Acceso usuarios
Alfonso Herrán Acebes
, Isabel García Fernández
El proceso de incorporación y visibilidad de las mujeres en la estructura asociativa y gestión del Ateneo de Madrid fue gradual y se consolidó en el primer tercio del siglo XX, cuando empezaron a participar activamente como socias como en la vida cultural de la institución. Pioneras como la pintora madame Anselma, la escritora Emilia Pardo Bazán o la abogada Clara Campoamor desafiaron las normas de una entidad cultural predominantemente masculina. Aunque la presencia de mujeres artistas fue limitada, algunas lograron exponer sus obras en las salas de exposiciones del Ateneo, obteniendo reconocimiento tanto de sus colegas masculinos como de la crítica. Sin embargo, lamentablemente, otras artistas fueron inexplicablemente invisibilizadas.
The process of incorporation and visibility of women in the associative structure and management of the Ateneo de Madrid was a gradual one that materialized in the first third of the 20th century. During this time, women began to link their intellectual activity both as members and in the cultural life of the institution. Figures such as the painter Madame Anselma, the writer Emilia Pardo Bazán, or the lawyer Clara Campoamor were pioneers in a cultural entity built by and for men. The presence of women as artists was scarce; however, some managed to exhibit their work in the exhibition halls of the so-called learned house, achieving not only recognition from their male colleagues but also the visibility of women as artists and the respect, or lack thereof, of the critics. Unfortunately, others were inexplicably marginalized.
