17 N°III 2024 MuseoMag NEW ACQUISITION unmistakably assert her identity as an artist, inde- pendent woman and expecting mother. In doing so, the photo challenges the conventional norms of the era and the passive role largely assigned to women, especially pregnant women. The self-portrait, thus, becomes an important expression of the artist’s autonomy and creative self-determination and prompts us to question traditional notions of femini- nity, motherhood and creative agency. SOCIAL CONTEXT The social context of the 1940s, marked by traditio- nal gender roles and limited opportunities for wo- men in the arts, provides a backdrop against which Diane Arbus’s self-portrait gains additional impor- tance. Within this context, her self-portrait does not only defy societal expectations of what an artist and a mother should be, but also reframes the discourse around maternal representation in art, a subject that was, at the time, not depicted in such a direct and unidealised manner. Arbus is primarily recognised for her portraits of marginalised individuals and communities, offering insights into their unique experiences and challen- ges. Despite her acclaim, Arbus was a controversial figure who often faced criticism, with renowned art critic Susan Sontag, for instance, arguing that her photos were taken from a privileged position that emphasises her subjects’ “otherness”. In this photo, Arbus herself embodies the “other”, confronting existing biases and stereotypical ideas of an artist and a mother in the 1940s head-on, with an honest and direct gaze. From the 1960s onwards, with the rise of second- wave feminism, female artists have gradually deve- loped their own identity models, highlighted by art historian Linda Nochlin’s seminal question in 1971: “Why have there been no great women artists?”. Despite the progress made by women artists at that time, however, the themes of birth and motherhood still remained somewhat of a taboo. For centuries, references to women’s reproductive capacity were used to dismiss their suitability for higher cultural achievements, serving as an argument for their sup- pression and exclusion. In this context, it’s hardly surprising that feminist artists of the time initially fo- cused on female emancipation, which was in most cases aligned with being childless. Consequently, the idea that women must choose between being great artists and being mothers persist to this day. This social context reveals the ongoing challenges faced by women artists who navigate art and motherhood in a world that (still) often fails to accommodate both simultaneously. MOTHERHOOD Motherhood has long been a theme in art throughout history. In European art history, it has often been portrayed in a highly idealised and sacred way, as a symbol of fertility, caregiving and nurturing, exemplified by the Virgin Mary and child. In these visual representations, mothers seem to be de- picted as embodiments of purity, protection, ten- derness and devotion. Over the centuries, views on motherhood in art have evolved, illustrated by women artist like Élisabeth Vigée Le Brun, who painted herself with her daughter. More recently, artists such as Frida Kahlo or Louise Bourgeois have critically reevaluated and enriched the discourse on maternal experience, incorporating deeply personal, thought-provoking and complex elements of motherhood into their works. Today, the subject of art and motherhood seems to be gaining increased visibility in the art world, with major exhibitions such as the UK traveling show Arts of Creation: On Art and Motherhood, curated by Hettie Judah, author of the book How to Not Exclude Artist Mothers (and other parents), setting the example. In Luxembourg’s art scene, too, contem- porary artists have actively explored the subject of maternity. The uproar surrounding a pregnant Gëlle Fra in 2001, when feminist artist Sanja Iveković presented her work Lady Rosa of Luxembourg for the first time, is a compelling example of the ongoing debates and controversies related to various issues, including, but not limited to, the representation of the pregnant female body. The dual role of being a mother and an artist has also been investigated by Luxembourgish artists. Sarah Schleich, for example, titled a recent exhibition in Dudelange after her daughter’s birth time, using it as a lens to examine identity formation. Likewise, Krystyna Dul frequently documents her own expe- riences of motherhood through photography and Germaine Hoffmann, a collage artist, provides a compelling personal perspective. The latter had her first monographic show at a Luxembourgish institu- tion at the age of 90. Being a mother first, before dedicating herself to her art, her story sheds light on the challenges of juggling a creative career with the responsibilities of being a mother. Lis Hausemer