Academic literature on the topic 'Women painters'
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Journal articles on the topic "Women painters"
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Blanchard, Lara C. W. "Virtue and Women's Authorship in Chinese Art History: A Study of Yutai huashi (History of Painting from Jade Terrace)." Journal of Chinese Literature and Culture 10, no. 1 (April 1, 2023): 221–43. http://dx.doi.org/10.1215/23290048-10362457.
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Abstract Yutai huashi (History of Painting from Jade Terrace), published in 1837, is rare among Chinese art-historical texts, not only for its focus on women painters of the imperial period but also for its female authorship. While the text preserves information on women who painted, its acknowledged author, Tang Shuyu, draws connections between women authors (defined broadly here to include both artists and writers) and virtuous women. First, her organization of the text's first five chapters foregrounds the social identities of women painters—a system that hints at their virtue. Second, biographies of women painters who are filial, chaste, and/or faithful appear throughout, but these qualities are emphasized in the “Separate Record” at the book's end, the only section with significant amounts of new writing. Third, the text positions Tang Shuyu as a woman of virtue herself. Tang compiled materials for her book with contributions from her husband, Wang Yuansun, and she establishes herself as a figure deferential to authority, a woman who begins most passages with a source citation and never develops a clear editorial voice. Scholars of the history of Chinese art increasingly use gender as a category of analysis to understand the accomplishments of women artists and patrons as well as representations of female figures. This article analyzes Yutai huashi's gendered subjects and discussions of gender roles as a means of examining both the contributions of women authors and the priorities of Chinese art-historical writers.
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Köse, Zuhal, and Gülsün Şahan. "A view of women in painting from the past to the present: the image of women in art and women painters." Journal of Human Sciences 18, no. 3 (July 31, 2021): 431–49. http://dx.doi.org/10.14687/jhs.v18i3.6151.
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The woman, has been one of the main themes of art throughout all art processes. Social processes and the place of women in society were also reflected in art and shaped the image of women in art. The same, artwork sheds light on the social conditions of the period. The fact that women remain in the background in social life is seen in the art of painting as in many other fields since the transition to the patriarchal order. Although the image of the woman has changed over the years, the woman is outside of her identity; It continued to be processed as a mother, wife or sexual object. Despite many advances in the individual works of contemporary artists and in the art that values women, a prejudiced view towards women has not yet been prevented. When the number of women engaged in art increases, women's self-expression has brought a different dimension to this commodification instead of the male gaze. The inclusion of feminist discourse and the changing structure of the world in art has also affected the role of women in social life. Art is one of the methods that can be used to achieve social change. For this reason, it can be said that women should continue to raise their voices for their rights and freedoms through art. One of the biggest roles in this regard falls to female artists. In this research; Throughout history, the image of women in painting and women painters have been examined, and the process of women's existence in art has been evaluated. For this purpose, written documents on the image of women, women painters and their lives from past to present have been examined. The image of women in art and its change throughout history, prominent female painters in the world, the image of women in Turkish painting and Turkish women painters, have revealed the place of women in the field of painting. Levina Teerlinc, Artemisia Gentileschi, Rosa Bonheur, Käthe Kollwitz, Frida Kahlo, Jeny Saville, Mihri Müşfik, Fahrünnisa Zeid, Şükriye Dikmen, Neşe Erdok, Nur Koçak and Gülsün Karamustafa, among the prominent painters in terms of Turkish and world history, were discussed. Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet The woman, has been one of the main themes of art throughout all art processes. Social processes and the place of women in society were also reflected in art and shaped the image of women in art. The same, artwork sheds light on the social conditions of the period. The fact that women remain in the background in social life is seen in the art of painting as in many other fields since the transition to the patriarchal order. Although the image of the woman has changed over the years, the woman is outside of her identity; It continued to be processed as a mother, wife or sexual object. Despite many advances in the individual works of contemporary artists and in the art that values women, a prejudiced view towards women has not yet been prevented. When the number of women engaged in art increases, women's self-expression has brought a different dimension to this commodification instead of the male gaze. The inclusion of feminist discourse and the changing structure of the world in art has also affected the role of women in social life. Art is one of the methods that can be used to achieve social change. For this reason, it can be said that women should continue to raise their voices for their rights and freedoms through art. One of the biggest roles in this regard falls to female artists. In this research; Throughout history, the image of women in painting and women painters have been examined, and the process of women's existence in art has been evaluated. For this purpose, written documents on the image of women, women painters and their lives from past to present have been examined. The image of women in art and its change throughout history, prominent female painters in the world, the image of women in Turkish painting and Turkish women painters, have revealed the place of women in the field of painting. Levina Teerlinc, Artemisia Gentileschi, Rosa Bonheur, Käthe Kollwitz, Frida Kahlo, Jeny Saville, Mihri Müşfik, Fahrünnisa Zeid, Şükriye Dikmen, Neşe Erdok, Nur Koçak and Gülsün Karamustafa, among the prominent painters in terms of Turkish and world history, were discussed.
