Hidden Championnes

Portraits for women who have not been portrayed

An ongoing series of portraits of women to celebrate their achievements and raise their profile.

Hidden Championnes – Female Portraits

An ongoing series of portraits of women to celebrate their achievements and raise their profile

In the case of the composer Barbara Strozzi, I discovered that the only portrait of her that has survived (or was ever painted) depicts her with her breasts hanging out. I was appalled.

– Roxana Panetta

Over the centuries, there have been repeated attempts to bring special women back into the collective memory. This is another reason why we still know women today whose work would otherwise have been forgotten. And who knows how many women have nevertheless suffered this fate?

With this series of portraits, Roxana Panetta wants to show the women as they would have been portrayed during their lifetime. The further back in history, the more the imagination takes over to create the portrait. In these "old" portraits, the artist draws on the artistic styles of the time in which the woman was active. At first glance, it should be clear that this is a historical person.

For women who worked in the 20th century, a second stylistic line has emerged in parallel, in which ink strongly influences and sometimes restricts the visibility of the portrait - just as the veil of oblivion covers these women.

Description of Status
(Christine de Pizan)

* 1364 in Venice, † 1430 in Poissy
Writer and philosopher. Successful during her lifetime and widely read for the next 150 years.

Widowed at a young age with three children, Christine de Pizan had to take over her deceased husband's household with all its responsibilities. For years, she fought a legal battle against false claims, which she eventually won. It is assumed that she initially worked as a copyist (writing workshop for secular texts), then wrote poetry herself. Later, she mainly wrote treatises on history, biographies, a much-discussed counter-position to a popular, misogynistic novel of the time ("Roman de la Rose" by clerics Jean de Meung, Guillaume de Lorris) and also her own literature. Her best-known work, "The City of the Ladies" (1405), reflects her view of female reality and was read throughout Europe at the time, translated into various languages.

Description of Status (Christine de Pizan)
40 x 120 cm
Oil on canvas with genuine gilding (23.25 ct)

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply write an email)

Description of Status (self-portrait)

What is a self-portrait doing in this series?

The artist takes this first self-portrait of herself, created in spring 2023, as a starting point for conceiving the portrait of Christine de Pizan. Many self-portraits of the medieval author have also survived: in the form of miniatures in the manuscripts (i.e. her books, as there was no book printing for a long time around 1400). The miniatures always show Christine de Pizan in the widow's costume with the white hennin (the headdress with the two horns and the cloth over it), the blue overdress with the white collar and an underdress (usually brown, as shown here, sometimes also blue). The background of the Pizan portrait is gilded, as was customary in the late Gothic period. The composition is a modern interpretation; the realistically captured facial features were already common in the work of Jan van Eyck (around 1430).

Description of Status (Self portrait)
40 x 120 cm
Oil on canvas

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply write an email)

Christine de Pizan

* 1364 in Venice, † 1430 in Poissy
Writer and philosopher. Successful during her lifetime and widely read for the next 150 years.

Widowed at a young age with three children, Christine de Pizan had to take over her deceased husband's household with all its responsibilities. For years, she fought a legal battle against false claims, which she eventually won. It is assumed that she initially worked as a copyist (writing workshop for secular texts), then wrote poetry herself. Later, she mainly wrote treatises on history, biographies, a much-discussed counter-position to a popular, misogynistic novel of the time ("Roman de la Rose", Jean de Meung, Guillaume de Lorris) and also her own literature. Her best-known work, "The City of Women" (1405), reflects her view of female reality and was read throughout Europe at the time, translated into various languages.

40 x 120 cm
Oil on canvas with genuine gilding (23.25 ct)

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply write an email)

Description of Status (self-portrait)

What is a self-portrait doing in this series?

The artist takes this first self-portrait of herself, created in spring 2023, as a starting point for conceiving the portrait of Christine de Pizan. Many self-portraits of the medieval author have also survived: in the form of miniatures in the manuscripts (i.e. her books, as there was no book printing for a long time around 1400). The miniatures always show Christine de Pizan in the widow's costume with the white hennin (the headdress with the two horns and the cloth over it), the blue overdress with the white collar and an underdress (usually brown, as shown here, sometimes also blue). The background of the Pizan portrait is gilded, as was customary in the late Gothic period. The composition is a modern interpretation; the realistically captured facial features were already common in the work of Jan van Eyck (around 1430).

40 x 120 cm
Oil on canvas

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply write an email)

Trota de Salerno

Trota de Salerno (~1090-1160) was a physician in the south of Italy, in Salerno, where medical knowledge was taught and practiced intensively at the time. Trota de Salerno summarized the knowledge about the female body and the treatment of female ailments in a collection of writings. Over the centuries, the standard work on gynecology, the "Trotula", was compiled with the addition of other parts not written by her. In the meantime, she was "declared" as a man ("Trotulus") in a copy and later as a midwife (instead of a doctor) by a historian of the 19th century.

Neither man nor midwife (2023)
18 x 24 cm
Oil and ink on canvas

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Barbara Strozzi

Barbara Strozzi (1619-1677) was a Venetian composer. Her oeuvre comprises 8 volumes, over 125 individual works of vocal music with up to 5 voices. She wrote the largest number of cantatas composed by one person in the 17th century - and are still popularly sung today. She composed for 20 years (1644-1664). Never married, 3 children, very talented in business - this is how her life is portrayed in recent research.

La Strozzi, corrected (2023)
70 x 70 cm
Oil on canvas, with frame

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply send an email)

The historical portrait model

During her lifetime, Bernardo Strozzi (Florentine painter, no relation) first painted Barbara Strozzi's father Giulio (around 1635), then her (around 1640) in the form of the goddess "Flora", a common way representing prostitution at the time. Her large breasts are actually also mentioned in letters. The artist painted her own "corrected" version of a portrait based on this model, which is intended to correspond more closely to Barbara Strozzi's later career as a composer. She used the round section to match the portrait of her father.

