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In this survey of the achievement of women artists, the author evaluates and presents examples of the painting and sculpture of nearly 100 artists and provides information on many others, delineating the social and cultural context in which their work has been produced. Each chapter opens with an introduction to a period, with particular reference to women's education, status and accepted roles at the time, as well as to the possibilities open - and closed - to the incipient woman artist. A section devoted to each important artist includes a biography and a discussion of the artist's work and its significance to the period.
Book Synopsis Women & Art by : Elsa Honig Fine
Download or read book Women & Art written by Elsa Honig Fine and published by Allanheld & Schram. This book was released on 1978 with total page 268 pages. Available in PDF, EPUB and Kindle. Book excerpt: In this survey of the achievement of women artists, the author evaluates and presents examples of the painting and sculpture of nearly 100 artists and provides information on many others, delineating the social and cultural context in which their work has been produced. Each chapter opens with an introduction to a period, with particular reference to women's education, status and accepted roles at the time, as well as to the possibilities open - and closed - to the incipient woman artist. A section devoted to each important artist includes a biography and a discussion of the artist's work and its significance to the period.
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.
Book Synopsis Women Artists in Paris, 1850-1900 by : Laurence Madeline
Download or read book Women Artists in Paris, 1850-1900 written by Laurence Madeline and published by Yale University Press. This book was released on 2017-01-01 with total page 289 pages. Available in PDF, EPUB and Kindle. Book excerpt: 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.
As women entered the field of cultural production in unprecedented numbers in nineteenth-century France and Britain, they gradually forged a place for themselves, however tenuous, in artistic movements and exhibitions, in academies and salons, and finally in the public imagination. Portraits of the Artist as a Young Woman: Painting and the Novel in France and Britain, 1800-1860 focuses on a decisive period in that process of professional self-invention and maps out the concrete and symbolic roles played by women painters, real and fictional, in the construction of female artistic identity in the aesthetic and the public spheres. Alexandra K. Wettlaufer examines the diverse and complex ways canonical and non-canonical women painters and novelists--including Anne Brontë, Sydney Owenson, Margaret Gillies, Marceline Desbordes-Valmore, George Sand, and Hortense Haudebourt-Lescot--figured and brought forth the radical image of a female subject representing the world. Wettlaufer brings to light a rich and nearly forgotten culture of women's artistic production, allowing us to understand the nineteenth-century in more complex and nuanced ways across the borders of gender, genre, and nation. In her close readings of paintings by women and novels about women painting, she charts the political and cultural resonances of this artistic self-representation, tracing its evolution through themes of "The Studio" (Part I), "Cosmopolitan Visions" (Part II), and "The Portrait" (Part III). By pairing painting and literature in a single study that also considers works from two distinct but closely related cultures, Portraits of the Artist as a Young Woman locates the interpretation of these works in the dialogic context in which they were created and consumed, highlighting aesthetic and political intersections between nineteenth-century British and French art, literature, and feminism that are too often elided by the disciplinary boundaries of scholarship.
Book Synopsis Portraits of the Artist as a Young Woman by : Alexandra Wettlaufer
Download or read book Portraits of the Artist as a Young Woman written by Alexandra Wettlaufer and published by . This book was released on 2011 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: As women entered the field of cultural production in unprecedented numbers in nineteenth-century France and Britain, they gradually forged a place for themselves, however tenuous, in artistic movements and exhibitions, in academies and salons, and finally in the public imagination. Portraits of the Artist as a Young Woman: Painting and the Novel in France and Britain, 1800-1860 focuses on a decisive period in that process of professional self-invention and maps out the concrete and symbolic roles played by women painters, real and fictional, in the construction of female artistic identity in the aesthetic and the public spheres. Alexandra K. Wettlaufer examines the diverse and complex ways canonical and non-canonical women painters and novelists--including Anne Brontë, Sydney Owenson, Margaret Gillies, Marceline Desbordes-Valmore, George Sand, and Hortense Haudebourt-Lescot--figured and brought forth the radical image of a female subject representing the world. Wettlaufer brings to light a rich and nearly forgotten culture of women's artistic production, allowing us to understand the nineteenth-century in more complex and nuanced ways across the borders of gender, genre, and nation. In her close readings of paintings by women and novels about women painting, she charts the political and cultural resonances of this artistic self-representation, tracing its evolution through themes of "The Studio" (Part I), "Cosmopolitan Visions" (Part II), and "The Portrait" (Part III). By pairing painting and literature in a single study that also considers works from two distinct but closely related cultures, Portraits of the Artist as a Young Woman locates the interpretation of these works in the dialogic context in which they were created and consumed, highlighting aesthetic and political intersections between nineteenth-century British and French art, literature, and feminism that are too often elided by the disciplinary boundaries of scholarship.
