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Journal articles on the topic 'Women painters'

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Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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.

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11

Fahlman, Betsy, and Patricia Trenton. "Independent Spirits: Women Painters of the American West, 1890-1945." Woman's Art Journal 21, no. 1 (2000): 46. http://dx.doi.org/10.2307/1358872.

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12

Cumming, Elizabeth, and Janice Helland. "Professional Women Painters in Nineteenth-Century Scotland: Commitment, Friendship, Pleasure." Woman's Art Journal 23, no. 1 (2002): 46. http://dx.doi.org/10.2307/1358971.

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13

Ju, Jane C. "Nationalist patriarchy and women painters in Taiwan under the Guomindang." Journal of Contemporary Chinese Art 2, no. 1 (March 1, 2015): 31–43. http://dx.doi.org/10.1386/jcca.2.1.31_1.

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14

Chandra, Sharmila. "Women folk painters empowered: a revolution in a rural setting." International Journal of Gender Studies in Developing Societies 2, no. 4 (2018): 263. http://dx.doi.org/10.1504/ijgsds.2018.093246.

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15

Chandra, Sharmila. "Women Folk Painters Empowered ; A Revolution in a Rural Setting." International Journal of Gender Studies in Developing Societies 2, no. 4 (2018): 1. http://dx.doi.org/10.1504/ijgsds.2018.10012470.

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16

Heris, Azadeh Alipoor, and Abolghasem Dadvar. "Social and Cultural Context Affecting the Activities of Women Painters of Pahlavi Era (1925-1978)." Journal of Politics and Law 9, no. 3 (April 28, 2016): 1. http://dx.doi.org/10.5539/jpl.v9n3p1.

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Different factors were affecting the presence of women during the Pahlavi era. In new structures after the constitutional period and along with the absolute modernism of Pahlavi, discourses changes were made based on democracy, socialism, Shia resistance and autonomy, court to government and political figures to people. During this period the role of women was formed on the basis of their social position and in their gender approach it changed from a <class in itself> to a <class for self>. The consequences of social contexts led to witness more active presence of women during Pahlavi era compared with the past periods particularly in the visual arts arena; so that the history of the Tehran galleries from 1953-1978 which reflects their activities during that time confirms this fact. The purpose of the present essay is to analyze the social contexts which have attracted women from margin to the center and attending to them since no study has been done in this respect seems essential and it’s an attempt to answer the question that what social contexts have been influential in boosting up the presence of women especially women painters of Pahlavi era? In this research the data collect is library type and filed study and it has been compiled in a comparative descriptive-analytic method, the origin and social contexts of the women painters of the Pahlavi era whose works were displayed were studied and analyzed and it can be inferred that the presence of supportive men in families, education, social context, urban life, publicizing the culture thanks to the cultural foundations and media, the actual and legal presence of the queen, government support due to cultural policies, women social movements, and the transformation of the women role in twentieth century had decisive role on enhancing the social position of women particularly the role of the women painters of the second Pahlavi era.

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17

Hulea, Lavinia. "Pre-Raphaelites Painting Shakespeare’s Women." Gender Studies 11, no. 1 (December 1, 2012): 126–34. http://dx.doi.org/10.2478/v10320-012-0033-6.

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Abstract Iconic signs such as paintings, engravings or book illustrations come into existence as a result of visual attempts at redefining the literary text to which they refer. Although they belong to a different medium, they are always conditioned and influenced by the original literary work. English painting displays a series of famous images which explicitly have their roots in literary texts. While the works of Shakespeare, Keats and Tennyson seem to determine a special connection with painting, Shakespeare’s plays are the source of one of the most inspiring subjects of the Pre-Raphaelite painters: women.

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18

Korom, Frank J. "Singing Pictures: Women Painters of Naya; Songs of a Sorrowful Man." American Anthropologist 114, no. 1 (March 2012): 146–48. http://dx.doi.org/10.1111/j.1548-1433.2011.01407.x.

