Relevant bibliographies by topics / Women artists Australia History

Academic literature on the topic 'Women artists Australia History'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Women artists Australia History"

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Kevin, Catherine. "So Fine. Contemporary Australian Women Artists Make History." History Australia 16, no. 1 (January 2, 2019): 212–14. http://dx.doi.org/10.1080/14490854.2019.1582410.

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Szabó, Marianna, Mitchell L. Cunningham, Mark Seton, and Ian Maxwell. "Eating Disorder Symptoms in Australian Actors and Performing Artists." Medical Problems of Performing Artists 34, no. 4 (December 1, 2019): 171–78. http://dx.doi.org/10.21091/mppa.2019.4028.

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AIMS: Anecdotal evidence suggests that actors and other performing artists are under great pressure to conform to idealized appearances and body types. The pursuit of such appearances may trigger eating disorder symptoms, such as unhealthy attitudes towards body weight and shape. Thus far, there has been no dedicated empirical study of the prevalence of such problems in Australian actors and performing artists specifically. Therefore, this study sought to examine eating disorder symptomatology in Australian actors and performing artists. METHODS: An online survey was distributed to the Equity Foundation membership representing Australian actors and performing artists, of whom 573 individuals completed the survey. This survey gauged demographic information and eating disorder symptoms using the psychometrically validated Eating Disorder Diagnostic Scale (EDDS). RESULTS: A large proportion of actors reported unhealthy attitudes such as ‘feeling fat’ even though they are of normal weight or underweight; reported an extreme fear of gaining weight; and evaluated their self-worth based on their body weight and shape, particularly women. Results also showed that 2.5% of women in the study met the diagnostic criteria for anorexia nervosa and 13% met diagnostic criteria for bulimia nervosa based on their scores on the EDDS. DISCUSSION: Performers may be a particularly at-risk population for the development and/or maintenance for a range of eating disorders.
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Szabó, Marianna, Ian Maxwell, Mitchell L. Cunningham, and Mark Seton. "Alcohol Use by Australian Actors and Performing Artists: A Preliminary Examination from the Australian Actors’ Wellbeing Study." Medical Problems of Performing Artists 35, no. 2 (June 1, 2020): 73–80. http://dx.doi.org/10.21091/mppa.2020.2012.

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BACKGROUND: Anecdotal and media reports suggest that actors and performing artists are vulnerable to high levels of alcohol use. However, little empirical research is available to document the extent and correlates of alcohol use amongst these artists, particularly in an Australian context. OBJECTIVE: This study investigated alcohol use in a sample of Australian actors and other performing artists and its associations with sociodemographic background, psychological wellbeing, and work stress. METHODS: An online survey was distributed to the Equity Foundation membership representing Australian actors and performing artists. The survey included questions on sociodemographic and occupational background and psychological wellbeing (DASS-21), as well as the AUDIT questionnaire to assess self-reported alcohol consumption. A sample of 620 performing artists responded to the survey, a large majority of whom were actors. RESULTS: Australian actors and performing artists appear to consume alcohol at levels that are higher than those found in the general Australian population. About 40% of men and 31% of women were classified as drinking alcohol at potentially harmful or hazardous levels. Alcohol use was not strongly associated with age, education, or income, but it had a relationship with poorer psychological wellbeing. About 50% of respondents reported that their alcohol drinking was related to work stress as a performer. This perception was more pronounced amongst those performers who reported drinking at harmful levels. CONCLUSIONS: Australian actors and performing artists appear to be an at-risk population for harmful or hazardous alcohol use.
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Downey, Georgina. "Armchair tourists: Two ‘furniture portraits’ by expatriate South Australian women artists." Journal of Australian Studies 27, no. 80 (January 2003): 87–98. http://dx.doi.org/10.1080/14443050309387915.

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Casteras, Susan P., Jan Marsh, Pamela Gerrish Nunn, and National Gallery of Art. "Pre-Raphaelite Women Artists." Art Bulletin 80, no. 4 (December 1998): 750. http://dx.doi.org/10.2307/3051324.