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Yuho, Tseng. "Women Painters of the Ming Dynasty." Artibus Asiae 53, no. 1/2 (1993): 249. http://dx.doi.org/10.2307/3250517.
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Jordan Gschwend, Annemarie. "Two Women Painters from the Late Renaissance." Court Historian 25, no. 1 (January 2, 2020): 79–81. http://dx.doi.org/10.1080/14629712.2020.1728938.
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Sun, Yuxi. "Study on the Realities of the Life of Boudoir Painters in the Background of Late Ming Feudalism." Highlights in Art and Design 4, no. 3 (December 1, 2023): 58–61. http://dx.doi.org/10.54097/hiaad.v4i3.16.
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The Late Ming Dynasty was a period of unprecedented development for women's painting in ancient times, which surpassed all previous generations of women painters in terms of the number of painters and the number of paintings, especially in terms of the language and form of paintings. women painters. As a representative of the late Ming boudoir painters, Wen Chuan's paintings superficially depict a picture of the "small world" of daily life, but hidden behind her "small world" is her conscious creative attitude and keen gender awareness in the context of the feudal society of the late Ming. However, behind her "small world" is her more conscious creative attitude and keen gender awareness in the context of the late Ming feudal society. In this paper, we focus on aesthetics, sociology, and art history from an interdisciplinary perspective to explore the real life and social status of Wen Hsiun in the context of the late Ming feudal society.
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장준구. "Women Painters in 16th and 17th Century China." Korean Journal of Arts Studies ll, no. 21 (September 2018): 223–48. http://dx.doi.org/10.20976/kjas.2018..21.010.
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고카츠 레이코. "What Japanese Women Artists Painted during the WWII— the Paintings by Hasegawa Haruko and Other Japanese Women Painters." Journal of History of Modern Art ll, no. 28 (December 2010): 231–77. http://dx.doi.org/10.17057/kahoma.2010..28.008.
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De Ros, Xon. "Avant-Garde and Kitsch in María Blanchard’s Neo-Cubism." Journal of Avant-Garde Studies 2, no. 1-2 (October 9, 2023): 31–46. http://dx.doi.org/10.1163/25896377-bja10007.
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Abstract The exceptionality of the women artists who achieved recognition within the circles of the avant-garde in the first decades of the twentieth century involved a number of performative strategies to avoid the risk of being confined to the category of ‘women painters’. The case of María Blanchard, a Spanish painter integrated in the School of Paris, exemplifies the problematics faced by women working in the avant-garde. Her trajectory from synthetic Cubism to neo-Cubist figuration follows the pattern of many of her male contemporaries working under the sociopolitical and market pressures in the post-war period, but the simultaneous assimilation of and ironic distance from the prevailing aesthetic ideologies is a distinctive feature of her style shared by other women artists. As Cubism became mainstream and began to lose its subversive power, Blanchard’s interest in challenging conventional artistic discourses and hierarchies found expression in kitsch aesthetics.
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Grimes, Teresa. "Five women painters: The making of a television series." Women: A Cultural Review 1, no. 1 (April 1990): 81–86. http://dx.doi.org/10.1080/09574049008578025.