Barbara's original portrait from 1640 is in the State Collection in Dresden.

Barbara Strozzi

Barbara Strozzi (1619-1677) was a Venetian composer. Her oeuvre comprises 8 volumes, over 125 individual works of vocal music with up to 5 voices. She wrote the largest number of cantatas composed by one person in the 17th century - and are still popularly sung today. She composed for 20 years (1644-1664). Never married, 3 children, very talented in business - this is how her life is portrayed in recent research.

La Strozzi, corrected (2023)
70 x 70 cm
Oil on canvas, with frame

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply send an email)

The historical portrait model

During her lifetime, Bernardo Strozzi (Florentine painter, no relation) first painted Barbara Strozzi's father Giulio (around 1635), then her (around 1640) in the form of the goddess "Flora", a common way representing prostitution at the time. Her large breasts are actually also mentioned in letters. The artist painted her own "corrected" version of a portrait based on this model, which is intended to correspond more closely to Barbara Strozzi's later career as a composer. She used the round section to match the portrait of her father. Barbara's original portrait from 1640 is in the State Collection in Dresden.

The historical portrait model

During her lifetime, Bernardo Strozzi (Florentine painter, no relation) first painted Barbara Strozzi's father Giulio (around 1635), then her (around 1640) in the form of the goddess "Flora", a common way representing prostitution at the time. Her large breasts are actually also mentioned in letters. The artist painted her own "corrected" version of a portrait based on this model, which is intended to correspond more closely to Barbara Strozzi's later career as a composer. She used the round section to match the portrait of her father. Barbara's original portrait from 1640 is in the State Collection in Dresden.

Flora Tristan

Flora Tristan (1803-1844) was a Peruvian-French activist, socialist and author. She traveled through Europe and criticized the conditions in factories and the poor working conditions for workers.

On the 2nd edition of her work "The Workers' Union" (1843) are the words:
"Ouvriers, unissez vous - l'UNION fait la force."
Workers, unite. UNION is power.

In 1848, Karl Marx published "The Communist Manifesto" with the same publisher. Tristan and Marx were known to each other through this publisher. His motto "Proletarians of all countries unite" is so close to Tristan's saying that it is surprising that we do not (or no longer) know her as the mother of the workers' movements today.

Flora before Karl (2023)
30 x 40 cm
Oil on canvas

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply write an email)

Inge Lehmann

Inge Lehmann (1888-1993), Danish geophysicist and first female seismologist. She observed deviant waves after a major earthquake in New Zealand in 1929 and proved in 1936 that the earth must have a hard core that deflected the waves. Inge Lehmann researched and published throughout her life, most recently in 1987. In an interview, she once soberly stated: "You must know how many incompetent men I competed with in vain."

It began with an earthquake (2023)
18 x 24 cm
Oil + ink on canvas

(sold)

Inge Lehmann

Inge Lehmann (1888-1993), Danish geophysicist and first female seismologist. She observed deviant waves after a major earthquake in New Zealand in 1929 and proved in 1936 that the earth must have a hard core that deflected the waves. Inge Lehmann researched and published throughout her life, most recently in 1987. In an interview, she once soberly stated: "You must know how many incompetent men I competed with in vain." It began with an earthquake (2023) 18 x 24 cm Oil + ink on canvas (sold)

It began with an Earthquake (2023)
18 x 24 cm
Oil + ink on canvas

(sold)

Henrietta Vansittart-Lowe

Henrietta Vansittart (née Lowe, 1840-1883) was a British engineer. She developed her father's propeller design to patent maturity - without attending formal school or university. Her more efficient propeller model won numerous prizes and helped shipowners to save costs.

There is only one portrait of Henrietta Vansittart-Lowe that is proven to actually depict her: In a newspaper article about her invention, she is pictured next to a miniature model. Of course, this portrait is in black and white. The colored depiction is a free artistic interpretation.

Propellerhead (2023)
30 x 40 cm
Oil and ink on canvas

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Margaret Crane

Margaret Crane, *1941, American graphic designer and inventor of the home pregnancy test. She recognized the potential of a new diagnostic test developed by her employer and invented the prototype for use at home, i.e. without the presence of a doctor - an unthinkable novelty at the time. Her employer completely rejected the concept, but applied for a patent anyway. It was then patented in the USA in 1969.

It was not until 1977 that Crane's invention was marketed in the USA under the name "Predictor". Her employer had offered the use of the patents to various manufacturers free of charge and later forced Margaret Crane to assign the rights to the patents for 1 US dollar. She does not see a penny for her invention, an invention so groundbreaking allowing women all over the world to independently and safely determine pregnancy.

No Pink (2023)
20 x 20 cm
Oil + ink on canvas

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Hidden Championnes – Female Portraits

An ongoing series of portraits of women to celebrate their achievements and raise their profile

Margaret Crane

Margaret Crane, *1941, American graphic designer and inventor of the home pregnancy test. She recognized the potential of a new diagnostic test developed by her employer and invented the prototype for use at home, i.e. without the presence of a doctor - an unthinkable novelty at the time. Her employer completely rejected the concept, but applied for a patent anyway. It was then patented in the USA in 1969.

It was not until 1977 that Crane's invention was marketed in the USA under the name "Predictor". Her employer had offered the use of the patents to various manufacturers free of charge and later forced Margaret Crane to assign the rights to the patents for 1 US dollar. She does not see a penny for her invention, an invention so groundbreaking allowing women all over the world to independently and safely determine pregnancy.