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Weatherford, K. J. "Courageous Souls: Kate Chopin's Women Artists." American Studies in Scandinavia 26, no. 2 (September 1, 1994): 96–112. http://dx.doi.org/10.22439/asca.v26i2.1457.

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Klein, Bettina, and Patricia Fister. "Japanese Women Artists, 1600-1900." Monumenta Nipponica 44, no. 1 (1989): 128. http://dx.doi.org/10.2307/2384710.

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Mettler, Liselotte. "Women Surgeons And Women Artists “History, Power, Challenges And Opportunities”." Reproductive Medicine, Gynecology & Obstetrics 5, no. 4 (November 6, 2020): 1–6. http://dx.doi.org/10.24966/rmgo-2574/100062.

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This article was written after “women’s surgeon lunch meeting” was organized by European Society of Gynecological Endoscopy (ESGE) during their annual conference in August 2019 at Thessaloniki, Greece.
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Matynia, Elzbieta. "Poland Provoked: How Women Artists En-Gender Democracy." Current History 105, no. 689 (March 1, 2006): 132–38. http://dx.doi.org/10.1525/curh.2006.105.689.132.

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It is women artists who, by entering into an open debate with central elements of the Polish cultural tradition, pose the main questions concerning the nature of democratic citizenship, toleration, and pluralism.
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Laura R. Prieto. "Women Artists and the Power of Modernism." Journal of Women's History 21, no. 4 (2009): 185–95. http://dx.doi.org/10.1353/jowh.0.0122.

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Dissertations / Theses on the topic "Women artists Australia History"

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Baguley, Margaret Mary. "The deconstruction of domestic space." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35896/1/35896_Baguley_1998.pdf.

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Introduction: I find myself in the pantry, cleaning shelves, in the laundry, water slopping around my elbows, at the washing line, pegging clothes. I watch myself clean shelves, wash, peg clothes. These are the rhythms that comfort. That postpone. (The Painted Woman, Sue Woolfe, p. 170) As a marginalised group in Australian art history and society, women artists possess a valuable and vital craft tradition which inevitably influences all aspects of their arts practice. Installation art, which has its origins in the craft tradition, has only been acknowledged in the art mainstream this decade; yet evolved in the home of the 1950s. The social policies of this era are well documented for their insistence on women remaining in the home in order to achieve personal success in their lives. This cultural oppressiveness paradoxically resulted in a revolution in women's art in the environment to which they were confined. Women's creative energies were diverted and sublimated into the home, resulting in aesthetic statements of individuality in home decoration. As an art movement, women's installation art in the home provided the similar structures to formally recognised art schools in the mainstream, and include: informal networks and training (schools); matriarchs within the community who were knowledgable in craft traditions and techniques and shared these with younger women (mentorships); visiting other homes and providing constructive advice (critiques); and women's magazines and glory boxes (art journals and sketch books). A re-examination of this vital period in women's art history will reveal the social policies and cultural influences which insidiously undermined women's art, which was based on craft traditions.
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Dalgleish, S. H. R. "'Utopia' redefined : Aboriginal women artists in the Central Desert of Australia." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365051.

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Deepwell, Catherine Naomi. "Women artists in Britain between the two world wars." Thesis, Birkbeck (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282800.

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Medema, Kara N. "Chiyo-ni and Yukinobu: History and Recognition of Japanese Women Artists." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3914.

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Fukuda Chiyo-ni and Kiyohara Yukinobu were 17th-18th century (Edo period) Japanese women artists well known during their lifetime but are relatively unknown today. This thesis establishes their contributions and recognition during their lifespans. Further, it examines the precedence for professional women artists’ recognition within Japanese art history. Then, it proceeds to explain the complexities of Meiji-era changes to art history and aesthetics heavily influenced by European and American (Western) traditions. Using aesthetic and art historical analysis of artworks, this thesis establishes a pattern of art canon formation that favored specific styles of art/artists while excluding others in ways sometimes inauthentic to Japanese values. Japan has certainly had periods of female suppression and this research illustrates how European models and traditions of art further shaped the perception of Japanese women artists and the dearth of female representation in galleries and art historical accounts.
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Tolley, Rebecca. "Review of Life Stories of Women Artists 1550-1800." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/5654.