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Silberring, Jerzy. "WOMEN PAINTERS AND ARCHITECTURAL MOTIFS; FROM RENAISSANCE TO MODERN TIMES." Space&FORM 2024, no. 57 (May 13, 2024): 243–60. http://dx.doi.org/10.21005/pif.2024.57.e-01.
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From Villa Benedetti in Rome to the UNESCO headquarters in Paris, architecture created by women is an important contribution to the development of this field. Participation of women in various areas was limited up to the beginning of 20th century, and their works and achievements are still overlooked or attributed to men (Gingeras 2022). This material is dedicated to women painters, with emphasis on architectural motifs in their artwork. The article is a continuation of the earlier paper "Architectural motifs in painting, selected issues" Space and Form (2023) 55, covering period from the Renaissance to modern times.
Dissertations / Theses on the topic "Women painters"
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Lalvani, Tasha. "Indian women painters from the 1970s to the 1990s with special reference to the work of Arpana Caur." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31228276.
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Mosco, Natalie. "On creating A brush with Georgia O'Keeffe /." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/43722.
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Thesis (D.C.A.)--University of Western Sydney, 2008.A thesis submitted to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the Doctor of Creative Arts. Includes bibliographical references.
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Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2254.
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Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
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Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.
Full textAbstract:
Master of PhilosophyGrace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
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Smith, Sandra A. "Uli metamorphosis of a tradition into contemporary aesthetics /." [Kent, Ohio] : Kent State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1267478083.
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Thesis (M.A.)--Kent State University, 2010.Title from PDF t.p. (viewed Apr. 28, 2010). Advisor: Fred Smith. Keywords: Uli; Igbo; Nigeria; body painting; wall painting; Nsukka; traditional women painters. Includes bibliographical references (p.101-105).
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Mulley, Elizabeth. "Women and children in context : Laura Muntz and representation of maternity." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36781.
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This thesis is concerned with several aspects of the life and work of the Canadian painter Laura Muntz (1860--1930). It examines in particular Muntz's images of women and children both within the cultural themes and ideologies of the period and from the perspective of contemporary twentieth-century theories of gender. The introduction and literature review outline the broad issues surrounding the artist in her time and present a summary of her critical fortunes in Canadian art historical literature. Chapter one provides a discussion of Muntz's life and artistic production between 1860 and 1898, the year in which she returned to Toronto after a decade of study and work in Europe. The following two chapters are conceived as case studies of single paintings, observed in the context of various discourses that surround them. Chapter two analyses Muntz's Madonna and Child in terms of hereditarian theories, eugenics, maternal feminism and the Canadian social purity movement and considers the broader, psychological implications of gender, specifically in the fin-de-siecle associations of femininity and death. Chapter three examines the imagery in Muntz's Protection with reference to North American Symbolist painters and their relationship to the constructs of the feminine ideal. As a whole, the thesis elucidates the complex layers of meaning that Muntz's images of women and children contributed to the popular conceptions of femininity and motherhood current in her time.
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Burton, Samantha. "Re-mapping modernity : the sites and sights of Helen McNicoll (1879-1915)." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83172.
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Canadian artist Helen McNicoll (1879-1915) has long been neglected in art historical scholarship. Although well-known and well-regarded during her lifetime, her work has since been marginalized as feminine and dismissed as old-fashioned. Through the lens of a modernist art historical tradition that has privileged the urban and masculine above all else, McNicoll's Impressionist depictions of sunlit beaches, open fields, and rural women at work may indeed seem quaintly nostalgic. In this thesis, I argue that these images can and should be seen as both representations of modernity and assertions of feminist thought. McNicoll travelled throughout England and Europe, and across the Atlantic Ocean in search of artistic subject matter; viewed within the context of tourism---which has been theorized as a fundamentally modern activity---her images appear modern in ways that have not traditionally been recognized.
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Mosco, Natalie. "On creating : A brush with Georgia O'Keeffe." Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/43722.
