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| female representation in art history: Why Have There Been No Great Women Artists?: 50th anniversary edition Linda Nochlin, 2021-02-16 The fiftieth anniversary edition of the essay that is now recognized as the first major work of feminist art theory—published together with author Linda Nochlin’s reflections three decades later. Many scholars have called Linda Nochlin’s seminal essay on women artists the first real attempt at a feminist history of art. In her revolutionary essay, Nochlin refused to answer the question of why there had been no “great women artists” on its own corrupted terms, and instead, she dismantled the very concept of greatness, unraveling the basic assumptions that created the male-centric genius in art. With unparalleled insight and wit, Nochlin questioned the acceptance of a white male viewpoint in art history. And future freedom, as she saw it, requires women to leap into the unknown and risk demolishing the art world’s institutions in order to rebuild them anew. In this stand-alone anniversary edition, Nochlin’s essay is published alongside its reappraisal, “Thirty Years After.” Written in an era of thriving feminist theory, as well as queer theory, race, and postcolonial studies, “Thirty Years After” is a striking reflection on the emergence of a whole new canon. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman, and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. “Why Have There Been No Great Women Artists?” has become a slogan and rallying cry that resonates across culture and society. In the 2020s, Nochlin’s message could not be more urgent: as she put it in 2015, “There is still a long way to go.” |
| female representation in art history: Women Artists and the Surrealist Movement Whitney Chadwick, 2021-11-23 A revised edition of Whitney Chadwick’s seminal work on the women artists who shaped the Surrealist art movement. This pioneering book stands as the most comprehensive treatment of the lives, ideas, and art works of the remarkable group of women who were an essential part of the Surrealist movement. Leonora Carrington, Frida Kahlo, and Dorothea Tanning, among many others, embodied their age as they struggled toward artistic maturity and their own “liberation of the spirit” in the context of the Surrealist revolution. Their stories and achievements are presented here against the background of the turbulent decades of the 1920s, ’30s, and ’40s and the war that forced Surrealism into exile in New York and Mexico. Whitney Chadwick, author of the highly acclaimed Women, Art, and Society, interviewed and corresponded with most of the artists themselves in the course of her research. Women Artists and the Surrealist Movement, now revised with a new foreword by art historian Dawn Ades, contains a wealth of extracts from unpublished writings and numerous illustrations never before reproduced. Since this book was first published, it has acquired the undeniable status of a classic among artists, art historians, critics, and cultural historians. It has inspired and necessitated a revision of the story of the Surrealist movement. |
| female representation in art history: Women in the Picture: What Culture Does with Female Bodies Catherine McCormack, 2021-11-16 Art historian Catherine McCormack challenges how culture teaches us to see and value women, their bodies, and their lives. Venus, maiden, wife, mother, monster—women have been bound so long by these restrictive roles, codified by patriarchal culture, that we scarcely see them. Catherine McCormack illuminates the assumptions behind these stereotypes whether writ large or subtly hidden. She ranges through Western art—think Titian, Botticelli, and Millais—and the image-saturated world of fashion photographs, advertisements, and social media, and boldly counters these depictions by turning to the work of women artists like Morisot, Ringgold, Lacy, and Walker, who offer alternative images for exploring women’s identity, sexuality, race, and power in more complex ways. |
| female representation in art history: Women, Art, and Society Whitney Chadwick, 2002 This expanded edition is brought up to date in the light of the most recent developments in contemporary art. A new chapter considers globalization in the visual arts and the complex issues it raises, focusing on the many major international exhibitions since 1990 that have become an important arena for women artists from around the world.--BOOK JACKET. |
