The first modern mention of the Flemish painter Michaelina Wautier (1614–1689) introduces an artist who defies expectation. Referring to her monumental Triumph of Bacchus (1655–59), Gustav Glück, the first art historian to serve as curator of Vienna’s Kunsthistorisches Museum, wrote in 1903 that “even in an age of female emancipation, one would hardly wish to ascribe this picture, which shows a highly vigorous, almost coarse conception, to a woman’s hand”.
And thereby hangs the achievement of Wautier: she may have been able to paint “like a man”, but in most of her works, she does not feel the need to do so. Instead, Michaelina Wautier emerges as an artist with a distinctive style of her own.
The Royal Academy of Arts (RA) in London is currently host to the most complete representation of her work to date. It is a landmark exhibition that reintroduces an artist who in her day was highly successful and championed by the court and elite in Brussels; but, who subsequently almost disappeared from public and scholarly notice for close on 300 years.