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In 1988, my interest in the Twentieth Century American painter and feminist icon, Georgia O’Keeffe, was sparked by two seemingly disparate events: The Art Institute of Chicago’s first posthumous retrospective show of the painter’s works and the twentieth anniversary reunion of the original Broadway cast of Hair (of which I had been a member) that was celebrated at the United Nations in New York. Somewhere within me at that time O’Keeffe and Hair became entwined. In studying O’Keeffe’s life I sensed that her sincerity of aspiration coupled with her dogged resolve were life-lessons that might inform all artists. As a performing artist, a logical vehicle by which I could explore O’Keeffe was through the creation and performance of a play about her life. In embarking in this direction, I hoped to discover some key to creativity whereby all artists could be informed. O’Keeffe was a historical figure so my work included historical research that included autobiographical and biographical sources, videocassettes, correspondence, newspaper and magazine commentary. In addition to studying historical resources, O’Keeffe’s art was a primary resource; in particular what inspired it, how O’Keeffe painted and her philosophy of art. My research prompted the question: “At what point does the tenacious biographer leave off and the artful dramatist begin?” This question expresses the key creative and ethical problem of such a project: how much creative license can be taken with a subject who was an actual human being with a verifiable history? O’Keeffe was a creature of contradiction so rather than attempting to reconcile the contradiction between historical accuracy and creativity, I would begin by immersing myself in the known facts about my subject which I would then use as an impetus for my imaginative engagement with her life. The frisson generated by this cohabitation of contradictions could result in a release that could then be shared with audiences and, hopefully, enhance their understanding of the subject and the nature of creativity. To “dance”, so to speak, with her contradictions became my goal and methodology for writing A Brush With Georgia O’Keeffe. A part of my study also considers my experience playing the character, Georgia O’Keeffe. I had not anticipated that O’Keeffe’s emotional contrarieties would affect me personally. I had expected her mood swings to manifest within the character of O’Keeffe; in fact, they also became a part of the actor portraying her. In addition, because O’Keeffe worked and reworked her subjects, I permitted myself that luxury as a writer; however, I neglected to allow myself as the actor time to engage in a similar exploration in order to integrate the rhythm of the role into my body. By default, I also became producer for the WorkShop production of my play (overburdening myself at a time when my focus should have been on the role of Georgia). Nonetheless, O’Keeffe’s belief that one’s artistic expression must be the most perfect manifestation of one’s truth fueled my own conviction that integral to any artist of sincere aspiration was the quest for a pure form of personal expression as well as the necessity of maintaining one’s artistic vision. It was O’Keeffe’s philosophy that kept me on course as a performer. Moreover, although there is no blueprint for the creation of biographical drama, in the case of a work exploring the ambivalent O����Keeffe, embracing the dualities of historical accuracy and artistic integrity offered assurances of a probable road to travel. By embracing her inner direction and balancing her contrarieties, O’Keeffe seemingly guided my foray into her life.
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Gunderson, Maryann S. "Dismissed yet Disarming: The Portrait Miniature Revival, 1890-1930." Ohio University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1080666457.
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Vigroux, Perrine. "Les femmes à l'Académie royale de peinture et de sculpture (1663-1793) : sociabilité, pratique artistique et réception." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30030.