| female representation in art history: Women in Art Rachel Ignotofsky, 2019-09-10 A collection of charmingly illustrated and inspiring profiles of fifty pioneering female artists, from the eleventh century to today—by the New York Times bestselling author of Women in Science “A beautifully illustrated, fact-filled breath of fresh air! Countless women have been left out of art history, but thanks to gorgeous books like this, future generations will begin to know their stories.”—Danielle Krysa, founder of The Jealous Curator Women make masterpieces! Through fifty fascinating profiles, Women in Art highlights the achievements and stories of fifty notable women in the arts—from well-known figures like painters Frida Kahlo and Georgia O'Keefe, to lesser-known names like nineteenth-century African American quilter Harriet Powers and Hopi-Tewa ceramic artist Nampeyo. Covering a wide array of artistic mediums, Women in Art also contains infographics about artistic movements throughout history, statistics about women’s representation in museums, and notable works by women. This fascinating book celebrates the success of the bold female creators who inspired the world and paved the way for the next generation of artists. |
| female representation in art history: The Female Nude Lynda Nead, 2002-09-11 Anyone who examines the history of Western art must be struck by the prevalence of images of the female body. More than any other subject, the female nude connotes `art'. The framed image of a female body, hung on the walls of an art gallery, is an icon of Western culture, a symbol of civilization and accomplishment. But how and why did the female nude acquire this status? The Female Nude brings together, in an entirely new way, analysis of the historical tradition of the female nude and discussion of recent feminist art, and by exploring the ways in which acceptable and unacceptable images of the female body are produced and maintained, renews recent debates on high culture and pornography. The Female Nude represents the first feminist survey of the most significant subject in Western art. It reveals how the female nude is now both at the centre and at the margins of high culture. At the centre, and within art historical discourse, the female nude is seen as the visual culmination of enlightenment aesthetics; at the edge, it risks losing its repectability and spilling over into the obscene. |
| female representation in art history: Post-partum Document Mary Kelly, 1985 This book documents an evolving work of conceptual art about the mother-child relationship begun by Mary Kelly during the 70s and exhibited in the 70s & 80s as an installation, with photographs and analyses of the material evidence of her baby's transition from infancy to the beginnings of independence. It introduced an interrogation of subjectivity by using psychoanalytic theory and focusing on the construction of material femininity. |
| female representation in art history: In Her Own Image Danielle Knafo, 2009 Knafo, a feminist psychoanalyst and art critic, extends the discourse between feminism and art history, while revealing core psychological sensibilities involved in women's self-representation - the need for mirroring, the use of mask and masquerade, the drive for reparation, the presence of the uncanny, and the concept of female narcissism. --Publisher. |
| female representation in art history: Broad Strokes Bridget Quinn, 2017-03-07 Historically, major women artists have been excluded from the mainstream art canon. Aligned with the resurgence of feminism in pop culture, Broad Strokes offers an entertaining corrective to that omission. Art historian Bridget Quinn delves into the lives and careers of 15 female artists from around the globe in text that's smart, feisty, educational, and an enjoyable read. Replete with beautiful reproductions of the artists' works and contemporary portraits of each artist by renowned illustrator Lisa Congdon, this is art history from the Renaissance to Abstract Expressionism for the modern art lover, reader, and feminist. |
| female representation in art history: Reclaiming Female Agency Norma Broude, Mary D. Garrard, 2005-04-11 'Reclaiming Feminine Agency' identifies female agency as a central theme of recent feminist scholarship & offers 23 essays on artists & issues from the Renaissance to the present, written in the 1990s & after. |