No Pink (2023)
20 x 20 cm
Oil + ink on canvas

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About the artist

With these portraits, Roxana Panetta is dedicating herself to a series of works for the first time. Prior to this, the self-taught artist mainly presented drawings in ink …

Interview with the artist

Questions about the portrait series of overlooked women "Hidden Championnes"

Where did the idea for this project come from?

There was a specific moment of indignation that triggered it.I first became intensively involved with portrait painting in 2023. During this time, I heard about a composer called Barbara Strozzi on the classical music podcast "Klassik drastisch" with Devid Striesow and Axel Ranisch. Her music and her story fascinated me so much that I wanted to know more and searched the internet, only to discover that the only portrait of her that has survived (or was ever painted) depicts her with her breasts hanging out. I was appalled - this is not how we should see and remember Mrs. Strozzi!

Why then a full series of female portraits?

Young women need role models. These portraits make great women more visible and inspire us to engage with them. I wish these women more visibility - hence the series of portraits. Be part of the change!

The rediscovery of great women in science, art, business and politics has recently become very popular. There are children's books with short biographies of these women. There are television series (Cherchez la femme, ARTE). There is plenty of current literature on the subject (e.g. Vera Weidenbach: The untold history / Die unerzählte Geschichte) ... and not just in our time! As early as the end of the Middle Ages, the biographies and achievements of women became the subject of books, such as Boccaccio's "Of Illustrious Women" (De claris mulieribus, ca. 1360), which was taken up shortly afterwards by Christine de Pizan (in: The City of Women, ca. 1405) and later again by Louise-Félicité de Kéralio (18th century) ... the list can be continued right up to the present day. The number of names I have never heard of made me wonder and curious at the same time.

Have women not been portrayed sufficiently? All great artists have painted women.

That's right: women were and are painted a lot.As objects of the male gaze, as service providers for the intellectual satisfaction of physical desires, as muses, as representatives. I would like to paint women whose achievements and contribution to the history of civilization I can appreciate in this way - and for whom I know of no portrait or have found none. There are many women we simply don't know because their faces have disappeared.

How do you find these interesting women?

By chance at first. Now I look specifically. I'm no different to most people: I know what I come across in life.Be it on television or radio, in museums, perhaps by chance in a novel that contains historical figures, in a conversation, perhaps from school lessons. So in the vast majority of cases, it is a chance encounter. The women I am now introducing have been acquired by reading the relevant specialist literature.I am now also familiar with a number of podcasts and blogs that deal intensively with this topic.

Which other women do you plan to paint?

Many! The next women are already in the pipeline, including the mathematician Emmy Noether, without whom Einstein would not have been able to formulate the theory of relativity mathematically, and the physicist Emilie du Châtelet, who is only remembered - if at all - as Voltaire's mistress. My list is now very long. And my curiosity grows with every biography I read in order to get to know the woman. This series will certainly keep me busy for several years to come.

How long does the research take?

It depends.

With some women, I quickly get a feel for the situation and an idea for a portrait arises immediately. With others, I have a strong need to take a closer look at what the woman has created. To put it in figures: I've spent anywhere from half a day to several weeks researching. Part of this is also due to my curiosity; I don't necessarily need everything I research for my artistic exploration.Why don't you paint any women from the current era?

Why don't you paint women from the current era?

You mean not yet *wink*

I would like to get to know living women personally and only then paint them, not from pictures as I have been doing so far. Who knows when I'll get to that point. In any case, I'm already looking forward to it!

Why don't you portray men?

Spontaneously, I would say: because they are well known. But it's still an interesting question. Who knows what working on women's biographies does to me and my expression artistically. In the future, it may well be that I also portray overlooked or misperceived men. For now I don't want to rule it out.

Which women don't make it onto your canvas?

So far, I've only had one case where I found a CV extremely interesting, but then on closer examination I got the impression of a narrow-minded person. This woman is still on my mind insofar as she perhaps makes me aware of my own bias, my own prejudices and narrow-mindedness.

What appeals to you about classical painting techniques? Why don't you create these works digitally and with the help of AI?

Uh. That's not an easy question to answer.

If I think about it more carefully, I suspect that generative AI models, trained on historical image data from (European) art history, would only end up reproducing breasts hanging out again.

Why oil and canvas instead of digital is a legitimate aspect of this question.

On the one hand, I still believe, just as Walter Benjamin stated with the advent of mass printing, in the aura of a painted work of art, which is unique and cannot be copied due to its nature, its imperfection. Digital images do not reach me with the same intensity.In a digital environment, as in the VR situation, it may be different. I'm already working with it, but not yet productively, if you like. On the other hand, it was important to me in the series to fill or correct the art historical gaps or "misrepresentations" (as with Barbara Strozzi) - to create a "real" historical impression.

I imagine how different the halls of venerable art museums such as the National Portrait Gallery in London, the Prado in Madrid or the Städel Museum in Frankfurt would look if more women were to be seen there, representing themselves and their concerns. A self-confident Barbara Strozzi among 17th century portrait paintings of clerics, noblemen and others: It would stand out and we would become aware that there have always been women who decided and stood up for a cause against social conventions. So in these rooms it has to be oil and canvas. In other spatial situations, I can certainly imagine the use of digital means.

How much do you identify with your motif?

Probably no more or less than an actress working her way into a role:I immerse myself in the woman's world, try to empathize with what played a role in her situation.In this phase, I am very close to the woman in order to understand her.

Exhibition Shop

Part of the Hidden Championnes series can be purchased directly here. Questions? Get in touch!