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Quinze femmes artistes seront admises à l’Académie royale de peinture et de sculpture entre 1663 et 1793. Depuis laRenaissance, en Europe et en France, un petit nombre de femmes bénéficie d’une certaine renommée aussi biennationale qu’internationale, dans les arts, la littérature et les sciences, ouvrant ainsi la voie à de nouveaux talents. Cesfemmes sont notamment encouragées par les thèses philosophiques de François Poulain de la Barre (1647-1723) quivont leur permettre d’occuper une place de plus en plus privilégiée au sein d’une société qui se cristallise autour dessalons. Ce sont de petites réunions où savantes et artistes invitent chez elles hommes et femmes pour discuter delittérature, de philosophie, d’art mais aussi de politique. Ces lieux très courus connaissent un grand succès à la fin duXVIIe siècle et tout au long du XVIIIe siècle. La réception des premières femmes à l’Académie se fait dans ce climattout à fait favorable aux femmes tant sur le plan social et culturel, que politique.Mais cette admission n’en reste pas moins précaire. Effectivement après l’entrée de Catherine Perrot, le 31 janvier 1682,il faudra attendre près de quarante ans, soit le 26 octobre 1720, pour que soit à nouveau admise une peintre : RosalbaCarriera. Certes, elles ouvrent les portes de cette institution, mais elles ne restent pas moins exclues de nombreusesactivités et de plusieurs privilèges. Elles n’ont pas le droit d’assister aux cours d’après le modèle vivant – lequel pose nu– leçons pourtant fondamentales dans l’enseignement promu par l’Académie, ni de concourir aux grands prix, pourtantau coeur du système d’émulation, en fait les académiciennes n’auront jamais accès aux postes à responsabilité. Pourtantelles ont contribué à réinventer le paysage artistique français et plus particulièrement le genre du portrait. Prônant lenaturel, elles contribuèrent à renouveler le vestiaire féminin avec des tenues plus légères et vaporeuses. Mal perçues parla critique, ces nouvelles chemises appelées gaules, participèrent à la simplification des portraits officiels. En mêmetemps, la féminisation des portraitistes de cour offre de plus grandes possibilités aux femmes peintres. Poussant leslimites toujours plus loin, elles réussirent par le biais des portraits historiés à investir la peinture d’histoire, genre réservéaux peintres les plus aboutis et qui maîtrisent bien l’anatomie.Leurs contemporains à travers leurs écrits ou leurs oeuvres artistiques proposèrent une image idéalisée, truquée parfoistrompée de ces académiciennes. Femmes de talent, femmes ambitieuses, les académiciennes réussirent malgré tout àimposer une nouvelle vision de la femme peintreFifteen women artists will be admitted to the Royal Academy of Painting and Sculpture between 1663 and 1793. Sincethe Renaissance, Europe and France, a small number of women enjoys a certain reputation both nationally andinternationally, in arts, literature and science, thus opening the way for new talent. These women are particularlyencouraged by the philosophical theses of Francois Poulain de la Barre (1647-1723) which will enable them to occupy amore privileged in a society that crystallizes around lounges. They are small and scholarly meetings where artists invitehome men and women to discuss literature, philosophy, art but also politics. These very popular places with greatsuccess in the late seventeenth century and throughout the eighteenth century. The reception of the first women to theAcademy is in this climate quite favorable to women both socially and culturally, and politically.But this admission only remains precarious. Indeed after the entry of Catherine Perrot, January 31, 1682, it will takealmost forty years, October 26, 1720, that is again admitted a painter Rosalba Carriera. Certainly, they open the doors ofthis institution, but they are nonetheless excluded from many activities and many privileges. They do not have the rightto attend classes of the living model - which poses naked - yet fundamental lessons in teaching promoted by theAcademy, nor to compete with great prices, yet in the heart of the system emulation in fact the academicians will neverhave access to positions of responsibility. Yet they have helped to reinvent the French artistic landscape and especiallythe portrait genre. Advocating natural, they helped to renew the female locker room with more light and gauzy outfits.Badly perceived by critics, these new shirts called saplings, took part in the simplification of official portraits. At thesame time, the feminization of court portraitists offer greater opportunities to women painters. Pushing the limits stillfurther, they succeeded through portraits to invest storied history painting, genre reserved for the most accomplishedpainters and good command of anatomy.Their contemporaries through their writings or artistic works proposed an idealized image, faked sometimes deceivedthese academicians. talented women, ambitious women, academicians still managed to impose a new vision of thewoman painter
Books on the topic "Women painters"
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Dame, Knight Laura, ed. Five women painters. London: Central Independent TV, 1989.
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Grimes, Teresa. Five women painters. Harpenden: Lennard, 1989.
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Grimes, Teresa. Five women painters. Oxford: Lennard Pub., 1989.