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Photiou, Maria. "Rethinking the history of Cypriot art : Greek Cypriot women artists in Cyprus." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/12139.

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This thesis brings together women artists art practices situated in five key periods of Cyprus socio-political history: British colonial rule, anti-colonial struggle, 1960 Independent, the 1974 Turkish invasion and its aftermath of a divided Cyprus, which remains the case in the present day. Such study has not been done before, and for this, the current thesis aims to provide a critical knowledge of the richness and diversity of Greek Cypriot women's art practices that have frequently been marginalised and rarely been written about or researched. As the title suggests, this thesis engages in rethinking the history of Cypriot art by focusing on the art produced by women artists in Cyprus. By focusing primarily on the work of Greek Cypriot women artists I am interested to explore the conditions within which, through which and against which, women negotiate political processes in Cyprus while making art that is predominantly engaged in specific politicised patterns. The meeting point for the artists is their awareness of being women artists living in a colonised, patriarchal country under Greek Cypriot nationality. While these artists assumed very different positions in their experience of the several phases of Cyprus history, they all negotiate in their practice territorial boundaries and specific identity patterns. Significant to my thesis are a number of questions that I discuss in relation to women artists professional careers and private lives: nationalism, militarism, patriarchy, male dominance, social and cultural codes, ethnic conflict, trauma, imposed displacement through war, memory and women's roles, especially as mothers, in modern and contemporary Cyprus. Thus, I address questions of how women artists in Cyprus experienced such phenomena and how these phenomena affected both their lives and their art practices.
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Malone, Kelsey Frady. "Sisterhood as Strategy| The Collaborations of American Women Artists in the Gilded Age." Thesis, University of Missouri - Columbia, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13877154.

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This dissertation employs four case studies—illustrator Alice Barber Stephens in Philadelphia; Louisville-born sculptor Enid Yandell; photographer Frances Benjamin Johnston in Washington, D.C.; and the Newcomb College Pottery in New Orleans—to show how individual women artists from a variety of media utilized collaborative strategies to advance their professional careers. These strategies included mentoring, teaching, and sharing commissions with one another; establishing art organizations; sharing studio and living spaces; organizing and participating in all-female art exhibitions; and starting businesses to market their work. At a historical moment when expectations and ideas towards gender roles and feminine performance were shifting, these women artists negotiated these changes as well as those of a fine art world that was redefining itself in an increasingly consumer-based culture that challenged traditional definitions of the “professional” artist.

“Sisterhood as Strategy” intersects with important work in the fields of American History, Women’s and Gender Studies, and Art History. It bridges a gap between broad, cultural histories of women’s artistic production and more focused scholarly studies on women’s labor and organized womanhood. Indeed, this dissertation brings more specificity to these areas by focusing on particular artists who were highly acclaimed during their lifetime but who have since fallen through the cracks of the art historical canon and by attending to the wide array of genres and media that all artists, men and women, worked with during the era: illustration, photography, public sculpture, and the decorative arts. By analyzing the art produced as a result of collaboration; the artists’ letters, photographs, and personal papers; and contemporary mass media, particularly art journals and popular ladies’ magazines, this dissertation recovers the voices of artists who served as professional role models and creates a far more diverse picture of the people and art forms that constituted early modern American visual culture.

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Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.

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Johnson, Julie Anne. "Conflicted Selves: Women, Art, & Paris 1880-1914." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1591.

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Tolley, Rebecca. "Review of A Studio of Her Own: Women Artists in Boston 1870-1940." Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etsu-works/5705.

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Books on the topic "Women artists Australia History"

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Eickelkamp, Ute. "Don't ask for stories--": The women from Ernabella and their art = "Tjukurpa tjapintja wiya--" : minyma anapalanya ngurara tjutangku warka palyantja craftroomangka. Canberra: Aboriginal Studies Press, 1999.

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Women of flowers: Botanical art in Australia from the 1830s to the 1960s. Canberra: National Library of Australia, 2009.