Alice Augusta Ball (gerahmt)

Alice Augusta Ball Von der Chemie zur medizinischen Innovation Alice Ball entwickelte sich früh zu einer außergewöhnlichen Wissenschaftlerin. Als erste Afroamerikanerin erwarb sie ihren Master in Chemie an der University of Hawaii. Ihre Expertise in der chemischen Analyse von Pflanzeninhaltsstoffen führte sie zur Arbeit an einem der drängendsten medizinischen Probleme ihrer Zeit: der Behandlung von Lepra. Während auf Hawaii lebende Kontinentalamerikaner zur Behandlung aufs Festland reisen durften, wurden Einheimische mit der Diagnose ins Exil auf die Insel Molokai geschickt – meist ein Todesurteil. Der wissenschaftliche Durchbruch Mit nur 23 Jahren gelang Ball eine bahnbrechende Entdeckung. Sie entwickelte eine Methode, das traditionelle Chaulmoogra-Öl, das bis dahin wegen seiner klebrigen Konsistenz kaum anwendbar war, in eine injizierbare Form zu bringen. Ihre komplexe, aber elegante Technik bestand darin, die Fettsäuren des Öls zu isolieren und in ihre Ethylester umzuwandeln. Diese "Ball-Methode" wurde zur ersten wirksamen Behandlung gegen Lepra und blieb bis zur Entwicklung von Antibiotika die Standardtherapie. Tragisches Ende und späte Anerkennung Ball konnte ihre revolutionäre Entdeckung nicht mehr selbst publizieren. Sie starb 1916 unter ungeklärten Umständen, möglicherweise an den Folgen eines Laborunfalls. Der Universitätspräsident Arthur Dean nutzte ihre Forschung, um sie unter seinem Namen zu veröffentlichen. Nur ihr Kollege Harry Hollmann ehrte sie, indem er die Behandlungsmethode als "Ball-Methode" bezeichnete. Erst in den 1970er Jahren wurde durch Archivrecherchen ihre wahre Rolle bei der Entwicklung der Lepra-Therapie wiederentdeckt. 2019 ehrte die London School of Hygiene and Tropical Medicine Ball durch die Aufnahme ihres Namens in das Fries ihres Hauptgebäudes. Hawaii erklärte 2022 den 28. Februar zum Alice Augusta Ball Day.

€520.00*

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Button "These are not B.S.'s breasts"

Definitely a talking point! Pin badge with a detail of Bernardo Strozzi's painting (around 1635) of the baroque composer Barbara Strozzi (1619-1677 in Venice). The detail shows the musician's cleavage, with a censor bar covering the part that shows her bare breasts. With this censorship, Roxana Panetta, artist, refers to the inappropriate depiction of a professional woman, already renowned during her lifetime, who is reduced to her beautiful charms: namely her sizeable breasts, as literally recorded in letters during her lifetime. Why censor her charms, you ask? Imagine if there was only one portrait of Goethe that showed him with his shirt half open, a lascivious expression on his face, his upper body exposed and a sculpted sixpack. Right, you got it …Mini piece of art to demonstrate : Button with needle to pin anywhere on your dressDiameter: 5 cm

€5.00*

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Cecilia Payne

Cecilia Payne Eine astronomische Entdeckung verändert das Weltbild Als Cecilia Payne 1925 ihre Doktorarbeit vorlegte, ahnte niemand, dass sie damit das Verständnis des Universums grundlegend verändern würde. Mit innovativen Methoden zur Analyse von Sternspektren bewies sie, dass Sterne zu 98% aus Wasserstoff und Helium bestehen. Diese Erkenntnis widersprach der damals herrschenden Theorie, nach der Sterne eine ähnliche chemische Zusammensetzung wie die Erde haben sollten. Der führende Astronom Henry Norris Russell drängte sie, ihre revolutionären Schlussfolgerungen abzuschwächen – nur um sie vier Jahre später selbst zu veröffentlichen und dafür die wissenschaftliche Anerkennung zu ernten. Durchbruch trotz akademischer Hürden Der Weg zur wissenschaftlichen Karriere war für Payne steinig. In England wurde ihr ein Universitätsabschluss verwehrt, weshalb sie in die USA auswanderte. An der Harvard-Universität erhielt sie zwar die Möglichkeit zu forschen, jedoch zunächst ohne angemessene Stelle oder Bezahlung. Ihre brillanten Analysen der Sternspektren und die Entwicklung neuer Methoden zur Bestimmung der Sternatmosphären machten sie dennoch zu einer der einflussreichsten Astronominnen ihrer Zeit. 1956 wurde sie schließlich erste Professorin in Harvard und erste Frau, die eine wissenschaftliche Abteilung leitete. Ein wissenschaftliches Erbe von kosmischer Dimension Paynes Arbeit legte den Grundstein für unser modernes Verständnis der Sternentwicklung. Ihre Methoden zur Analyse von Sternspektren und zur Bestimmung der chemischen Zusammensetzung von Himmelskörpern sind bis heute fundamental für die Astrophysik. In ihrer späteren Karriere kartierte sie mit ihrem Mann Sergei Gaposchkin über 3 Millionen Sterne und schrieb Standardwerke der Astronomie. Otto Struve, ein bedeutender Astronom ihrer Zeit, bezeichnete ihre Doktorarbeit als "zweifellos die genialste Dissertation, die je in der Astronomie geschrieben wurde". Heute gilt ihre Entdeckung der chemischen Zusammensetzung der Sterne als eine der wichtigsten astronomischen Erkenntnisse des 20. Jahrhunderts.

