An interdisciplinary approach to the history of women and Renaissance and Baroque Italy from the 14th to the 17th centuries, considering women as the subjects, creators, patrons and viewers of art.
The Union of Women Painters and Sculptors was founded in Paris in 1881 to represent the interests of women artists and to facilitate the exhibition of their work. This lively and informative book traces the history of the first fifteen years of the organization and places it in the contexts of the Paris art world and the development of feminism in the late nineteenth century.Tamar Garb explores how the Union campaigned to have women artists written about in the press and admitted to the Salon jury and into the prestigious Ecole des Beaux-Arts and describes how the organization's leaders took their campaigns into the French parliament itself. Although the women of the Union were often quite conservative politically, socially, and stylistically, says Garb, they believed that women had a special gift that would enhance France's cultural reputation and maintain the uplifting moral-cultural position that seemed in jeopardy at the turn of the century. Focusing on the developments that made the prominence of the organization possible, Garb discusses the growth of the women's movement, educational reforms, institutional changes in the art world, and critical debates and contemporary scientific thought. She examines contemporary perceptions of both art and femininity, showing how the understanding of one affected the image of the other. This book reverses conventional accounts of late nineteenth-century French art, offering a new picture of the Paris art world from the point of view of a group of women who were marginalized by its dominant institutions.
An exploration of women's contributions to visual culture in major urban centres between the wars (1918-1939), this collection sheds new light on women's relationships with the processes of modernism and modernization. Women's work in a variety of mediums is explored, including design, print, illustration, murals, poster art, and costume design, as well as more conventional forms of painting and sculpture. International in scope, the volume discusses artists and exhibitions from the United Kingdom, Greece, Mexico, France, Ireland and the United States. The contributors place a strong emphasis on archival research yet each addresses contemporary concerns in feminist art history. By focusing on a very specific time period, the essays place a central concern on the history and theory of art and gender and are united by their coherent focus on women's role in the agency and mediation of artistic production in the interwar period.
Kathleen McCarthy here presents the first book-length treatment of the vital role middle- and upper-class women played in the development of American museums in the century after 1830. By promoting undervalued areas of artistic endeavor, from folk art to the avant-garde, such prominent individuals as Isabella Stewart Gardner, Gertrude Vanderbilt Whitney, and Abby Aldrich Rockefeller were able to launch national feminist reform movements, forge extensive nonprofit marketing systems, and feminize new occupations.
Yes, We Are Still Dancing is a collaboration by three women (a poet and two painters) who have distilled their friendships and their six decades of Southwest living to create this book. Each is a wife, mother, grandmother, and artist. In its description of the ideal woman, the Book of Proverbs might be speaking of them in these words: Strength and dignity are her clothing, and she smiles at the future. She opens her mouth in wisdom, and the teaching of kindness is on her tongue.
The wisdom of these women springs from a long sojourn in the harsh beauty of the desert; here they have found both crucible and chalice. Sun on sand, wind-tossed mesquite, sharp mountain peaks pierced by endless sky, sudden fierce thunderstorms cutting new terrain. All create a backdrop for the imagination to take flight. This flight, through painting and poetry, shares the richness of their lives and gives a voice to all generational women.