2014). During this period, Chinese painters used traditional styles specifically ink, Yuliang admired Western-style oil paintings, as well as their prominence in individual expression. Evidently, this was among the reasons many of her early nude paintings were of herself, and this made her a daring, respected westernized artist. In 1921, she graduated and won a scholarship to study in Europe; accordingly, she worked in Paris and Rome for seven years and she won numerous awards. She returned to China in 1928 and became a professor at the famous National Central University where she taught until 1935. She returned to Paris in 1935 where she spent the rest of her life making sculptures and painting. In 1959, she was awarded the Gold Medal of the City of Paris, and she later died in 1977. Prior to her death, she donated her work, which was unsold, to her hometown in China where a museum is supposed to be built to preserve her artistic work (Johnson, 2013).
Eva Hesse
Eva Hesse died at thirty-four years although she was regarded as a woman of renowned artistic caliber. Her art career, which lasted for only five years, transformed contemporary artwork significantly. She was a Jewish war refugee that had immigrated to New York with her parents though they later separated. She wanted to become a renowned painter despite her low art grades in Yale, Cooper Union, and Pratt Institute. She made different works using unconventional materials such as string, fiberglass, polyester resin, and latex (Heartney, Posner, Princenthal & Scott, 2013). Evidently, this was her idea of minimalism art combined with various organic forms. When she died, the Guggenheim Museum recognized her for her artistic achievements.
Conclusion
In summation, women were not allowed to own an atelier, join artists’ academies or guilds, or attend art schools. Nevertheless, this has changed particularly with the growing number of various professional women artists that have undergone many challenges before them. These women include Rosa Bonheur, Eva Hesse, Pan Yuliang, Edmonia Lewis, and Sonia Terk Delaunay as discussed in this paper.
References
Guerrilla Girls (Group of artists). (1998). The Guerrilla Girls’ bedside companion to the history of Western art. New York: Penguin Books.
Heartney, E., Posner, H., Princenthal, N., & Scott, S. (2013). After the revolution: Women who transformed contemporary art. Munich: Prestel.
Heartney, E., Posner, H., Princenthal, N., & Scott, S. (2014). The Reckoning: Women Artists of the New Millennium. Mu¨nchen: E-Books der Verlagsgruppe Random House GmbH.
Johnson, C. (2013). Femininity, time and feminist art. Basingstoke: Palgrave Macmillan.