LONDON — The Royal Academy’s latest exhibition brings to light the extraordinary talent of Michaelina Wautier (1604–1689), whose work rivals that of Van Dyck and Rubens. Despite her apparent success during her lifetime, Wautier’s contributions have long been overlooked or misattributed. Operating in 17th-century Brussels, she defied gender norms by mastering diverse painting genres, from floral arrangements to monumental history pieces traditionally dominated by men.
Wautier’s gender and societal biases obscured her rightful place in art history, much like Artemisia Gentileschi in Italy. Often working alongside her brother Charles, many of her creations were wrongly credited to him. Despite signing her works, Wautier faced skepticism, particularly regarding her ability to depict complex scenes like “The Triumph of Bacchus” (1650–56) without formal training. This piece, once attributed to a male artist, is now recognized as her own.
The pivotal moment in Wautier’s recognition came with the reattribution of “The Triumph of Bacchus” in 2009 by Gerlinde Gruber, supported by art historian Katlijne Van der Stighelen’s research. This led to her first major exhibit in Antwerp in 2018, showcasing her versatility and arguing for her authorship of “The Five Senses” (1650), a series that ingeniously reverses gender roles.
The ongoing exploration of Wautier’s work faces challenges due to inconsistent historical references, such as her being listed as “M Wouters” in auction records. Digitizing these documents aids in piecing together her life and work. The current exhibition at the Royal Academy and Kunsthistorisches Museum invites audiences to rediscover Wautier’s legacy.
Julien Domercq, co-curator of the exhibition, highlights the rarity of uncovering an artist of Wautier’s caliber who had vanished from history. Unlike Gentileschi, Wautier left little documentary evidence, making her art the primary testament to her genius. The exhibition hopes to elevate her standing, allowing her diverse and vibrant paintings to speak for themselves.