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19

Pomeroy, Jordana. "Professional Women Painters in Nineteenth-Century Scotland: Commitment, Friendship, Pleasure (review)." Victorian Studies 44, no. 3 (2002): 499–500. http://dx.doi.org/10.1353/vic.2002.0072.

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20

Gao, Ruiying. "Creating through Copying: Materia Medica, Women Painters, and Late Ming Culture." Ming Qing Yanjiu 27, no. 2 (March 5, 2024): 107–54. http://dx.doi.org/10.1163/24684791-12340073.

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Abstract In the late Ming, illustrated materia medica works became increasingly salient among educated elites in the Jiangnan area. This article analyzes two hand-illustrated treatises, Jinshi kunchong caomu zhuang and Bencao tupu, and the cultural contexts of their production. The interplays between copying and editing and image-text relationships in the two works provide insight into how materia medica was exploited as a pictorial subject for ideas about the human-nature dynamic. I demonstrate that materia medica images represented symbolic possession of the natural world and thus served as a maker of social distinction. I also shed light on the perpetuated tradition of making images of materia medica as an intellectual practice. My examinations of materia medica images by women artists also challenge the correlations between gender and representations of flora and fauna in the historiography of Chinese paintings.

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21

Adnyana, I. Wayan. "Tiga Tipe Praktik Sosial dan Gaya Visual Pelukis Barat di Bali." Jurnal Kajian Bali (Journal of Bali Studies) 9, no. 1 (April 27, 2019): 55. http://dx.doi.org/10.24843/jkb.2019.v09.i01.p03.

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This article studies the social practices of Western painters in Bali based on Orientalism perspective, a Western style for dominating, restructuring, and having authority over the Orient. The painters who were sampled were those who represented in each wave of arrival: (a) 1930-1940s (Spies, Bonnet, Hofker and Le Mayeur), (b) 1950-1980s (Blanco, Smit and G. Couteau), and (c) 1990-present (Hirst, Sciascia and Bickerton). Three types of social practices were found: (1) consciously decide to dissolve with the interaction of Balinese painters, which further produce visual artistic appropriations between the two parties; (2) make Bali only as their work studios based on various specific considerations, the visual style of the work becomes the dominant discourse—Bali is only a mere object or locus; (3) decide to marry Balinese women, some even become Indonesian citizens, established authority over mini Bali in the families they build, visual styles tended to be Bali portraits.

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22

Sun, Dian. "The Awakening of Feminist Artistic Expression: A Comparative Study of the Self-Portrait of Frida Kahlo and the Self-Portrait of Élisabeth Vigée Le Brun." Journal of Education, Humanities and Social Sciences 27 (March 5, 2024): 337–42. http://dx.doi.org/10.54097/fgmhf957.

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The topic of feminism was not discussed by scholars until the 20th century, but it has become a highly debated issue in today's society. Female portrait artists have been historically marginalized due to the origins of portraiture being intended to please male viewers. In the past, women were predominantly viewed as mothers and housewives within the social context. However, the research has revealed that numerous female artists defied the societal norms of the time and made unique efforts to achieve independence as professional women. In the long history of painting, there have been many female painters who have expressed feminist ideas through their art. This article compares the self-portraits of two portrait painters, Frida Kahlo and Élisabeth Vigée Le Brun, in terms of painting themes, methods, and the representation of women. This study explores how female artists' paintings were influenced by the rise of female consciousness in different periods. The final result concludes that feminist awakening is depicted in female-themed paintings across different social periods by female artists.

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23

Tsoumas, Johannis, and Eleni Gemtou. "Marie Spartali-Stillman’s feminism against Pre-Raphaelite Brotherhood gender stereotypes art." Journal of the Belarusian State University. History, no. 2 (May 7, 2021): 48–60. http://dx.doi.org/10.33581/2520-6338-2021-2-48-60.