| female representation in art history: Great Women Artists Phaidon Editors, 2019-10-02 Five centuries of fascinating female creativity presented in more than 400 compelling artworks and one comprehensive volume The most extensive fully illustrated book of women artists ever published, Great Women Artists reflects an era where art made by women is more prominent than ever. In museums, galleries, and the art market, previously overlooked female artists, past and present, are now gaining recognition and value. Featuring more than 400 artists from more than 50 countries and spanning 500 years of creativity, each artist is represented here by a key artwork and short text. This essential volume reveals a parallel yet equally engaging history of art for an age that champions a greater diversity of voices. Real changes are upon us, and today one can reel off the names of a number of first-rate women artists. Nevertheless, women are just getting started.—The New Yorker |
| female representation in art history: Laura Knight Fay Blanchard, Anthony Spira, Pamela Gerrish Nunn, Sophie Hatchwell, 2022-04-05 A major survey of Dame Laura Knight, first female Royal Academician and popular British artist of the 20th century. Laura Knight (1877–1970) was one of the most famous and popular English artists of the twentieth century. She was the first woman to have a solo exhibition at the Royal Academy of Arts, in 1965. In the following decades her realist style of painting fell out of fashion and her work become largely overlooked. A new generation has rediscovered her work, finding a contemporary resonance in her depictions of women at work, of people from marginalized communities and her contributions as a war artist. This beautifully illustrated book, which accompanies a major exhibition at MK Gallery, provides an overview of Knight's illustrious career: from her training at Nottingham Art School at the age of 13 and her time in North Yorkshire and Cornwall, to her visits to traveller communities and a segregated American hospital. It also features her circus, ballet and theatre scenes, paintings of women during the war and her late paintings of nature. The selection of over 160 works combines celebrated paintings with less known graphic and design works, including ceramics, jewellery and costumes that reflect the artist's enduring interest in the everyday activities of people from all walks of life. |
| female representation in art history: 33 Artists in 3 Acts Sarah Thornton, 2014-11-03 This compelling narrative goes behind the scenes with the world’s most important living artists to humanize and demystify contemporary art. The best-selling author of Seven Days in the Art World now tells the story of the artists themselves—how they move through the world, command credibility, and create iconic works. 33 Artists in 3 Acts offers unprecedented access to a dazzling range of artists, from international superstars to unheralded art teachers. Sarah Thornton's beautifully paced, fly-on-the-wall narratives include visits with Ai Weiwei before and after his imprisonment and Jeff Koons as he woos new customers in London, Frankfurt, and Abu Dhabi. Thornton meets Yayoi Kusama in her studio around the corner from the Tokyo asylum that she calls home. She snoops in Cindy Sherman’s closet, hears about Andrea Fraser’s psychotherapist, and spends quality time with Laurie Simmons, Carroll Dunham, and their daughters Lena and Grace. Through these intimate scenes, 33 Artists in 3 Acts explores what it means to be a real artist in the real world. Divided into three cinematic acts—politics, kinship, and craft—it investigates artists' psyches, personas, politics, and social networks. Witnessing their crises and triumphs, Thornton turns a wry, analytical eye on their different answers to the question What is an artist? 33 Artists in 3 Acts reveals the habits and attributes of successful artists, offering insight into the way these driven and inventive people play their game. In a time when more and more artists oversee the production of their work, rather than make it themselves, Thornton shows how an artist’s radical vision and personal confidence can create audiences for their work, and examines the elevated role that artists occupy as essential figures in our culture. |