€900.00*

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Daphne Oram

Daphne Oram Visionärin der elektronischen Musik Daphne Oram erkannte früh das Potenzial elektronischer Klangerzeugung. Als Teenager lehnte sie ein Musikstudium am Royal College of Music ab, um stattdessen bei der BBC als Tontechnikerin zu arbeiten. In Nachtschichten experimentierte sie heimlich mit Tonbandgeräten und entwickelte innovative Techniken der Klangmanipulation. 1958 überzeugte sie die BBC, das legendäre Radiophonic Workshop zu gründen – eines der ersten Studios für elektronische Musik weltweit. Unter ihrer Leitung entstanden dort revolutionäre Klangexperimente. Die Erfindung von Oramics Orams Meisterwerk war die Entwicklung von "Oramics" – ein einzigartiges System, bei dem Komponisten Klänge direkt auf Film zeichnen konnten. Die Oramics-Maschine wandelte diese visuellen Muster in elektronische Töne um. Diese Innovation verband erstmals grafische Notation direkt mit Klangerzeugung und ermöglichte völlig neue Formen des musikalischen Ausdrucks. Das System war seiner Zeit so weit voraus, dass es erst Jahrzehnte später, im Zeitalter digitaler Musikproduktion, in seiner vollen Bedeutung erkannt wurde. Verkanntes Genie Orams Weigerung, ihre experimentelle Arbeit kommerziellen Anforderungen unterzuordnen, führte zum Bruch mit der BBC. In ihrem privaten "Oramics Studios for Electronic Composition" setzte sie ihre Forschungen fort und schrieb mit "An Individual Note of Music, Sound and Electronics" (1972) ein wegweisendes Buch über elektronische Musik. Trotz ihrer Pionierleistungen geriet sie zu Lebzeiten weitgehend in Vergessenheit. Ihre Oramics-Maschine wurde erst 2016 im Science Museum London restauriert und ausgestellt. Heute wird sie als Vorreiterin der elektronischen Musik und frühe Vertreterin der "Visuellen Musik" gewürdigt, die Technologie und künstlerischen Ausdruck auf revolu

€900.00*

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Golden Mug «Hidden Championne»

Classic coffee pot, cup, mug - all in gold with engraved lettering: Hidden Championne. A hidden champion is a woman, read female, who is dedicated, committed, takes on care work, has created, invented and contributed great things - and yet is neither seen nor sufficiently appreciated for it, not to mention not rewarded. There have been many hidden champions since people have been living in societies. In the art project "Hidden Championnes", artist Roxana Panetta aims to make a few of the many hidden heroines visible: with paintings in the style of the era in which the woman worked, with portraits in her own style and with this golden cup. A gift for a woman to herself or to another woman who needs to be seen. #hiddenchampionnes Limited series Mug features: make visible who you are with every sip Filling volume: standard 350ml Dishwasher safe: no (gold coating doesn't like the heat, better to wash by hand)

€20.00*

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Harriet Taylor Mill

Harriet Taylor Mill Intellektuelle Pionierin in einer restriktiven Zeit Harriet Taylor Mill entwickelte sich trotz der massiven Beschränkungen der Frauenbildung im frühen 19. Jahrhundert zu einer bedeutenden Intellektuellen. Als Autodidaktin organisierte sie philosophische Diskussionsrunden in ihrem Haus, die führende Denker ihrer Zeit anzogen. Ihre Ehe mit John Stuart Mill 1851, nach 20-jähriger geistiger Partnerschaft, begründete eine der wichtigsten philosophischen Kollaborationen der Geschichte – auch wenn ihr Anteil daran erst ein Jahrhundert später anerkannt wurde. Revolutionäre Ideen zu Geschlecht und Gesellschaft Taylor Mills Schriften stellten die Grundfesten der viktorianischen Gesellschaft in Frage. Ihr Essay "The Enfranchisement of Women" war revolutionär: Er forderte nicht nur das Wahlrecht für Frauen, sondern vollständige Gleichberechtigung in Bildung, Beruf und Ehe. Sie argumentierte, dass häusliche Gewalt und die wirtschaftliche Abhängigkeit der Frauen zusammenhängende gesellschaftliche Probleme seien, die eine systematische Reform erforderten. Anders als viele Zeitgenossen, die Frauenrechte moralisch begründeten, entwickelte Taylor Mill radikale ökonomische und politische Argumente für die Gleichstellung der Geschlechter. Ein wiederentdecktes Vermächtnis Obwohl J.S. Mill ihre entscheidende Rolle in seinen Werken offen anerkannte und sie als Co-Autorin vieler seiner wichtigsten Schriften bezeichnete, wurde ihr Einfluss von der viktorianischen Gesellschaft weitgehend ignoriert. Nach ihrem Tod wurden selbst die Würdigungen ihres Mannes oft als bloße Ehrerbietung statt als Anerkennung ihrer intellektuellen Partnerschaft interpretiert. Viele ihrer gemeinsam entwickelten Ideen zu Freiheit, Frauenrechten und sozialer Reform erschienen unter seinem Namen. Die moderne Forschung hat begonnen, das Ausmaß ihres Einflusses auf Standardwerke wie "Über die Freiheit" und "Prinzipien der politischen Ökonomie" aufzudecken. Ihre eigenständigen Schriften zu Frauenemanzipation, häuslicher Gewalt und Ehereform werden heute als bahnbrechende Beiträge zur feministischen Philosophie und politischen Theorie anerkannt.