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In the middle of the 19th century Great Britain, Queen Victoria had been imposing her new ethical code system on social and cultural conditions, sharpening evidently the already abyssal differences of the gendered stereotypes. The Pre-Raphaelite painters reacted to the sterile way of painting dictated by the art academies, both in terms of thematology and technique, by suggesting a new, revolutionary way of painting, but were unable to escape their monolithic gender stereotypes culture. Using female models for their heroines who were often identified with the degraded position of the Victorian woman, they could not overcome their socially systemic views, despite their innovative art ideas and achievements. However, art, in several forms, executed mainly by women, played a particularly important role in projecting several types of feminism, in a desperate attempt to help the Victorian woman claim her rights both in domestic and public sphere. This article aims at exploring and commenting on the role of Marie Spartali-Stillman, one of the most charismatic Pre-Raphaelite Brotherhood models and later famous painter herself, in the painting scene of the time. Through the research of her personal and professional relationship with the Pre-Raphaelites, and mainly through an in depth analysis of selected paintings, the authors try to shed light on the way in which M. Spartali-Stillman managed to introduce her subversive feminist views through her work, following in a way the feministic path of other female artists of her time. The ways and the conditions, under which the painter managed to project women as dominant, self-sufficient and empowered, opposing their predetermined social roles, have also been revised.

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24

Fong, Grace S. "From Convention to Subversion: Case Studies on the Female Gaze in Premodern China." Journal of Chinese Literature and Culture 10, no. 1 (April 1, 2023): 137–68. http://dx.doi.org/10.1215/23290048-10362418.

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Abstract This article engages the ekphrastic mode—the literary representation of visual representation—to examine the female gaze instantiated in women's poetry on paintings of beautiful women in the Ming and Qing periods. Through four case studies, it shows how women poets and painters participated in the visual culture of late imperial China and negotiated gendered difference in their aesthetic vision and artistic production.

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25

Kwiatkowska, Anna. "Representations of Women in Selected Short Stories by Katherine Mansfield Viewed Through Seventeenth-century Genre Paintings." Tekstualia 1, no. 4 (January 1, 2018): 35–52. http://dx.doi.org/10.5604/01.3001.0013.5150.

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The goal of the paper is to demonstrate the influence of the Dutch masters on the representation of women in Mansfield’s short stories. The correspondences discernible between Mansfieldian women characters and the women figures from the Dutch Old Masters’ canvases as well as Dutch painters’ techniques dealing with perspective and Mansfield’s treatment of narration show a lot in common. When introducing her female protagonists, Mansfield seems to employ certain narrative strategies that are reminiscent of the techniques utilised by the Old Masters. The paper addresses, therefore, two issues. Firstly, it deals with a transmedial aspect of Mansfield’s stories and makes an inquiry into the question of how the writer endowed her female protagonists with the characteristics that echo the features of women painted by the seventeenth-century artists. And secondly, the paper tries to establish why Mansfield would resort to the Old Masters’ canvases while constructing her modern texts. Since the topic of Dutch influences in Mansfield’s works appears to be a complex one, the paper is but an introduction into a deeper and more thorough inquiry into the works of Katherine Mansfield in relation to the 17th century paintings.

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26

Anna, Nadolska. "Participation of women painters from Lviv in the First Exhibition of Women Artists in Bydgoszcz (1930)." Ukraïnsʹka bìografìstika, no. 20 (March 2, 2020): 104–17. http://dx.doi.org/10.15407/ub.20.104.

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27

Khachibabyan, Mane. "Modernism and Feminism Representations of Women in Modernist Art and Literature." WISDOM 1, no. 6 (July 1, 2016): 118. http://dx.doi.org/10.24234/wisdom.v1i6.71.

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This article demonstrates the place and role of the image of women in modernist art and literature, mainly focusing on Impressionism and Post-impressionism. It discusses the unique works of modernist painters and writers (Marie Cassatt, Edgar Degas, Edouard Manet, Pablo Picasso and Virginia Woolf) to explore how modernist art and literature both defined, reflected and shaped gender roles. The article discourses on the representations of feminist views and gender inequality in the works of some modernist artists.