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Ajayakumar and Kerala Lalitha Kala Akademi, eds. Women painters of Kerala. Thrissur: Kerala Lalithakala Akademi, 2007.
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København, Kunstforeningen i., Niedersächsisches Landesmuseum Hannover, and Bergen kunstmuseum, eds. Women painters in Scandinavia, 1880-1900. Copenhagen: Kunstforeningen, 2002.
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McClure, Galerie, ed. Intervention: 31 femmes peintres = 31 women painters. Montréal, Quebec: Visual Arts Centre, 2018.
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Dawson, Bee. Lady painters: The flower painters of early New Zealand. Auckland, N.Z: Viking, 1999.
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Paunila, Marjukka. Marjukka Paunila. Helsinki: Parvs Publishing, 2009.
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1953-, Martin David F., and Whatcom Museum of History and Art., eds. An enduring legacy: Women painters of Washington, 1930-2005. Bellingham, Wash: Whatcom Museum of History & Art, 2005.
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1885-1968, Sparhawk-Jones Elizabeth, ed. Elizabeth Sparhawk-Jones: The artist who lived twice. Denver, Colo: Outskirts Press, 2010.
Find full textBook chapters on the topic "Women painters"
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Maagerø, Eva, Ruth Mulvad, and Elise Seip Tønnessen. "Clare Painter." In Women in Social Semiotics and SFL, 96–117. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429352270-6.
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Nitsun, Morris. "Four women." In A Psychotherapist Paints, 135–63. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003232230-11.
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Kelly, A. A. "The Painted Woman." In Liam O’Flaherty The Collected Stories, 346–66. New York: Palgrave Macmillan US, 1999. http://dx.doi.org/10.1007/978-1-137-07257-3_75.
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Johnston, Jay. "Painterly Desire: Ithell Colquhoun’s Other-than-Human Art." In Essays on Women in Western Esotericism, 151–70. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76889-8_7.
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"EXTRAORDINARY WOMEN PAINTERS." In An Oak Spring Flora, 307–32. Yale University Press, 1997. http://dx.doi.org/10.2307/j.ctvckq9ts.17.
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"Modern Painters." In Prose by Victorian Women, 97–152. Routledge, 2013. http://dx.doi.org/10.4324/9781315805450-16.
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"6. Women Artists." In Painters in Hanoi, 94–107. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824845100-007.
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Pathak, Sudha Jha. "Women Painters of Mithila." In Handbook of Research on Women's Issues and Rights in the Developing World, 370–81. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-3018-3.ch023.
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The region of Mithila has become synonymous with the beautiful and vibrant Madhubani paintings which are very much coveted by the connoisseurs of art the world over. The women from Mithila have been making these paintings and it is admirable that they have been able to carve out a space and name for themselves amidst the patriarchal set-up of society. Indeed, there is no other parallel anywhere else in the world of a folk-painting being mastered exclusively by women. The progressive commercialization of this art has resulted in the corrosion of this pristine variety of art - in form as well as content. Except a miniscule number of artists, economically the plight of the vast majority of these women painters has remained quite miserable who are forced to sell their artistic pieces for a pittance while a huge profit is earned by the middlemen. The commodification and commercialization of this traditional art form has caused much alarm to the anthropologists, art historians and connoisseurs of art who are sensitive to the cultural origins and solemnity of these art forms, and also made them empathetic to the economic deprivation of the women artists who produce them. These women artists are undermined by the patriarchal social structures of the community and family and also by the market that expropriates traditional knowledge and cultural expressions.
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"VIII. EXTRAORDINARY WOMEN PAINTERS." In An Oak Spring Flora, 307–32. Yale University Press, 1997. http://dx.doi.org/10.12987/9780300242560-014.
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"PATRONS AND PAINTERS." In Dominican Women and Renaissance Art, 253–84. Routledge, 2016. http://dx.doi.org/10.4324/9781315257426-14.