€650.00*

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It began with an earthquake (Inge Lehmann)

Inge Lehmann (1888-1993) was a Danish geophysicist and the first dedicated seismologist. She observed deviant waves after a major earthquake in New Zealand in 1929 and then proved in 1936 that the earth must have a hard core - and not, as previously assumed, a liquid magma core. Inge Lehmann researched and published throughout her life, most recently in 1987, when she was almost 90 years old. In an interview, she once soberly stated: "You should know how many incompetent men I had to compete with in vain." The painting technique of this work The basis is a white canvas, which initially was colored with ink in a random process. In the next step, the artist paints the portrait on these colored areas. The idea behind this type of representation is the fact that women and their contributions are not seen clearly and unambiguously. The portrait series aims to make women and their achievements - like Inge Lehmann - more visible and thus better known. About the portrait This portrait is based on a historical photo of Inge Lehmann from the 1930s - the very time in which she made and proved her most important groundbreaking discovery. The choice of green as the color for her jacket is an artistic interpretation. Who was Inge Lehmann? Lehmann, who had studied mathematics at the Universities of Copenhagen and Cambridge, investigated how the energy released by earthquakes moves through the earth. While examining data from a major earthquake in New Zealand in 1929, she discovered that energy waves in the earth's layers, known as seismic waves, occurred in unexpected places.She suspected that they must have been deflected by some kind of boundary in the earth's core.This led her to theorize in 1936 that the Earth's core consists of two parts: a solid metal core surrounded by an outer liquid core, disproving the common theory of a completely liquid core.Despite her success, Lehmann recounted how she struggled against the male-dominated research community, once remarking: "You should know how many incompetent men I had to compete with in vain." In addition to numerous awards and honors for her scientific achievements, a beetle species Globicornis (Hadrotoma) ingelehmannae was named after her in 2015.

€260.00*

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Lise Meitner

Lise Meitner Pionierin der Kernphysik Lise Meitner brach als Wissenschaftlerin mehrfach Barrieren: Als zweite Frau promovierte sie an der Universität Wien in Physik und wurde später erste Physik-Habilitandin in Preußen. Am Kaiser-Wilhelm-Institut in Berlin-Dahlem etablierte sie sich als international anerkannte Expertin für Radioaktivität. In 30-jähriger Zusammenarbeit mit Otto Hahn entwickelte sie neue Methoden der Kernphysik. Trotz ihrer Position als Abteilungsleiterin musste sie als Frau anfangs durch den Hintereingang ins Institut und durfte nicht in den Labors der Chemie-Abteilung arbeiten. Die Entdeckung der Kernspaltung Der wissenschaftliche Durchbruch kam 1938/39: Nach ihrer Flucht vor den Nazis nach Schweden interpretierte sie gemeinsam mit ihrem Neffen Otto Frisch die von Hahn durchgeführten Experimente. Sie erkannte als Erste, dass bei der Bestrahlung von Uran eine Kernspaltung stattfand, und berechnete die dabei freiwerdende Energie. Diese fundamentale Entdeckung, die sie mit Frisch publizierte, legte den Grundstein für die weitere Kernforschung. Während Otto Hahn 1944 den Nobelpreis für Chemie erhielt, wurde Meitners entscheidender theoretischer Beitrag von der Nobelpreis-Jury ignoriert. Wissenschaftliches Vermächtnis Meitner lehnte trotz ihrer bahnbrechenden Erkenntnisse jede Beteiligung an der militärischen Nutzung der Kernspaltung ab. In Schweden setzte sie ihre Forschung fort und erhielt zahlreiche wissenschaftliche Ehrungen. Das Element 109 wurde als Meitnerium nach ihr benannt, ebenso wie Forschungsinstitute und wissenschaftliche Auszeichnungen. Albert Einstein nannte sie "unsere Marie Curie". Dennoch wurde die volle Bedeutung ihrer wissenschaftlichen Leistungen erst posthum erkannt. Heute gilt sie als herausragendes Beispiel einer Wissenschaftlerin, die trotz geschlechterspezifischer und politischer Hindernisse Außergewöhnliches leistete und deren Entdeckungen die Physik des 20. Jahrhunderts fundamental prägten.

€900.00*

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Lotte Reiniger

Lotte Reiniger Pionierin des Animationsfilms Lotte Reiniger entdeckte früh ihre Leidenschaft für das Schattentheater und die aufkommende Filmkunst. Bereits als Teenager schnitt sie komplexe Silhouetten und experimentierte mit Bewegung. Am Institut für Kulturforschung in Berlin entwickelte sie in den 1920er Jahren ihre revolutionäre Technik: Sie schuf detaillierte Figuren aus schwarzem Karton mit beweglichen Gelenken, die sie Frame für Frame auf einer beleuchteten Glasplatte fotografierte. Ihre Innovation ging noch weiter: Sie entwickelte eine Multiplan-Kamera, die verschiedene Bildebenen ermöglichte – eine Technik, die Walt Disney erst Jahre später aufgriff. Meilenstein der Filmgeschichte Ihr größter Erfolg "Die Abenteuer des Prinzen Achmed" (1926) war eine technische und künstlerische Sensation. Drei Jahre arbeitete sie mit ihrem Team an dem 65-minütigen Silhouettenfilm, der damit der erste abendfüllende Animationsfilm der Geschichte wurde – deutlich vor Disneys "Schneewittchen" (1937). Der Film verband orientalische Märchen aus "Tausendundeiner Nacht" mit innovativer Animationstechnik und filigraner Handwerkskunst. Jede Bewegung der Figuren wurde einzeln fotografiert, was etwa 24 Aufnahmen pro Filmsekunde erforderte. Künstlerisches Vermächtnis Trotz ihrer bahnbrechenden Arbeit blieb Reiniger bescheiden und widmete sich weiter ihrer Kunst – auch unter schwierigen Bedingungen. 1936 verließ sie mit ihrem Mann Carl Koch Nazi-Deutschland und lebte in verschiedenen europäischen Ländern, bevor sie sich in England niederließ. Dort produzierte sie weiterhin Filme, darunter Werbefilme und Märchenadaptionen für das britische Fernsehen. Bis zu ihrem Tod 1981 schuf sie über 40 Filme in ihrer einzigartigen Technik. Ihre innovative Bildsprache und handwerkliche Präzision beeinflussten nachfolgende Generationen von Animationskünstlern. Heute wird sie zunehmend als Vorreiterin des Animationsfilms gewürdigt, die nicht nur technische Grenzen überwand, sondern auch als Frau in der frühen Filmgeschichte Außergewöhnliches leistete.