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28

Nolan, Liesel. "INDEPENDENT SPIRITS: WOMEN PAINTERS OF THE AMERICAN WEST, 1890-1945. Patricia Trenton." Art Documentation: Journal of the Art Libraries Society of North America 15, no. 1 (April 1996): 66–67. http://dx.doi.org/10.1086/adx.15.1.27948824.

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29

Yahyai, Fakhriya Al, Ayman Elsemary, Najlaa Al Saadi, and Amal Ismaili. "The Relationship between Orientalist Painters and Muslim Women: Between Imagination and Reality." Art and Design Review 12, no. 01 (2024): 63–72. http://dx.doi.org/10.4236/adr.2024.121005.

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30

Rusu, Marinela. "WOMEN AND THEIR ROLE IN HISTORY – The impact of women in the progress of society." Review of Artistic Education 28 (April 1, 2024): 263–72. http://dx.doi.org/10.35218/rae-2024-0032.

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The past eras of history were not, most of the times, permissive with the activity and manifestation of women within the society. For various reasons, women were neither helped nor encouraged to participate in large-scale social actions, they did not have access to ancient sports competitions, they were denied education to become painters, writers, philosophers or leaders. Despite all these impediments that intervened in history, women manifested themselves in society with a lot of power, either in literature (Sapho), philosophy (Hypathia) but also in state leadership (as pharaohs, in ancient Egypt). The present work brings to attention the names of great female personalities from ancient but also from recent history, women endowed with exceptional intelligence and character, who contributed to social progress and, above all, demonstrated that women can play an important role, which cannot be ignored in the history of humanity.

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31

Riaz, Mehvish, and Muhammad Shaban Rafi. "Gender-based Socio-semiotic Analysis of Honour Killing in Pakistani Paintings." Pakistan Journal of Women's Studies: Alam-e-Niswan 26, no. 1 (May 30, 2020): 125–49. http://dx.doi.org/10.46521/pjws.026.01.0021.

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Episodes of ideological concern related to honour norms and construction of social meanings depicted through paintings are pertinent in foregrounding the social realities of Pakistan. This paper analyzes the grammar of paintings from the perspective of gender roles assumed in the context of honour. The grammar of the visual design of five paintings painted by male and female Pakistani painters belonging to different areas of Pakistan have been qualitatively studied in the light of the social semiotic framework suggested by Kress and Leeuwen (2006). The results show that women are represented as helpless, outcast and oppressed beings; while men have been depicted, indirectly through signs, as oppressors. Paucity of research in this area and implications of the analysis for gender studies, anthropological linguistics, violence studies and visual literacy, make it a significant contribution to the existing literature.

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32

Ahmarofi, Nurul Syifa@Siti Aishah, Elis Syuhaila Mokhtar, Issarezal Ismail, and Ida Puteri Mahsan. "Chronology of Representation of Women in Painting in Malaysia: From 1930 to 2020." Idealogy Journal 7, no. 2 (September 1, 2022): 98–105. http://dx.doi.org/10.24191/idealogy.v7i2.354.

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Through the figure of women, various roles, situations, cultural identities, social and economic aspects are depicted in addition to presenting the aesthetics of women. The involvement of women in various situations and characters is important to know their characteristics, duties and responsibilities. This study focuses on the general chronology of the use of female figures in painting in Malaysia through a visual study by previous and recent painters. Through this analysis, the use of female figures in local paintings can be known and further contribute to the documentation process in an organized manner in addition to learning cultural values, identity and national treasures.

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33

Novikova, Ekaterina S. "XVITH CENTURY FEMALE SELF-PORTRAITURE IN ITALY AND ITS FORMAL CRITERIA." Arts education and science 3, no. 36 (2023): 74–82. http://dx.doi.org/10.36871/hon.202303074.