| female representation in art history: ArtCurious Jennifer Dasal, 2020-09-15 A wildly entertaining and surprisingly educational dive into art history as you've never seen it before, from the host of the beloved ArtCurious podcast We're all familiar with the works of Claude Monet, thanks in no small part to the ubiquitous reproductions of his water lilies on umbrellas, handbags, scarves, and dorm-room posters. But did you also know that Monet and his cohort were trailblazing rebels whose works were originally deemed unbelievably ugly and vulgar? And while you probably know the tale of Vincent van Gogh's suicide, you may not be aware that there's pretty compelling evidence that the artist didn't die by his own hand but was accidentally killed--or even murdered. Or how about the fact that one of Andy Warhol's most enduring legacies involves Caroline Kennedy's moldy birthday cake and a collection of toenail clippings? ArtCurious is a colorful look at the world of art history, revealing some of the strangest, funniest, and most fascinating stories behind the world's great artists and masterpieces. Through these and other incredible, weird, and wonderful tales, ArtCurious presents an engaging look at why art history is, and continues to be, a riveting and relevant world to explore. |
| female representation in art history: Women Making Art Marsha Meskimmon, 2003 First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company. |
| female representation in art history: A Big Important Art Book (Now with Women) Danielle Krysa, 2018-10-02 Celebrate 45 women artists, and gain inspiration for your own practice, with this beautiful exploration of contemporary creators from the founder of The Jealous Curator. Walk into any museum, or open any art book, and you'll probably be left wondering: where are all the women artists? A Big Important Art Book (Now with Women) offers an exciting alternative to this male-dominated art world, showcasing the work of dozens of contemporary women artists alongside creative prompts that will bring out the artist in anyone! This beautiful book energizes and empowers women, both artists and amateurs alike, by providing them with projects and galvanizing stories to ignite their creative fires. Each chapter leads with an assignment that taps into the inner artist, pushing the reader to make exciting new work and blaze her own artistic trail. Interviews, images, and stories from contemporary women artists at the top of their game provide added inspiration, and historical spotlights on art herstory tie in the work of pioneering women from the past. With a stunning, gift-forward package and just the right amount of pop culture-infused feminism, this book is sure to capture the imaginations of aspiring women artists. |
| female representation in art history: Modern Women: Women Artists at The Museum of Modern Art Alexandra Schwartz, 2010 This text examines the collection of feminist art in the Museum of Modern Art. It features essays presenting a range of generational and cultural perspectives. |
| female representation in art history: Seeing and Consciousness Gen Doy, 2020-08-20 Through its provocative examination of feminist and Marxist approaches to women's art and female representations, this book challenges the widespread belief that Marxism has nothing valuable to contribute to women's studies. The author argues that, from the French Revolution through to the present, gender and class have shaped visual imagery. She shows how Marxist theory can function to question some of the premises of feminist art histories and to provide a more accurate understanding of the meaning(s) of visual imagery. |
| female representation in art history: A Companion to Medieval Art Conrad Rudolph, 2019-05-07 A fully updated and comprehensive companion to Romanesque and Gothic art history This definitive reference brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe and provides a clear analytical survey of what is happening in this major area of Western art history. The volume comprises original theoretical, historical, and historiographic essays written by renowned and emergent scholars who discuss the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Part of the Blackwell Companions to Art History, A Companion to Medieval Art, Second Edition features an international and ambitious range of contributions covering reception, formalism, Gregory the Great, pilgrimage art, gender, patronage, marginalized images, the concept of spolia, manuscript illumination, stained glass, Cistercian architecture, art of the crusader states, and more. Newly revised edition of a highly successful companion, including 11 new articles Comprehensive coverage ranging from vision, materiality, and the artist through to architecture, sculpture, and painting Contains full-color illustrations throughout, plus notes on the book’s many distinguished contributors A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Second Edition is an exciting and varied study that provides essential reading for students and teachers of Medieval art. |
