Author's Note

Part 1: Women, Made
- “We do not wear clothes, our clothes wear us.”
- The lie that a woman's enemy is another woman
- Sometimes cute, sometimes like a mother?
Picasso, a great artist or a grooming perpetrator?
- Rembrandt and 'The Secret Lover'
- Girls want blue too
- Women also have the right to draw 'this kind of' work.
- Why is the history of old age and ugliness the lot of women?

Part 2 Women: We Are Not Possessions
- Even without Manet, Morisot is Morisot.
- A woman who refused to 'make a wife'
- Is this the martyrdom of women or the suffering of women?
- Hoping that the patriarchy will one day be broken
- Rubens' 'true' intentions behind painting 'Cimon and Pero'
- Gauguin and his descendants' fantasy of 'foreign women'
- Giacometti's 'sculptures' that blossomed amidst his wife's devotion
- A woman's appearance that is neither too pretty nor too ugly

Part 3: Women Have the Right to Safety
- The witch hunt is still not over
- Are men originally beasts?
- Look at the 'survival'!
- “Being born a woman is a terrible tragedy.”
- Who throws stones at 'drinking women'?
- A woman's body is a battlefield without gunfire.

Part 4 Women: We Are Ourselves
- “I will paint my picture with confidence.”
- Ladies, wear glasses and blue stockings.
- For my daughter's independence
- I like a woman who speaks and thinks clearly.
- Women have always existed throughout history.
- Why women had no choice but to borrow men's names
- When we need to return their names and voices
- I just drew a picture that was 'my own'

References

Martyrdom or Suffering for Women
The 'truths' in the painting that need to be revisited crookedly

The book is divided into four parts.
Part 1, “Women, Made,” contains stories of women who were made, rather than born, into a patriarchal society.
It is a male-centered patriarchal society that criticizes women for not being able to draw 'this kind of' work, spreads malicious rumors that women's enemies are other women, and orders women to be sometimes cute and sometimes motherly.
Edgar Degas, one of the founders of Impressionism, criticized Mary Cassatt's painting "Young Woman Picking Fruit," saying that it was not a painting that a woman could paint.
Degas's criticism was what we would call 'gaslighting' against women these days.
What about Picasso, who is considered a great artist?
He seduced and psychologically dominated the young and beautiful Marie Baltez (page 49) with all kinds of sweet words in order to make her his muse.
Even putting aside his genius, there is no denying that he is a 'grooming' sex offender.
The desire to use women as tools, to manipulate them, to make them into women is no exception in art.

Part 2, “Women, We Are Not Possessions,” contains a critical look at the patriarchal society that regards women as possessions and objectifies them.
In a society that constantly whispers to women that they are inferior, women suffer from 'impostor syndrome', a psychological condition in which they are unable to recognize their own abilities, consider them coincidences, and feel anxious.
Berthe Morisot, an 18th-century French painter who displayed exceptional talent, suffered from imposter syndrome due to the neglect and interference of Edouard Manet, and the same is true for modern women in the 21st century.
Natalie Portman and Michelle Obama have also suffered from imposter syndrome.
The misconception that women are the property of men is also connected to the idea that women are only seen as sexual objects for men.
Therefore, we should no longer see beauty, filial piety, and purity in the women in Francesco Guarino's "The Martyrdom of Saint Agatha" (p. 113), Alexandre Cabanel's "The Birth of Venus" (p. 120), and Peter Paul Rubens's "Cimon and Pero" (p. 128).
The book says that the fact that we can see the dirty desires towards women is proof that our society has changed.
He further rebukes them, saying that our society can only mature if we accept different interpretations of these women.
Women are not inferior beings, food, tools, or objects of voyeurism.


Part 3, “Women Have the Right to Safety,” examines the sexual oppression and violence experienced by women in paintings from the 16th to 18th centuries and asks how much has changed in this era.
It has been a long time since women's behavior was controlled with the absurd claim that 'men are beasts'.
In the early 16th century painting by Ambrosius Benson, Lucretia (p. 185), a woman attempts to take her own life after being sexually assaulted.
In 1736, Jean-Baptiste Greuze, in his painting The Broken Mirror (p. 177), portrayed a woman who had lost her chastity, portraying her as impulsive and driven to madness.
Both paintings attribute the cause of the incident to the female victim rather than the male perpetrator.
Artemisia Gentileschi is a painter who actively exposed her sexual assault and accused the perpetrator during these dark times.
In her “Self-Portrait” (page 189), in which she proclaims to the world that she is an artist, not a victim of sexual violence who must be “pitiful” as society wants, we can see her proud “survivor-likeness” rather than her “victim-likeness.”
(Page 188) In order to protect women's right to safety and to create such a society, we must say this.
“The price for committing a crime falls on the perpetrator.
“The perpetrator goes to prison, the victim goes back to everyday life.” (p. 190)

Part 4, “Women, We Are Ourselves,” is the story of women who proudly displayed their talents without being swayed by the times.
Pan Yuliang, the first female oil painter in China and the first Chinese to win an award at an Italian art exhibition; Anna Dorothea Terbusch, who wore glasses and read books to show off her intellectual side, in short, painted self-portraits claiming to be a figure that men disliked; and Mary Moser and Georgia O'Keeffe, who proudly showed off their skills by painting pictures that were true to themselves.
Here we have gathered the stories of female artists who threw off the shackles imposed on women and lived their own lives.
On the other hand, it also captures the stories of women who wanted to live as themselves, such as Jane Eyre, George Sand, and Queen Christina, who could only display their talents by borrowing a man's name.
Now it's time to give them back their real names.


Mary Moser and Georgia O'Keeffe,
They didn't paint 'feminine' pictures.

I just drew a picture that was 'my own'

When we rebel against the stereotypes of women as interpreted by patriarchal society, we can see the true face of women.
Women Who Torn the Canvas offers a perverse sense of the women found in paintings from the past century.
Because you have to be able to see things crookedly to discover the true sense.
Only then can we say that it is not the martyrdom of women, but the suffering of women, and not the devotion of women, but the despair and sorrow of women.
The author wrote this book in the hope that the patriarchal society, which cleverly tries to protect the sexual play of women with beauty and purity, will one day be shattered (p. 125).
Now women have taken the 'red pill' (p. 125) from the matrix of patriarchal society.
It is irreversible.
So, watch the women walk out of the painting with strength and clap your hands until your palms hurt.