Özet:

Abstract Until the 19th century, the exclusion of women from the official academic teaching of fine arts, while at the same time reserving for them the practice of artisanal techniques suitable for the domestic environment, led to certain techniques and styles being considered as belonging more to one gender or the other. Different feminist artistic movements have claimed or denied the existence of a particular feminine sensitivity, more in line with certain methods and styles. This article is based on the hypothesis that in the contemporary western context, education and the cultural environment are more decisive in the style and technique of an artist than a supposed biological predisposition linked to gender. To verify this hypothesis, we can analyse the watercolour technique used in the work of Marlene Dumas and of the oil painting technique in the art of Jenny Saville, comparing their paintings with other artworks of similar technical features, produced by male artists.

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