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Books on the topic 'Indian women painters'

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Author: Grafiati

Published: 26 July 2024

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1

Desert paintbox. New York: Avalon Books, 1999.

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2

Monterroso, Diego Vásquez. Pintura y empoderamiento en mujeres y pueblos indígenas. Guatemala: Magna Terra Editores, 2011.

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3

Major, Clarence. Painted turtle: Woman with guitar. Los Angeles: Sun & Moon Press, 1988.

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4

Major, Clarence. Painted Turtle: Woman with guitar : a novel. Los Angeles: Sun & Moon Press, 1996.

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5

Major, Clarence. Painted Turtle: Woman with guitar : a novel. Los Angeles: Sun & Moon Press, 1988.

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6

Painted prayers: Women's art in village India. New York: Rizzoli, 1994.

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7

Huyler, Stephen P. Painted prayers: Women's art in village India. London: Thames and Hudson, 1994.

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8

Vreeland, Susan. The forest lover. New York: Penguin Books, 2004.

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9

Imre, Lazar, and Indira Gandhi National Centre for the Arts, eds. Elizabeth Brunner: Her life, her words. New Delhi: Indira Gandhi National Centre for the Arts, 2011.

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10

Vreeland, Susan. The forest lover. Waterville, Me: Thorndike Press, 2004.

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11

Undertow: A novel. Corvallis, Or: Calyx Books, 2000.

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12

The forest lover. Toronto: Viking Canada, 2003.

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13

The Forest Lover: A Novel. New York, NY: Penguin Canada, 2005.

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14

The forest lover. New York: Viking, 2004.

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15

Bethlenfalvy, Géza. A misztikus India: Két magyar festőnő művészetén keresztül. Budapest: Hopp Ferenc Kelet-Ázsiai Művészeti Múzeum, 2007.

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16

Bethlenfalvy, Géza. A misztikus India: Két magyar festőnő művészetén keresztül. Budapest: Hopp Ferenc Kelet-Ázsiai Művészeti Múzeum, 2007.

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17

Copyright Paperback Collection (Library of Congress), ed. Racing Moon. New York, N.Y: New American Library, 2003.

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18

Joanne, Stuhr, and Gamboa Carrera Eduardo, eds. Talking birds, plumed serpents and painted women: The ceramics of Casas Grandes = Pajaros hablando, serpientes emplumadas y mujeres pintadas : la ceramica de Casas grandes. Tucson, AZ: Tucson Museum of Art ; Distributed by University of Arizona Press, 2002.

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19

Edwards, Cassie. Racing moon. Waterville, ME: Thorndike Press, 2003.

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20

Desert Paintbox. Montlake Romance, 2014.

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21

Desert Paintbox (Thorndike Large Print Candlelight Series). Thorndike Press, 2008.

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22

Following My Paint Brush. Tara Books, 2011.

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23

Major, Clarence. Painted Turtle: Woman with Guitar. University of New Mexico Press, 2015.

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24

Major, Clarence. Painted Turtle: Woman with Guitar. Sun and Moon Press, 1996.

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25

Major, Clarence. Painted Turtle: Woman With Guitar (New American Fiction Series, No 15). Sun and Moon Press, 1987.

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26

Footpaths in the Painted City: An Indian Journey. Atlantic Books, 2008.

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27

Forest Lover: A Novel. Penguin Publishing Group, 2004.

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28

Vreeland, Susan. The Forest Lover. Penguin Audio, 2004.

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29

Vreeland, Susan. The Forest Lover. Viking Books, 2001.

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30

Eagle, Kathleen. Mystic Horseman: A Sequel to Ride a Painted Pony. Bell Bridge Books, 2016.

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31

The Muse. Ecco, 2016.

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32

The Muse. PICADOR, 2016.

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33

Burton, Jessie. Muse: A Novel. HarperCollins Publishers, 2016.

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34

The Muse: A Novel. HarperLuxe, 2016.

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35

Burton, Jessie. The Muse: A Novel. Ecco, 2017.

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36

Burton, Jessie. Muse. PICADOR, 2016.

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37

Burton, Jessie. The Muse: A Novel. HarperCollins Publishers and Blackstone Audio, 2016.

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38

Burton, Jessie. The Muse. Bolinda/Audible audio, 2016.

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39

Carrington, Kerry, Maximo Sozzo, Natacha Guala, and Maria Victoria Puyol. How Women’s Police Stations Prevent Gender Violence. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/book.eprints.203953.

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Abstract:

Women’s Police Stations are unique innovations that emerged in Latin America in the second half of the 20th century to address violence against women. Variations of the model have since spread across other parts of the global south—in Bolivia, Ecuador, Nicaragua, Peru, and Uruguay, and more recently in Sierra Leone, India, Ghana, Kosovo, Liberia, the Philippines, South Africa and Uganda (Jubb et al. 2010). Like traditional policing models they offer a 365-day emergency response service, employ uniformed armed officers, have the authority of the state, and the same powers. Unlike traditional policing models, officers work from a gender perspective and have additional specialist training in responding to gender violence. CMFs look nothing like a police station. Most are brightly painted converted houses with welcoming reception rooms designed to receive victims, not offenders and do not have holding cells. They employ multi-disciplinary teams of police, social workers, lawyers, psychologists and counsellors who work collaboratively with other organisations (such as local boards, local government, religious, educational, and community organisations). While CMFs provide tertiary and secondary interventions in response to discrete incidents of domestic and sexual violence, more uniquely they have a legislated mandate to engage in primary prevention at least once a month within their own communities (Carrington et al 2020).

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40

La Musa. Salamandra, 2017.

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