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1963-, Dever Maryanne, ed. Wallflowers and witches: Women and culture in Australia, 1910-1945. St. Lucia, Qld., Australia: University of Queensland Press, 1994.

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Ambrus, Caroline. Australian women artists: First fleet to 1945 : history, hearsay and her say. Woden, A.C.T: Irrepressible Press, 1992.

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Sight lines: Women's art and feminist perspectives in Australia. Tortola, BVI: Craftsman House in association with Gordon and Breach, 1992.

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Banksia lady: Celia Rosser, botanical artist. Clayton, Vic: Monash University Pub., 2015.

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Peers, Juliet. More than just gumtrees: A personal, social, and artistic history of the Melbourne Society of Women Painters and Sculptors. Melbourne: The Society in association with Dawn Revival Press, 1993.

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Queensland Art Gallery. Gallery of Modern Art, ed. Contemporary Australia: Women. South Brisbane, Qld: Queensland Art Gallery, 2012.

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A dictionary of women artists of Australia. Roseville East, NSW, Australia: Craftsman House, 1991.

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Ngala, Inkamala Clara, ed. Hermannsburg potters: Aranda artists of central Australia. St. Leonards, Sydney, N.S.W: Craftsman House, 2000.

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Book chapters on the topic "Women artists Australia History"

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Kildea, Sue, and M. Wardaguga. "Childbirth in Australia: Aboriginal and Torres Strait Islander Women." In Science Across Cultures: the History of Non-Western Science, 275–86. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2599-9_26.

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Kalita, Pooja. "‘Art’ of Ethnography: Feminist Ethnography and Women Artists in South Asia." In Intersections of Contemporary Art, Anthropology and Art History in South Asia, 93–114. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05852-4_4.

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Singley, Blake. "Not Such a ‘Bad Speculation’: Women, Cookbooks and Entrepreneurship in Late-Nineteenth-Century Australia." In Palgrave Studies in Economic History, 383–404. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33412-3_16.

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Birrell, Carol Lee. "Eyes Wide Shut: A History of Blindness Towards the Feminine in Outdoor Education in Australia." In The Palgrave International Handbook of Women and Outdoor Learning, 473–88. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-53550-0_31.

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Wong, Wendy Siuyi. "On Transnationality: A History of Negotiations of Self-Identity in Selected Works by Women Comic Artists in Hong Kong." In Transnationalism in East and Southeast Asian Comics Art, 25–51. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95243-3_2.

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Wilson, Emma. "Women writers, artists, and filmmakers." In The Cambridge History of French Literature, 680–88. Cambridge University Press, 2011. http://dx.doi.org/10.1017/chol9780521897860.077.

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Simpson, Jane. "Language studies by women in Australia." In Women in the History of Linguistics, 367–400. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198754954.003.0015.

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Few women contributed to documenting Indigenous Australian languages in the nineteenth century. Brief accounts are given of six settler women who did so: Eliza Dunlop (1796–1880), Christina Smith (‘Mrs James Smith’; 1809?–1893), Harriott Barlow (1835–1929), Catherine Stow (‘K. Langloh Parker’; 1856–1940), Mary Martha Everitt (1854–1937), and Daisy May Bates (1859–1951). Their contributions are discussed against the background of forty-four other settler women who contributed to language study, translation, ethnography, or language teaching. Reasons for the relative absence of women in language documentation included family demands, child raising, and lack of education, money, and patrons, as well as alternative causes such as women’s rights. Recording Indigenous languages required metalinguistic analytic skills that were hard to learn in societies that lacked free education. Extra obstacles for publication were remoteness from European centres of research, and absence of colleagues with similar interests.
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Comini, Alessandra. "Gender or Genius? The Women Artists of German Expressionism." In Feminism and Art History, 271–91. Routledge, 2018. http://dx.doi.org/10.4324/9780429500534-15.

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Danielson, Virginia. "16. Artists and Entrepreneurs: Female Singers in Cairo during the 1920s." In Women in Middle Eastern History, 292–309. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300157468-018.

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"Pliny the Elder’s Natural History (First Century A.D.): Excerpt on Women Painters." In Life stories of women artists, 1550–1800, 23–27. Routledge, 2020. http://dx.doi.org/10.4324/9781315091815-3.