€1,050.00*

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Margarete Steffin

Margarete Steffin Von der Fabrik zur Literatur Margarete Steffin, 1908 in Berlin geboren, entstammte einfachsten Verhältnissen. Als Fabrikarbeiterin bildete sie sich autodidaktisch weiter und engagierte sich in der Arbeiterbewegung. Über das kommunistische Arbeitertheater lernte sie Bertolt Brecht kennen, der ihr außergewöhnliches Talent erkannte. Sie entwickelte sich von der Schauspielerin zur unverzichtbaren literarischen Mitarbeiterin, die seine Texte nicht nur kritisch prüfte, sondern auch wesentlich mitgestaltete. Ihre eigenen literarischen Arbeiten – Gedichte, Prosatexte und Theaterstücke – zeugten von bemerkenswertem künstlerischem Potential. Prägende Kraft im Hintergrund Als Brechts engste Vertraute im Exil prägte Steffin seine produktivste Schaffensperiode. Sie recherchierte, übersetzte, korrigierte und verfasste eigenständig Textpassagen. Ihre Erfahrungen aus der Arbeiterwelt und ihr politisches Bewusstsein flossen in zentrale Werke wie "Mutter Courage" ein. Die Zusammenarbeit war intensiv: In einem Brief bezeichnete Brecht sie als seine wichtigste Mitarbeiterin, deren Urteil er mehr vertraute als seinem eigenen. Dennoch blieb ihre Rolle zu Lebzeiten weitgehend unbekannt. Späte Anerkennung einer Wegbereiterin Steffin starb 1941 im Alter von nur 33 Jahren in Moskau an Tuberkulose, auf der Flucht vor den Nationalsozialisten. Bis zuletzt arbeitete sie trotz schwerer Krankheit an literarischen Projekten. Erst die Forschung in Brechts Nachlass offenbarte das Ausmaß ihrer Mitarbeit: Ihre Handschrift findet sich in zahllosen Manuskripten, ihre Anmerkungen formten viele seiner bekanntesten Werke. Heute wird sie zunehmend als eigenständige Literatin und wichtige Impulsgeberin des Brechtschen Werks gewürdigt – eine Künstlerin, die trotz ihrer kurzen Lebenszeit bleibende Spuren in der deutschen Literaturgeschichte hinterließ.

€780.00*

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Neither man nor midwife (Trota de Salerno)

Trota de Salerno (~1090-1160) was a physician and gynecologist from Salerno (Italy), where a large community practiced medicine in the 11th century. Trota de Salerno summarized the knowledge about the female body and the treatment of female ailments in a large collection of writings, later known as the "Trotula". This book was the standard work on gynecology for centuries and was distributed throughout Europe. A monk once changed her name to "Trotulus", as he probably thought a female name was a mistake. Later, in the 19th century, a historian wanted to know Trota not as a doctor but as a midwife. The fact that women and their abilities were considered untrustworthy and that they "should actually be men" is not uncommon in historiography, which has been dominated by men right up to the present day. The painting technique of this workThe basis is a white canvas, which was colored with ink in a random process. In the next step, the artist paints the portrait on these colored areas. The idea behind this type of representation is the fact that women and their contributions are not seen clearly and unambiguously. The portrait series aims to make women and their achievements - like Inge Lehmann - more visible and thus better known. About the portrait This portrait is based on the image of Trota de Salerno in a manuscript from the 12th century.It is therefore not a portrait in the usual sense - there are no sources about Trota's appearance. The word "Trotulus" is crossed out on the picture, below which is written: Trota de Salerno - in a medieval calligraphy. Who was Trota de Salerno? Trota de Salerno (also known as Trocta) was a doctor and medical writer in the southern Italian coastal town of Salerno who lived in the first or middle decades of the 12th century. She propagated cleanliness, a balanced diet, exercise and the avoidance of stress - a very modern combination. Her book "De curis mulierum" on women's illnesses was very progressive for the time.Her fame spread as far as France and England in the 12th and 13th centuries.After that, apart from a distorted image of her work that survived in the Trotula treatises, her work fell into oblivion until it was rediscovered in the late 20th century.How did Trota come to write down these texts? The literacy of women in southern Italy at this time is not well documented, which raises the question of why the "De curis mulierum" was written down at all.One scholar, Dr. Monica Green (Professor of Modern Early History, Arizona State University), now suspects that "De curis mulierum" may not have been written down for the benefit of women in Salerno, but for an audience in England who wanted general information about medical practices in distant Salerno. Both England and southern Italy were under Norman rule at this time, and the transfer of southern Italian medical writings to Normandy and especially to England is well documented for this period. The manuscript in which we find the earliest copy of the original version of De curis mulierum (from the early 13th century) appears to have been written in both Italy and England.

€180.00*

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Nettie Maria Stevens

* July 7, 1861 in Cavendish (Vermont, USA), † May 4, 1912 in Baltimore (Maryland, USA) Nettie Stevens discovered that chromosomes determine biological sex. At a time when women were “blamed” for giving birth to a daughter (instead of the longed-for male governor), this is particularly special. Her discovery was due to the fact that she also conducted research on female fruit flies - and not just on sperm like her professor - and thus found the difference: the biological female sex is defined by two larger chromosomes, while the biological male sex has one large and one small chromosome. A sensation! But her professor cleverly claimed the discovery for himself and to this day is solely responsible for the discovery of sex determination by chromosomes in all biology books. Incidentally, it was Nettie Stevens who introduced the common fruit fly (Drosophila) to laboratory research, replacing the less suitable mealworm. Nettie died young of breast cancer. She was active in research throughout her life and published over 40 scientific papers.