Full textConference papers on the topic "Women painters"
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Ağırbaş, Seda. "Nature and Women Descriptions in the Works of Women Painters of Pre-Raphaelite Movement." In 7th International Conference on Gender Studies: Gender, Space, Place & Culture. Eastern Mediterranean University, 2019. http://dx.doi.org/10.33831/gspc19/583-617/37.
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Wompere, Ruth Naomi Nancy. "The Use of Community Language Learning Method in Teaching English to Women Painters and Sellers of Bark Painting in Asei Island, Papua." In Proceedings of the International Conference on Language, Literature, and Education (ICLLE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iclle-18.2018.26.
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Camp, Annabelle, and Kris Cnossen. "DYES, PAINTS, AND INKS: AN OVERVIEW OF VISUAL COMPENSATION TECHNIQUES IN TEXTILE CONSERVATION." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13521.
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Currently there is no single resource summarizing the different visual compensation methods used in textile conservation. Many techniques are shared through spoken communication, and there is a lack of literature documenting accepted options. The goal of this paper is to introduce common techniques, such as the use of dyes and paints, as well as a less common method, digital printing. The authors discuss when each option is appropriate,addressing their respective color-matching capabilities, workability, appearance when dry,and time and material requirements. Numerous case studies illustrating the use of thesemethods, with an emphasis on painted fills, are presented. The case studies representa range of textile types, such as costume, needlework, historic and modern printed textiles,as well as a range of materials, including silk, cotton, and wool. Case studies includeexamples of visual compensation in areas of stains, patterns, and non-woven structures.The successes and limitations of each method are discussed.
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Niculescu, Olga, Elena Badea, Ilaria Quaratesi, Rodica Roxana Constantinescu, and Dana Gurau. "Materials for Surface Design and Finishing for Contemporary Footwear – Part 2." In The 9th International Conference on Advanced Materials and Systems. INCDTP - Leather and Footwear Research Institute (ICPI), Bucharest, Romania, 2022. http://dx.doi.org/10.24264/icams-2022.v.6.
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Leather has a natural beauty that, unlike many materials, improves with age, and has long been a component of luxury goods such as footwear, leather goods and clothing. It is a natural and durable material, unmatched by any synthetic product, in terms of hygienic and protective properties. Thanks to the skills of leather producers, who take the same basic raw material, natural leathers are processed through different technological processes and transformed into finished leathers for various clothing items with high-performance properties. Finishing is achieved through a series of technologies, using materials that provide the finished leather with the desired aesthetic characteristics related to fashion, colors and special effects (pearl, two-tone, antique, printed, glossy, matte, waxed, etc.). Hand-painted natural leather shoes are also in fashion, to give a personal touch to a luxury item. The work presents surface finishing technologies of ecological natural leathers (tanned without metals), using pigment pastes with a metallic effect, in combination with acrylic and polyurethane polymers, with resistance to light and aging. White and pastel finished leathers with silver and gold effect can be used in creative industries for artistic and luxury footwear (especially for women).
Reports on the topic "Women painters"
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Poloboc, Alina. Fancy Fifi. Intellectual Archive, December 2023. http://dx.doi.org/10.32370/iaj.2996.
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The painting is a fascinating work that captures the essence of extravagance and vibrant lifestyle of Miami through its main character, a confident and fun-loving woman. The artist has depicted a stylish and elegant figure walking through the city streets with a posture that reflects her confidence and determination. The choice of blue as the main color throughout the painting is a bold and impactful decision. Blue is typically associated with tranquility and calmness, but the artist has used it to create an atmosphere full of energy and vitality. Additionally, there are eye-catching details in red colors, such as the painted lips, the crown on the head of the figure, as well as the shoes and bag, which give the painting a touch of glamour and sophistication. The use of color and details is a fundamental part of the artwork, helping to convey the personality and style of Fancy Fifi. The figure stands out against a neutral background, emphasizing her presence and making her even more striking. The composition of the painting is very well executed, conveying a sense of movement and dynamism. Overall, the painting "Fancy Fifi" is a work full of style and personality, capturing the essence of Miami and the extravagance of its main character. The artist has created a striking and attention-grabbing painting that is sure to captivate all viewers.