Book Synopsis Women Artists in Nineteenth-century France and England by : Charlotte Yeldham
Download or read book Women Artists in Nineteenth-century France and England written by Charlotte Yeldham and published by . This book was released on 1984 with total page 558 pages. Available in PDF, EPUB and Kindle. Book excerpt:
This book examines the relationship of class, gender and race to visual culture in early nineteenth-century France. Drawing extensively on contemporary sources, the author looks at the work of women artists, women art critics and writers to demonstrate that many of the assumptions about female invisibility and objectification in bourgeois culture and society need serious reconsideration. The first half of the nineteenth century was a complex and contradictory period in the formation and contestation of bourgeois ideologies of 'the feminine'. Women, though at a serious disadvantage, became visible as artists, critics and patrons and were not merely invisible, domesticated or 'constructed' by forces outside their control. Women artists such as Angelique Mongez painted heroic neo-classical nudes, while many named (and anonymous) women wrote art criticism, articulating their views as female spectators. Doy also examines notions of 'appropriate' work for women in relation to landscape, genre, sculpture and the emergence of Realism. Of particular interest is the discussion of the representation of black women during this period, when Fren
Book Synopsis Women and Visual Culture in Nineteenth-century France, 1800-1852 by : Gen Doy
Download or read book Women and Visual Culture in Nineteenth-century France, 1800-1852 written by Gen Doy and published by Burns & Oates. This book was released on 1998 with total page 296 pages. Available in PDF, EPUB and Kindle. Book excerpt: This book examines the relationship of class, gender and race to visual culture in early nineteenth-century France. Drawing extensively on contemporary sources, the author looks at the work of women artists, women art critics and writers to demonstrate that many of the assumptions about female invisibility and objectification in bourgeois culture and society need serious reconsideration. The first half of the nineteenth century was a complex and contradictory period in the formation and contestation of bourgeois ideologies of 'the feminine'. Women, though at a serious disadvantage, became visible as artists, critics and patrons and were not merely invisible, domesticated or 'constructed' by forces outside their control. Women artists such as Angelique Mongez painted heroic neo-classical nudes, while many named (and anonymous) women wrote art criticism, articulating their views as female spectators. Doy also examines notions of 'appropriate' work for women in relation to landscape, genre, sculpture and the emergence of Realism. Of particular interest is the discussion of the representation of black women during this period, when Fren
Local/Global: Women Artists in the Nineteenth Century is the first book to investigate women artists working in disparate parts of the world. This pioneering collection addresses issues at the heart of feminist and post-colonial studies: the nature of difference, discrepant modernities and cross-cultural encounters. Written in a lively and accessible style, this lavishly illustrated volume offers fresh perspectives on women, art and identity. It is essential reading for anyone interested in the history of women artists and the art of the nineteenth century.
Book Synopsis Local/global by : Deborah Cherry
Download or read book Local/global written by Deborah Cherry and published by Ashgate Publishing, Ltd.. This book was released on 2006 with total page 294 pages. Available in PDF, EPUB and Kindle. Book excerpt: Local/Global: Women Artists in the Nineteenth Century is the first book to investigate women artists working in disparate parts of the world. This pioneering collection addresses issues at the heart of feminist and post-colonial studies: the nature of difference, discrepant modernities and cross-cultural encounters. Written in a lively and accessible style, this lavishly illustrated volume offers fresh perspectives on women, art and identity. It is essential reading for anyone interested in the history of women artists and the art of the nineteenth century.
Surveys the female artist's contributions to pottery, weaving, painting, graphics, sculpture, and photography.