€520.00*

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No Pink (Margaret Crane)

Margaret Crane (*1941 in the USA) is a graphic designer and inventor of the pregnancy test for home use. Her idea and prototype were recognized in 2 patents (1969).However, the home pregnancy test was not successfully launched on the US market until much later (around 1977). Despite its success, Margaret Crane never saw a penny for her patented invention. The painting technique of this work The basis is a white canvas, which was colored with ink in a random process. In the next step, the artist paints the portrait into the resulting areas. The idea behind this type of representation is the fact that women and their contributions are not seen clearly and unambiguously. The portrait series aims to make women like Margaret Crane more visible and thus better known. Who is Margaret Crane? At the age of 26, Crane was hired by the pharmaceutical company Organon in 1967 to work on a new line of cosmetics for the company.When she visited the company's laboratory one day, she noticed a lot of test tubes.She asked curiously, and to her surprise, they were pregnancy tests - for use by doctors. Each test tube contained reagents that, when mixed with the urine of a pregnant woman, indicated pregnancy by forming a red ring at the bottom of the test tube. Inspired by this, Crane saw the possibility of using this as a home pregnancy test.She thought it was so simple that women could perform this test at home without medical supervision, and in a quicker way.Crane had no prior scientific knowledge, but she wanted the pregnancy test to be a private matter for every woman. So Crane took matters into her own hands and began working on her prototype at her home in New York.She designed her first model, which resembled the tests she had observed in her laboratory.Her idea and the prototype were rigorously rejected.Nevertheless, her employer Organon applied for patents on her behalf in 1969, which were accepted.Years later, in 1977, the model proposed by Crane was sold throughout the USA under the name "Predictor". Although her name was on the patents for the device, Organon licensed the product to three over-the-counter pharmaceutical companies, and Crane never received a penny for her design. She had to sign away her rights for a dollar and never saw that dollar. Crane and her partner Ira Sturtevant, who supported Crane in her endeavors, later formed an advertising and design firm called Ponzi & Weill.

€400.00*

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Rosalind Franklin

*25.07.1920 in London, † April 16, 1958 in London Chemist and pioneer of DNA research with the first photograph showing the shape of DNA. Two colleagues made use of her discovery and did not even mention it in their acceptance speech after receiving the Nobel Prize for it. By this time, Rosalind Franklin had already died. It was only later - because the two male scientists boasted in a publication that they had the picture from Rosalind's laboratory - that it became known that research into DNA was only possible with her discovery. About the portrait There are several photographs of Rosalind Franklin showing her in her laboratory as well as some formal portraits in the style of the time. Roxana Panetta used one of these photographs as a model for this painted portrait. Roxana Panetta interprets the photo in her technique, which combines classical oil painting with experimental ink, and has Rosalind Franklin look into the camera: Unlike in the original photograph, Rosalind Franklin looks at us, straight, with an open gaze that suggests interest in the other person.

€520.00*

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Sara E. Goode

Sara E. Goode, geb. …Zum Portrait … genau hinsehen, zweimal schauen bis ihre Gesichtszüge in dem Dunkel der Tusche sichtbar werden … der Schleier der Geschichte

€400.00*

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Sister Rosetta Tharpe

Sister Rosetta Tharpe Die Erfinderin des Rock'n'Roll-Gitarrensounds Sister Rosetta Tharpe revolutionierte die Musikwelt mit einer Mischung, die es so noch nie gab: Sie kombinierte spirituelle Texte mit einer elektrisch verstärkten Gibson SG-Gitarre und entwickelte einen einzigartigen Stil aus Blues-Riffs, Jazz-Swing und virtuosen Soli. Geboren in Cotton Plant, Arkansas, begann sie als Wunderkind in der Kirche, entwickelte sich aber schnell über die Grenzen der Gospelmusik hinaus. Ihr Signature-Sound – verzerrte Gitarrenakkorde, innovative Bendings und ein kraftvolles Picking – legte den Grundstein für den Rock'n'Roll. Einfluss auf die Giganten des Rock'n'Roll Ihre Wirkung auf die nachfolgende Generation von Musikern war immens. Elvis Presley besuchte als Teenager ihre Konzerte und übernahm ihre Bühnenpräsenz. Chuck Berry kopierte bewusst ihre Gitarrentechnik, Little Richard nannte sie seine größte Inspiration. Johnny Cash bezeichnete sie als seine Lieblingssingerin aus seiner Jugend. Jerry Lee Lewis, Carl Perkins und Eric Clapton wurden ebenfalls stark von ihr beeinflusst. Tharpe durchbrach als erste afroamerikanische Gospelkünstlerin die "Color Line" im Radio und trat als erste schwarze Musikerin mit weißen Bands auf. Vergessene Pionierin Trotz ihrer bahnbrechenden Rolle wurde Tharpes Bedeutung lange unterschätzt. In den 1940er Jahren füllte sie Stadien und war ein Star in Radio und Fernsehen. Ihr Auftritt 1964 auf einem verlassenen Bahnhof in Manchester für das britische Fernsehen wurde legendär und inspirierte eine neue Generation britischer Musiker. Nach ihrem Tod 1973 geriet sie jedoch in Vergessenheit – möglicherweise weil sie als schwarze Frau in der von weißen Männern dominierten Rockgeschichte nicht ins gängige Narrativ passte. Erst in den letzten Jahren wurde ihre zentrale Rolle als "Godmother of Rock'n'Roll" wiederentdeckt. Die späte Aufnahme in die Rock and Roll Hall of Fame 2018 würdigte endlich ihre Pionierrolle bei der Entstehung des Rock'n'Roll.

€780.00*

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