Conclusion
In conclusion, the push for women to reenter the home jeopardized their identities outside of being women. The factory workers, textile workers, nurses, and doctors of World War I are now urged to abandon those identities in order to take on the identity of woman, mother, and wife. Artists like Hannah Hoch and Tamara de Lempicka experienced the same pressures and had to defend their identities as artists through condemning gender inequality in their art. Male artists, in contrast, did not need to defend their positions as artists and could therefore make commentary about the art world or prescribe social standards without fear of being forced out of thier identities.
The social context of the interwar period created an environment in which the sexist sentiments of the art world ran perfectly parallel to that of the society at large. In a social period that was the perfect embodiment of the man/culture versus women/nature sentiment of avant-gardists, Hannah Hoch and Tamara de Lempicka - among other artists and proto-feminists - fought against the dichotomy through upsetting artistic norms and cultural values and continued fighting as the second world war dawned.