Book Synopsis A History of Women Artists by : Hugo Munsterberg
Download or read book A History of Women Artists written by Hugo Munsterberg and published by Clarkson Potter Publishers. This book was released on 1975 with total page 176 pages. Available in PDF, EPUB and Kindle. Book excerpt: Surveys the female artist's contributions to pottery, weaving, painting, graphics, sculpture, and photography.
In contrast to most cultural histories of imperialism, which analyse Orientalist images of rather than by women, Gendering Orientalism focuses on the contributions of women themselves. Drawing on the little-known work of Henriette Browne, other `lost' women Orientlist artists and the literary works of George Eliot, Reina Lewis challenges masculinist assumptions relating to the stability and homogeneity of the Orientalist gaze. Gendering Orientalism argues that women did not have a straightforward access to an implicitly nale position of western superiority, Their relationship to the shifting terms of race, nation and gender produced positions from which women writers and artists could articulate alternative representations of racial difference. It is this different, and often less degrading, gaze on the Orientalized `Other' that is analysed in this book. By revealing the extent of women's involvement in the popular field of visual Orientalism and highlighting the presence of Orientalist themes in the work of Browne, Eliot and Charlotte Bronte, reina Lewis uncovers women's roles in imperial culture and discourse. Gendering Orientalism will appeal to students, lecturers and researchers in cultural studies, literature, art history, women's studies and anthropology.
Book Synopsis Gendering Orientalism by : Reina Lewis
Download or read book Gendering Orientalism written by Reina Lewis and published by Routledge. This book was released on 2013-06-17 with total page 332 pages. Available in PDF, EPUB and Kindle. Book excerpt: In contrast to most cultural histories of imperialism, which analyse Orientalist images of rather than by women, Gendering Orientalism focuses on the contributions of women themselves. Drawing on the little-known work of Henriette Browne, other `lost' women Orientlist artists and the literary works of George Eliot, Reina Lewis challenges masculinist assumptions relating to the stability and homogeneity of the Orientalist gaze. Gendering Orientalism argues that women did not have a straightforward access to an implicitly nale position of western superiority, Their relationship to the shifting terms of race, nation and gender produced positions from which women writers and artists could articulate alternative representations of racial difference. It is this different, and often less degrading, gaze on the Orientalized `Other' that is analysed in this book. By revealing the extent of women's involvement in the popular field of visual Orientalism and highlighting the presence of Orientalist themes in the work of Browne, Eliot and Charlotte Bronte, reina Lewis uncovers women's roles in imperial culture and discourse. Gendering Orientalism will appeal to students, lecturers and researchers in cultural studies, literature, art history, women's studies and anthropology.
Over the past years, studies have begun not only to identify the factors that impeded the full participation of women artists in French cultural life, such as women’s limited access to professional art education, but also to bring to light the considerable artistic accomplishments of women occluded by historians for over a century. A similar effort at historical revision has been under way for French women writers. Works of fiction that enjoyed many editions in the nineteenth-century receded from our field of vision for almost a century before being rediscovered and reissued during the last decades of the twentieth century. Such efforts have resulted in scholarship that has helped revise the history of both artistic and literary expression in nineteenth-century France. Similarly, many women in nineteenth-century France had their art criticism published both in journal reviews and in book form, often for decades, in a number of the most influential venues of their day. However, it is perplexing that they remain almost totally invisible in histories of French culture. Women Art Critics in Nineteenth-Century France: Vanishing Acts is the first sustained effort to bring these prolific and influential critics out from the shadows. Although each of the chapters in this volume results from an interdisciplinary approach, the fact that they are written by scholars in art history and in literature means that there will be inevitable differences in approach and methodology. Thus, we study the women’s reception of specific artworks and aesthetic movements, discuss intersections of aesthetics and politics in their essays and the literary styles and rhetorical strategies of individual critics, explore the social conditions that allowed or impeded their successes, and suggest reasons for their all but disappearance in the twentieth century. In bringing to light for twenty-first-century readers the “vanished” writings of heretofore unrecognized or underrecognized women art critics, the authors hope to contribute to the ongoing revision of women’s role in cultural history. The multifaceted approaches to word/image studies modeled in this book, and the many avenues for further research it identifies, will inspire scholars in a number of disciplines to continue the work of reinscribing women in the history of cultural life.