| female representation in art history: Representing Women Linda Nochlin, 2019-05-21 In this republication, revisit the late Linda Nochlin’s pioneering writings on the representation of women in art. Women—as warriors, workers, mothers, lovers—haunt nineteenth and twentieth-century Western painting. This republication of Representing Women brings together the late Linda Nochlin’s most important and pioneering writings on the representation of women in art as she considers works by Jean-Francois Millet, Eugene Delacroix, Gustave Courbet, Edgar Degas, Georges Seurat, Mary Cassatt, and Kathe Kollwitz, among many others. In a riveting, partly autobiographical introduction, Nochlin argues for the honest virtues of an art history that rejects methodological presuppositions and for art historians to investigate the work before their eyes while focusing on its subject matter, informed by a sensitivity to its feminist spirit. |
| female representation in art history: Women in Italian Renaissance Art Paola Tinagli, 1997-06-15 This is the first book which gives a general overview of women as subject-matter in Italian Renaissance painting. It presents a view of the interaction between artist and patron, and also of the function of these paintings in Italian society of the fifteenth and sixteenth centuries. Using letters, poems, and treatises, it examines through the eyes of the contemporary viewer the way women were represented in paintings. |
| female representation in art history: Diversity Counts Anne Dymond, 2019-06-30 Despite the common belief that art galleries will naturally become more gender equitable over time, the fact is that many art institutions in Canada have become even less so over the last decade, with female artists making up less than 25 per cent of the contemporary exhibitions of several major galleries. In the first large-scale overview of gender diversity in Canadian art exhibitions, Anne Dymond makes a persuasive plea for more consciously equitable curating. Drawing on data from nearly one hundred institutions, Diversity Counts reveals that while some galleries are relatively equitable, many continue to marginalize female and racialized artists. The book pursues an interdisciplinary approach, considering the art world's resistance to numeric data, discourses on representation and identity, changing conceptualizations of institutional responsibility over time, and different ways particular institutions manage inclusion and exclusion. A thoughtful examination of the duty of public galleries to represent underserved communities, Dymond's study bravely navigates the unspoken criteria for acceptance in the curatorial world. Demonstrating how important hard data is for inclusivity, Diversity Counts is a timely analysis that brings the art world up to date on progressive movements for social transformation. |
| female representation in art history: Females in the Frame Penelope Jackson, 2019-07-29 This book explores the untold history of women, art, and crime. It has long been widely accepted that women have not played an active role in the art crime world, or if they have, it has been the part of the victim or peacemaker. Women, Art, and Crime overturns this understanding, as it investigates the female criminals who have destroyed, vandalised, stolen, and forged art, as well as those who have conned clients and committed white-collar crimes in their professional occupations in museums, libraries, and galleries. Whether prompted by a desire for revenge, for money, the instinct to protect a loved one, or simply as an act of quality control, this book delves into the various motivations and circumstances of women art criminals from a wide range of countries, including the UK, the USA, New Zealand, Romania, Germany, and France. Through a consideration of how we have come to perceive art crime and the gendered language associated with its documentation, this pioneering study questions why women have been left out of the discourse to date and how, by looking specifically at women, we can gain a more complete picture of art crime history. |