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Conference papers on the topic "Women artists Australia History"

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Burns, Karen, and Harriet Edquist. "Women, Media, Design, and Material Culture in Australia, 1870-1920." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4017pbe75.

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Over the last forty years feminist historians have commented on the under-representation or marginalisation of women thinkers and makers in design, craft, and material culture. (Kirkham and Attfield, 1989; Attfield, 2000; Howard, 2000: Buckley, 1986; Buckley, 2020:). In response particular strategies have been developed to write women back into history. These methods expand the sites, objects and voices engaged in thinking about making and the space of the everyday world. The problem, however, is even more acute in Australia where we lack secondary histories of many design disciplines. With the notable exception of Julie Willis and Bronwyn Hanna (2001) or Burns and Edquist (1988) we have very few overview histories. This paper will examine women’s contribution to design thinking and making in Australia as a form of cultural history. It will explore the methods and challenges in developing a chronological and thematic history of women’s design making practice and design thinking in Australia from 1870 – 1920 where the subjects are not only designers but also journalists, novelists, exhibiters, and correspondents. We are interested in using media (exhibitions and print culture) as a prism: to examine how and where women spoke to design and making, what topics they addressed, and the ideas they formed to articulate the nexus between women, making and place.
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Andreopoulou, Areti, and Visda Goudarzi. "Reflections on the Representation of Women in the International Conferences on Auditory Displays (ICAD)." In The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.031.

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This paper investigates the representation of women researchers and artists in the conferences of the International Community for Auditory Display (ICAD). In the absence of an organized membership mechanism and/or publicly available records of conference attendees, this topic was approached through the study of publication and authorship patterns of female researchers in ICAD conferences. Temporal analysis showed that, even though there has been an increase in the number of publications co-authored by female researchers, the annual percentage of female authors remained in relatively unchanged levels (mean = 17.9%) throughout the history of ICAD conferences. This level, even though low, remains within the reported percentages of female representation in other communities with related disciplines, such as the International Computer Music Association (ICMA) and the Conferences of the International Society for Music Information Retrieval (ISMIR), and significantly higher than in more audio engineering-related communities, such as the Audio Engineering Society (AES).
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Marfella, Giorgio. "Seeds of Concrete Progress: Grain Elevators and Technology Transfer between America and Australia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4000pi5hk.

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Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored. In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking with their vertical presence the landscapes of many rural towns in New South Wales, Queensland, Victoria, and Western Australia. The Australian reception of this industrial building type of American origin reflects the modern nation-building aspirations of State Governments of the early 1900s. The development of fast-tracked, self-climbing methods for constructing concrete silos, a technology also imported from America, illustrates the critical role of concrete in that effort of nation-building. The rural and urban proliferation of concrete silos in Australia also helped establish a confident local concrete industry that began thriving with automatic systems of movable formwork, mastering and ultimately transferring these construction methods to multi-storey buildings after WWII. Although there is an evident link between grain elevators and the historiographical propaganda of heroic modernism, that nexus should not induce to interpret old concrete silos as a vestige of modern aesthetics. As catalysts of technical and economic development in Australia, Australian wheat silos also bear important significance due to the international technology transfer and local repercussions of their fast-tracked concrete construction methods.
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Sitorukmi, Galuh, Bhisma Murti, and Yulia Lanti Retno Dewi. "Effect of Family History with Diabetes Mellitus on the Risk of Gestational Diabetes Mellitus: A Meta-Analysis." In The 7th International Conference on Public Health 2020. Masters Program in Public Health, Universitas Sebelas Maret, 2020. http://dx.doi.org/10.26911/the7thicph.05.55.