Book Synopsis Women Art Critics in Nineteenth-Century France by : Wendelin Guentner
Download or read book Women Art Critics in Nineteenth-Century France written by Wendelin Guentner and published by University of Delaware. This book was released on 2013-03-14 with total page 384 pages. Available in PDF, EPUB and Kindle. Book excerpt: Over the past years, studies have begun not only to identify the factors that impeded the full participation of women artists in French cultural life, such as women’s limited access to professional art education, but also to bring to light the considerable artistic accomplishments of women occluded by historians for over a century. A similar effort at historical revision has been under way for French women writers. Works of fiction that enjoyed many editions in the nineteenth-century receded from our field of vision for almost a century before being rediscovered and reissued during the last decades of the twentieth century. Such efforts have resulted in scholarship that has helped revise the history of both artistic and literary expression in nineteenth-century France. Similarly, many women in nineteenth-century France had their art criticism published both in journal reviews and in book form, often for decades, in a number of the most influential venues of their day. However, it is perplexing that they remain almost totally invisible in histories of French culture. Women Art Critics in Nineteenth-Century France: Vanishing Acts is the first sustained effort to bring these prolific and influential critics out from the shadows. Although each of the chapters in this volume results from an interdisciplinary approach, the fact that they are written by scholars in art history and in literature means that there will be inevitable differences in approach and methodology. Thus, we study the women’s reception of specific artworks and aesthetic movements, discuss intersections of aesthetics and politics in their essays and the literary styles and rhetorical strategies of individual critics, explore the social conditions that allowed or impeded their successes, and suggest reasons for their all but disappearance in the twentieth century. In bringing to light for twenty-first-century readers the “vanished” writings of heretofore unrecognized or underrecognized women art critics, the authors hope to contribute to the ongoing revision of women’s role in cultural history. The multifaceted approaches to word/image studies modeled in this book, and the many avenues for further research it identifies, will inspire scholars in a number of disciplines to continue the work of reinscribing women in the history of cultural life.
When women were admitted to the Royal Academy Schools in 1860, female art students gained a foothold in the most conservative art institution in England. The Royal Female College of Art, the South Kensington Schools and the Slade School of Fine Art also produced increasing numbers of women artists. Their entry into a male-dominated art world altered the perspective of other artists and the public. They came from disparate levels of society--Princess Louise, the fourth daughter of Queen Victoria, studied sculpture at the National Art Training School--yet they all shared ambition, talent and courage. Analyzing their education and careers, this book argues that the women who attended the art schools during the 1860s and 1870s--including Kate Greenaway, Elizabeth Butler, Helen Allingham, Evelyn De Morgan and Henrietta Rae--produced work that would accommodate yet subtly challenge the orthodoxies of the fine art establishment. Without their contributions, Victorian art would be not simply the poorer but hardly recognizable to us today.
Book Synopsis The Making of Women Artists in Victorian England by : Jo Devereux
Download or read book The Making of Women Artists in Victorian England written by Jo Devereux and published by McFarland. This book was released on 2016-07-27 with total page 265 pages. Available in PDF, EPUB and Kindle. Book excerpt: When women were admitted to the Royal Academy Schools in 1860, female art students gained a foothold in the most conservative art institution in England. The Royal Female College of Art, the South Kensington Schools and the Slade School of Fine Art also produced increasing numbers of women artists. Their entry into a male-dominated art world altered the perspective of other artists and the public. They came from disparate levels of society--Princess Louise, the fourth daughter of Queen Victoria, studied sculpture at the National Art Training School--yet they all shared ambition, talent and courage. Analyzing their education and careers, this book argues that the women who attended the art schools during the 1860s and 1870s--including Kate Greenaway, Elizabeth Butler, Helen Allingham, Evelyn De Morgan and Henrietta Rae--produced work that would accommodate yet subtly challenge the orthodoxies of the fine art establishment. Without their contributions, Victorian art would be not simply the poorer but hardly recognizable to us today.