| female representation in art history: Women Artists in Paris, 1850-1900 Laurence Madeline, Pauline Willis, 2017-01-01 Paris was the epicenter of art during the latter half of the nineteenth century, luring artists from around the world with its academies, museums, salons, and galleries. Despite the city's cosmopolitanism and its cultural stature, Parisian society remained strikingly conservative, particularly with respect to gender. Nonetheless, many women painters chose to work and study in Paris at this time, overcoming immense obstacles to access the city's resources. 'Women Artists in Paris, 1850-1900' showcases the remarkable artistic production of women during this period of great cultural change, revealing the breadth and strength of their creative achievements. Guest Curator Laurence Madeline (Chief Curator at Musées d'art et d'histoire, Geneva) has selected close to seventy compelling paintings by women of varied nationalities, ranging from well-known artists such as Berthe Morisot, Mary Cassatt, and Rosa Bonheur, to lesser-known figures such as Kitty Kielland, Louise Breslau, and Anna Ancher. |
| female representation in art history: Gender and Art Colin Cunningham, Emma Barker, 1999-01-01 Encompassing European art, architecture and design from the sixteenth century to the present day, it explores both the work of women artists and the ways that visual representation by male and female artists may be gendered.--BOOK JACKET. |
| female representation in art history: Heroines, Harpies, and Housewives Martha Moffitt Peacock, 2020-11-16 A novel and female empowering interpretive approach to these artistic archetypes in her analysis of Imaging Women of Consequence in the Dutch Golden Age. |
| female representation in art history: The Mirror and the Palette Jennifer Higgie, 2021-10-05 A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery. |
| female representation in art history: Feminism And Art History Norma Broude, 2018-02-23 A long-needed corrective and alternative view of Western art history, these seventeen essays by respected scholars are arranged chronologically and cover every major period from the ancient Egyptian to the present. While several of the essays deal with major women artists, the book is essentially about Western art history and the extent to which it has been distorted, in every period, by sexual bias. With 306 illustrations. |
| female representation in art history: Contemporary Women Artists Laurie Collier Hillstrom, Kevin Hillstrom, 1999 Provides biographical and career information on more than 350 of the world's most prominent and influential contemporary (20th century) women artists. Includes visual art in the following media: painting, sculpture, drawing, printmaking, collage, photography, ceramics, mixed media, electronic media, performance art, video, design, and graphic arts. |
| female representation in art history: Women Can't Paint Helen Gørrill, 2020-02-06 In 2013 Georg Baselitz declared that 'women don't paint very well'. Whilst shocking, his comments reveal what Helen Gørrill argues is prolific discrimination in the artworld. In a groundbreaking study of gender and value, Gørrill proves that there are few aesthetic differences in men and women's painting, but that men's art is valued at up to 80 per cent more than women's. Indeed, the power of masculinity is such that when men sign their work it goes up in value, yet when women sign their work it goes down. Museums, the author attests, are also complicit in this vicious cycle as they collect tokenist female artwork which impinges upon its artists' market value. An essential text for students and teachers, Gørrill's book is provocative and challenges existing methodologies whilst introducing shocking evidence. She proves how the price of being a woman impacts upon all forms of artistic currency, be it social, cultural or economic and in the vanguard of the 'Me Too' movement calls for the artworld to take action. |
| female representation in art history: Women of Abstract Expressionism Joan Marter, 2016-01-01 This publication contains a survey of female abstract expressionist artists, revealing the richness and lasting influence of their work and the movement as a whole as well as highlighting the lack of critical attention they have received to date. |
| female representation in art history: Ingres and the Studio Sarah E. Betzer, 2012 An exploration of the portrait art of Jean Auguste Dominique Ingres, focusing on his studio practice and his training of students. |