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Background: Gestational diabetes mellitus (GDM) is a serious pregnancy complication, in which women without previously diagnosed diabetes develop chronic hyperglycemia during gestation. Studies have revealed that the family history of diabetes is an important risk factor for the gestational diabetes mellitus. The purpose of this study was to investigate effect of family history with diabetes mellitus on the risk of gestational diabetes mellitus. Subjects and Method: This was meta-analysis and systematic review. The study was conducted by collecting published articles from Pubmed, Google Scholar, Scopus, Science Direct, and Springer Link electronic databases, from year 2010 to 2020. Keywords used risk factor, gestational diabetes mellitus, family history, and cross-sectional. The inclusion criteria were full text, using English language, using cross-sectional study design, and reporting adjusted odds ratio. The study population was pregnant women. Intervention was family history of diabetes mellitus with comparison no family history of diabetes mellitus. The study outcome was gestational diabetes mellitus. The collected articles were selected by PRISMA flow chart. The quantitative data were analyzed by random effect model using Revman 5.3. Results: 7 studies from Ethiopia, Malaysia, Philippines, Peru, Australia, and Tanzania were selected for this study. This study reported that family history of diabetes mellitus increased the risk of gestational diabetes mellitus 2.91 times than without family history (aOR= 2.91; 95% CI= 2.08 to 4.08; p<0.001). Conclusion: Family history of diabetes mellitus increases the risk of gestational diabetes mellitus. Keywords: gestational diabetes mellitus, diabetes mellitus, family history Correspondence: Galuh Sitorukmi. Masters Program in Public Health, Universitas Sebelas Maret. Jl. Ir. Sutami 36A, Surakarta 57126, Central Java. Email: galuh.sitorukmi1210@gmail.com. Mobile: 085799333013. DOI: https://doi.org/10.26911/the7thicph.05.55
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Rutsinskaya, Irina, and Galina Smirnova. "VISUALIZATION OF EVERYDAY SOCIAL AND CULTURAL PRACTICES: VICTORIAN PAINTING AS A MIRROR OF THE ENGLISH TEA PARTY TRADITION." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/37.

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"Throughout the second half of the seventeen and the eighteenth centuries, tea remained an expensive exotic drink for Britain that “preserved” its overseas nature. It was only in the Victorian era (1837-1903) that tea became the English national drink. The process attracts the attention of academics from various humanities. Despite an impressive amount of research in the UK, in Russia for a long time (in the Soviet years) the English tradition of tea drinking was considered a philistine curiosity unworthy of academic analysis. Accordingly, the English tea party in Russia has become a leader in the number of stereotypes. The issue became important for academics only at the turn of the twentieth and twenty-first centuries. Currently, we can observe significant growth of interest in this area in Russia and an expansion of research into tea drinking with regard to the history of society, philosophy and culture. Despite this fact, there are still serious lacunas in the research of English tea parties in the Victorian era. One of them is related to the analysis of visualization of this practice in Victorian painting. It is a proven fact that tea parties are one of the most popular topics in English arts of the nineteenth and the twentieth centuries. No other art school in the world referred to the topic so frequently: painting formed the visual image of the English tea party, consolidated, propagandized and spread ideas of the national tea tradition. However, this aspect has been reflected neither in British nor Russian studies. Being descriptive and analytical, the present research refers to the principles of historicism, academic reliability and objectivity, helping to determine the principal trends and social and cultural features and models in Britain during the period. The present research is based on the analysis of more than one hundred genre paintings by British artists of the period. The paintings reflect the process of creating a special “truly English” material and visual context of tea drinking, which displaced all “oriental allusions” from this ceremony, to create a specific entourage and etiquette of tea consumption, and set nationally determined patterns of behavior at the tea table. The analysis shows the presence of English traditions of tea drinking visualization. The canvases of British artists, unlike the Russian ones, never reflect social problems: tea parties take place against the background of either well-furnished interiors or beautiful landscapes, being a visual embodiment of Great Britain as a “paradise of the prosperous bourgeoisie”, manifesting the bourgeois virtues. Special attention is paid to the role of the women in this ritual, the theme of the relationship between mothers and children. A unique English painting theme, which has not been manifested in any other art school in the world, is a children’s tea party. Victorian paintings reflect the processes of democratization of society: representatives of the lower classes appear on canvases. Paintings do not only reflect the norms and ideals that existed in the society, but also provide the set patterns for it."
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Reports on the topic "Women artists Australia History"

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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Abstract:
In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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