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A wave of new scholarship floods her text....Chadwick opens up whole new ways of thinking about familiar images.--Women's Art Journal
The definitive work on the subject, mapping a complete history of women artists from the Middle Ages and the Renaissance to today This acclaimed study challenges the assumption that great women artists are exceptions to the rule who “transcended” their sex to produce major works of art. While acknowledging the many women whose contributions to visual culture have often been neglected, Whitney Chadwick’s survey reexamines the works themselves and the ways in which they have been perceived as marginal, often in direct reference to gender. This revised edition features a new final chapter that charts the evolution of feminist art history and pedagogy since the 1970s. It is brought up to date with discussions of some of the most significant women artists to have emerged in recent years, including Wangechi Mutu, Jenny Saville, and Teresa Margolles.
A new edition of the groundbreaking book by Whitney Chadwick maps the complete history of women artists from the Middle Ages and the Renaissance to today. Art historian Whitney Chadwick’s acclaimed bestselling study challenges the assumption that great women artists are exceptions to the rule who “transcended” their gender to produce major works of art. While introducing some of the many women since the Middle Ages whose contributions to visual culture have often been neglected, Chadwick’s survey reexamines the works themselves and the ways in which they have been perceived as marginal, often in direct reference to gender. In her discussion of feminism and its influence on such a reappraisal, she also addresses the closely related issues of ethnicity, class, and sexuality. This revised edition features a completely redesigned interior and full-color illustrations. With a new preface and epilogue from this emerging authority on the history of women artists, curator and professor Flavia Frigeri, this revised edition continues the project of charting the evolution of feminist art history and pedagogy, revealing how artists have responded to new strategies of feminism for the current moment.
Exceptional because of its size, this unique exhibition will bring together nearly a hundred works, from the 1980s to the present day. Two sculptures will welcome visitors in the outer courtyards of the Monnaie de Paris and the exhibition will be spread over two levels, more than 1000m2 - especially in the heart of the historic lounges on the Seine.0The course will lead through the major themes of the artist's work, among which the human body, the female figures and the symbiosis with nature compose recurring motifs. The works presented at the Monnaie de Paris will reflect the great diversity of the practice of Kiki Smith, which explores many mediums: bronze, plaster, glass, porcelain, tapestry, paper, or wax.0Kiki Smith's art is symbolically nourished by memories of her childhood - from Grimm's and Perrault's tales to the modeling work done for her father, sculptor Tony Smith. All of her work is marked by her fascination with the human body, which she first represents in a fragmented way, the skin appearing as a fragile border with the world.00Exhibition: Monnaie de Paris, France (18.10.2019-02.02.2020).
The first of three volumes in a series on women, the arts, and society, this collection of essays examines the full range of political consequences inherent in women's art. Bringing together important new perspectives on music, the visual arts, theatre, film, television, literature, philosophy, and psychology, the contributors to this volume present a cohesive revisionist look at the arts. The first two essays discuss feminist aesthetics, giving several models for new critical readings of the arts. Suffrage art and an important nineteenth-century feminist utopian novel are examined from the genres they revise, as do essays focusing on a long-running television series and a social activist actress. Childhood and womanhood are explicitly compared in one essay. Breastfeeding and housewifery in the visual arts and music in American women's organizations are the subjects of three other essays. Finally, political implications within the fiction of Jane Austen, Fanny Fern, Eudora Welty, and Mary Lee Settie offer divergent historical perspectives and applications of artistry of women.
Women, Art and Money in England establishes the importance of women artists' commercial dealings to their professional identities and reputations in the late nineteenth and early twentieth centuries. Grounded in economic, social and art history, the book draws on and synthesises data from a broad range of documentary and archival sources to present a comprehensive history of women artists' professional status and business relationships within the complex and changing art market of late-Victorian England. By providing new insights into the routines and incomes of women artists, and the spaces where they created, exhibited and sold their art, this book challenges established ideas about what women had to do to be considered 'professional' artists. More important than a Royal Academy education or membership to exhibiting societies was a woman's ability to sell her work. This meant that women had strong incentive to paint in saleable, popular and 'middlebrow' genres, which reinforced prejudices towards women's 'naturally' inferior artistic ability prejudices that continued far into the twentieth century. From shining a light on the difficult to trace pecuniary arrangements of little researched artists like Ethel Mortlock to offering new and direct comparisons between the incomes earned by male and female artists, and the genres, commissions and exhibitions that earned women the most money, Women, Art and Money is a timely contribution to the history of women's working lives that is relevant to a number of scholarly disciplines.
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.
"Women, Art, and Power --seven landmark essays on women artists and women in art history--brings together the work of almost twenty years of scholarship and speculation."
I, Claudia: Women in Ancient Rome—an exhibition and catalog produced by the Yale University Art Gallery—provided the first comprehensive study of the lives of Roman women as revealed in Roman art. Responding to the popular success of the exhibit and catalog, Diana E. E. Kleiner and Susan B. Matheson here gather ten additional essays by specialists in art history, history, and papyrology to offer further reflections on women in Roman society based on the material evidence provided by art, archaeology, and ancient literary sources. In addition to the editors, the contributors are Cornelius C. Vermeule, Rolf Winkes, Mary T. Boatwright, Susan Wood, Eve D'Ambra, Andrew Oliver, Diana Delia, and Ann Ellis Hanson. Their essays, illustrated with black-and-white photos of the art under discussion, treat such themes as mothers and sons, marriage and widowhood, aging, adornment, imperial portraiture, and patronage.
The second of three volumes in a series on women, the arts, and society, this collection of essays presents a range of definitions of the female gaze and considerations of how gender and sexuality influence artistry and criticism. Bringing together important new perspectives on music, the visual arts, theater, film, literature, television, philosophy, and psychology, these essays taken together represent a cohesive revisionist look at the arts. Bisexuality and the female grotesque are subjects of essays devoted to how l'ecriture feminine presents ways of seeing that challenge long-held assumptions about the artistic vision. Three essays discussing cinema look variously at sexuality in the earlier films of Susan Seidelman and in The Unbearable Lightness of Being as well as female madness as it is constructed in mainstream film. Subversions within the eighteenth-century romance novel, the voice of woman and Ovid's Echo and Narcissus, the quests for personal freedom by three Old French heroines - these are subjects of three essays providing historical context to the issues raised in this volume. The poetry of Adrienne Rich, Elizabeth Barrett Browning, Denise Levertov, Tess Gallagher, and Julia de Burgos is examined for images of women, sexuality, and perspective that each author creates.