| female representation in art history: Women Artists and Patrons in the Netherlands, 1500-1700 Elizabeth Sutton, 2019-08-30 This essay collection features innovative scholarship on women artists and patrons in the Netherlands 1500-1700. Covering painting, printmaking, and patronage, authors highlight the contributions of women art makers in the Netherlands, showing that women were prominent as creators in their own time and deserve to be recognized as such today. |
| female representation in art history: Painting Professionals Kirsten Swinth, 2001 Thousands of women pursued artistic careers in the United States during the late nineteenth century. According to census figures, the number of women among the ranks of professional artists rose from 10 percent to nearly 50 percent between 1870 and 1890. |
| female representation in art history: The Historian Elizabeth Kostova, 2005-06-01 The record-breaking phenomenon from Elizabeth Kostova is a celebrated masterpiece that refashioned the vampire myth into a compelling contemporary novel, a late-night page-turner (San Francisco Chronicle). Breathtakingly suspenseful and beautifully written, The Historian is the story of a young woman plunged into a labyrinth where the secrets of her family’s past connect to an inconceivable evil: the dark fifteenth-century reign of Vlad the Impaler and a time-defying pact that may have kept his awful work alive through the ages. The search for the truth becomes an adventure of monumental proportions, taking us from monasteries and dusty libraries to the capitals of Eastern Europe—in a feat of storytelling so rich, so hypnotic, so exciting that it has enthralled readers around the world. “Part thriller, part history, part romance...Kostova has a keen sense of storytelling and she has a marvelous tale to tell.” —Baltimore Sun |
| female representation in art history: Feminist Art Criticism Arlene Raven, 2018-02-23 From the Preface:The essays in Feminist Art Criticism are theoretical, and we selected them for several reasons. First, they show a diversity of concerns. These include spirituality, sexuality, the representation of women in art, the necessary inter-relationship of theory and action, women as artmakers, ethnicity, language itself, so-called postfeminism and critiques of hte art world, the discipline of art history and the practice of art criticism. Second, the contributors' work has not been either widely disseminated or readily available. Third, the essays, especially arranged as they are (chronologically), demonstrate a continuous feminist discourse in art from the early 1970s through the present, a discourse that is neither monolithic nor intellectually trendy but that rather exhibits many elements, the polemical, Marxist, lyrical, and poststructuralist being only a few. |
| female representation in art history: The Woman Painter in Victorian Literature PH D Antonia Losano, 2021-01-29 The nineteenth century saw a marked rise both in the sheer numbers of women active in visual art professions and in the discursive concern for the woman artist in fiction, the periodical press, art history, and politics. The Woman Painter in Victorian Literature argues that Victorian women writers used the controversial figure of the woman painter to intervene in the discourse of aesthetics. These writers were able to assert their own status as artistic producers through the representation of female visual artists. Women painters posed a threat to the traditional heterosexual erotic art scenarios--a male artist and a male viewer admiring a woman or feminized art object. Antonia Losano traces an actual movement in history in which women writers struggled to rewrite the relations of gender and art to make a space for female artistic production. She examines as well the disruption female artists caused in the socioeconomic sphere. Losano offers close readings of a wide array of Victorian writers, particularly those works classified as noncanonical--by Anne Thackeray Ritchie, Margaret Oliphant, Anne Brontë, and Mrs. Humphrey Ward--and a new look at better-known novels such as Jane Eyre and Daniel Deronda, focusing on the pivotal social and aesthetic meanings of female artistic production in these texts. Each of the novels considered here is viewed as a contained, coherent, and complex aesthetic treatise that coalesces around the figure of the female painter. |
