Riding against patriarchy: Gloria Sarfowaa's Self Portraiture in Appropriated Historical Equestrian in Contemporary Feminist Portrait

Equestrian portraiture has historically upheld gender norms by depicting powerful men and excluding women artists. 17th and18th-century equestrian portraits of women depicted them as passive objects, often overshadowed by their male counterparts.These portraits reinforced traditional gender roles and upheld the patriarchal hierarchy prevalent during that time. This paper examines how Ghanaian contemporary artist Sarfowaa challenges patriarchal traditions through feminist self-portraiture in appropriated historical equestrian paintings. Through visual analysis of composition, techniques, symbols and contextualize selected artworks, this article explores how Sarfowaa subverts the equestrian genre by inserting herself into these male-dominated paintings. Her self-portraits provide a powerful statement of resistance that reclaims authority and agency for women. By contextualizing Sarfowaa's work within feminist art movements and theory, this paper analyzes how her art dismantles traditional gender roles and norms. The results demonstrate that Sarfowaa's portraits further the aims of feminist portraiture through their bold questioning of patriarchal power structures. This research expands current scholarship on the intersections of art,portraiture, feminism, and political resistance. It appeals to academics, artists, and audiences interested in the capacity of contemporary art to drive social change.