THE CONCEPT OF “WOMAN. MOTHER. PROTECTRESS” IN THE HISTORICAL AND ARTISTIC CONTEXT

Abstract

The article explores the theme «Woman. Mother. Protectress» in historical and artistic contexts. Emphasis is placed on four key concepts that serve as the foundation for analyzing the female image: the Ukrainian context, European history, religious-symbolic interpretation, and the maternal-state paradigm. The study provides an art criticism review within the framework of historical facts and artworks featuring portraits of Princess Olga, Jeanne d’Arc, Roksolana – Hurrem Haseki Sultan, Maria Theresa, Margaret Thatcher, and Queen Elizabeth II. Myths about the role of women are debunked through evidence-based materials grounded in verified historical facts. Research methods: art criticism – analysis of portraits of historical female figures across painting, sculpture, graphic arts, numismatics, and philately; analytical method – identification of the historical context in artworks and its significance; systematic approach – establishing connections between eras, artistic styles, symbolism, and conceptual meaning; conceptual analysis – revealing the importance of aligning the core artistic idea with canonical interpretations of symbols; synthesis method – demonstrating the value of interaction between history and art in the study of the chosen theme.The scientific novelty lies in the study of the concept «Woman. Mother. Protectress» through a non-traditional lens, departing from the canonical depiction of women in classical art history. Instead, the focus is on the representation of women engaged in political activity. The article examines prominent women of the 10th, 15th, 16th, 18th, 20th, and 21st centuries, emphasizing their historical roles and diverse social functions. It further explores the accuracy of portrait representations and highlights the synthesis of historical and portrait genres.Conclusions: The image of a woman in historical and visual art can be regarded as a manifesto of her evolving role across centuries, reflecting shifts in perceptions of power, morality, spirituality, and gender identity. The study identifies four primary types in the structural distribution of portraiture, presenting a multifaceted portrayal of femininity as a synthesis of strength and tenderness, courage and spirituality, restraint and determination. This article lays the groundwork for further research in the historical and portrait genres across painting, sculpture, graphic arts, numismatics, and philately within the European context.