| female representation in art history: Old Mistresses Rozsika Parker, Griselda Pollock, 2020-10-01 Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History yet effected real change? With a new preface by Griselda Pollock, this edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today. In March 2020 Griselda Pollock was awarded the Holberg Prize in recognition of her outstanding contribution to research and her influence on thinking on gender, ideology, art and visual culture worldwide for over 40 years. Old Mistresses was her first major scholarly publication which has become a classic work of feminist art history. |
| female representation in art history: Women, Work, and Representation Lynn Mae Alexander, 2003 In Victorian England, virtually all women were taught to sew, but this essentially domestic virtue took on a different aspect for the professional seamstress of the day. This study considers the way this powerful image of working-class suffering was used by social reformers in art and literature. |
| female representation in art history: The Female Gaze Pennsylvania Academy of the Fine Arts, 2012 In response to the poor representation of women in art galleries and museums, Philadelphia-based collector Linda Lee Alter decided in the 1980s to focus on art by women. The result, now at the Pennsylvania Academy of the Fine Arts, is an extraordinarily diverse and powerful collection of nearly 500 objects by some of the most influential female artists of the past 50 years. Emphasizing contemporary living artists, but including major works by Louise Bourgeois, Elizabeth Catlett, Alice Neel, Louise Nevelson, and others, Alter formed her collection with the intent of giving it to a public institution in order to make women artists more visible. This gorgeously illustrated volume celebrates the collection and its legacy by bringing together leading scholars of feminism, and modern and contemporary art to discuss how the artists in Alter's collection saw and transformed the world. Among the essays are discussions of the impact of feminism in Chicago, Philadelphia and the San Francisco Bay area; self-portraiture by women in the 1970s and 1980s; the legacy of Elizabeth Catlett on younger African American artists; collaborative practice among women; an interview with Linda Lee Alter; and an appreciation by artist Diane Burko. -- Publisher's description. |
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Anna is female, so "F". yymmdd - Passport Expiration Date. The date the passport expires in YYMMDD form. Year is truncated to the least significant two digits. Single digit months or days …
蚊子最喜欢什么血型（ABO血型）？ - 知乎
知乎，中文互联网高质量的问答社区和创作者聚集的原创内容平台，于 2011 年 1 月正式上线，以「让人们更好的分享知识、经验和见解，找到自己的解答」为品牌使命。知乎凭借认真、专业 …
手淫对大脑有影响吗，初中时记忆力贼强，现在感觉变笨了，能恢 …
总之一句话，性生活改善海马，促进记忆力。 再说说人类证据：. 麦吉尔大学的一项研究调查了78名18-29岁的异性恋女性的性生活频率和认知测试得分，发现性生活频率和记忆力指标呈正 …
如何取一个好听的微信号? - 知乎
male;female Mr;Mrs(已婚）;Miss（未婚） 方案十. 那些网红奶茶中的英文单词随便挑. for example： 玫瑰珍珠奶茶 Pearl milk tea,rosetaste 芝士柑橘乌龙 Orange & Oolong tea-milk …
请问有没有女性向的网站？ - 知乎
Hambleton, Alexandra (2016), When Women Watch: The Subversive Potential of Female-Friendly Pornography in JapanPorn Studies, 3:4, 427-442 服部恵典（二〇一八）「日本の女性向けア …
male,female和man,woman的区别？ - 知乎
male和female，更加着重指性别—— male指男生，或者是雄性动物，并不一定是人类，同样的female也可以指女性或雌性动物。 而当指代人的时候，male可以指成年男人也可以指小男孩 …
115://开头的链接是怎么下载的呢？ - 知乎
别人给了个115网盘的链接，但是是115://开头的，这种类型的链接是怎么下载的，这个链接没有办法直接像磁…
svchost.exe 为什么会占用那么多 CPU？ - 知乎
我们前面也有提到，并不是所有的服务都会通过 svchost.exe 调用实现，以 Metasploit 为例：在获取到目标主机的 Meterpreter 之后，可以使用“run metsvc”命令在目标主机上注册一个名为 …
如何知道一个期刊是不是sci？ - 知乎
Master Journal List在这个网站能搜到的就是吗？我在web of knowledge 上能搜到文章的杂志就是sci吗？
网上传的梅麻吕是什么？ - 知乎
知乎，中文互联网高质量的问答社区和创作者聚集的原创内容平台，于 2011 年 1 月正式上线，以「让人们更好的分享知识、经验和见解，找到自己的解答」为品牌使命。知乎凭借认真、专业 …
护照编码规则是什么？ - 知乎
Anna is female, so "F". yymmdd - Passport Expiration Date. The date the passport expires in YYMMDD form. Year is truncated to the least significant two digits. Single digit months or days …
蚊子最喜欢什么血型（ABO血型）？ - 知乎
知乎，中文互联网高质量的问答社区和创作者聚集的原创内容平台，于 2011 年 1 月正式上线，以「让人们更好的分享知识、经验和见解，找到自己的解答」为品牌使命。知乎凭借认真、专业 …
手淫对大脑有影响吗，初中时记忆力贼强，现在感觉变笨了，能恢 …
总之一句话，性生活改善海马，促进记忆力。 再说说人类证据：. 麦吉尔大学的一项研究调查了78名18-29岁的异性恋女性的性生活频率和认知测试得分，发现性生活频率和记忆力指标呈正 …
如何取一个好听的微信号? - 知乎
male;female Mr;Mrs(已婚）;Miss（未婚） 方案十. 那些网红奶茶中的英文单词随便挑. for example： 玫瑰珍珠奶茶 Pearl milk tea,rosetaste 芝士柑橘乌龙 Orange & Oolong tea-milk …
请问有没有女性向的网站？ - 知乎
Hambleton, Alexandra (2016), When Women Watch: The Subversive Potential of Female-Friendly Pornography in JapanPorn Studies, 3:4, 427-442 服部恵典（二〇一八）「日本の女性向けア …