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Since the second half of the XVIth century, the number of female artists and sculptors gradually increased. Their work was extremely important already because for the first time it claimed success in a field where, until then, the fame had belonged exclusively to men. Self-portraits in the XVIth century became an extremely popular form of artistic creation among painters, including women. In general, the practice of artists putting their signatures on paintings did not go beyond the Italian tradition. However, it can be assumed that witnessing their work was an important moment for women of that time, when the myth that only a man could create was still popular. Self-portraits occupied a different place in the work of female artists: S. Anguissola painted more than a dozen self-portraits, L. Fontana — only one. Yet, the variety of portrait images does not deny the presence of common features characteristic of the work of all artists. The purpose of the study is to define formal criteria for Italian women’s self-portraits of the XVIth century. The revealed criteria allow to understand to what extent women’s selfportraits corresponded to the traditions of female portraiture of their time.

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34

ERİŞ KIZGIN, Eda. "THE PLACE OF PAINTERS WHO WERE EDUCATED IN INAS SANAYI-I NEFISE SCHOOL, IN TURKISH PAINTING." IEDSR Association 7, no. 18 (March 18, 2022): 98–104. http://dx.doi.org/10.46872/pj.514.

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Significant developments occurred in many fields in the Ottoman Empire, after it undergone social transformation with the period of Westernization. Women who stayed in the background in Ottoman society gained a respectable place by becoming more active with the period of westernization. During this process, women whose education level rose, also became interested in art. Women first met with art after the girls from the prominent families of the period took private painting lessons and were sent abroad for education. Fine arts education of women was performed by Inas Sanayi-i Nefise School, which was officially opened in 1914. The women painters who were trained in this school, where the important artists of the period gave education, made important contributions to the Turkish art of painting. These artists, who represented our country with their works both at home and abroad, pioneered the next generations. This study focused on the contributions of the works of Muzdan (Sait) Arel, Nazlı Ecevit, Guzin Duran, Melek Celal Sofu, Belkis (Mustafa) Hanım, Fahrunnisa Zeyd and Sabiha (Rustu) Bozcali, who were educated at Inas Sanayi-i Nefise School, to Turkish painting.

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Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.

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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "

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Clarke, Linda, Elsebet Frydendal Pedersen, and Christine Wall. "Balancing acts in construction: A study of two women painters in Denmark and Britain." NORA - Nordic Journal of Feminist and Gender Research 7, no. 2-3 (September 1999): 138–50. http://dx.doi.org/10.1080/08038749950167652.

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An, Hyeon-Kyeong. "A Study on Hair Style and Headdress in the Joseon Dynasty Genre Paintings: Focusing on the Genre Paintings of Danwon Kim Hong-do, Geungjae Kim Deug-shin, and Hyewon Shin Yoon-bok." Journal of the Korean Society of Cosmetology 29, no. 3 (June 30, 2023): 665–84. http://dx.doi.org/10.52660/jksc.2023.29.3.665.

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This study sought to provide basic data for developing the new korean hairstyle images by studying the hairstyles and headdress of Joseon dynasty in the late 18th and 19th centuries, focusing on the genre paintings of the three major Joseon genre painters, Danwon Kim Hong-do, Geungjae Kim Deug-shin, and Hyewon Shin Yoon-bok. The subjects of the study consisted of 25 pieces of the paintings of Kim Hong-do's "Danwon Genre Painting Book", 8 pieces of the paintings of Kim Deug-shin’s "Geungjae Genre Painting Book", and 30 pieces of the paintings of Shin Yoon-bok's "Hyewon Genre Painting Book". The following results were obtained: First, in terms of the sex ratio, the proportion of males was much higher than that of women’s, the age ratio, the proportion of middle-aged was much higher than elderly ones. By painter, Danwon interested in young children and boys, Geungjae in man adults, and Hyewon in female adult prostitute namely keesaeng. Second, looking at the hair style and headdress of men, there were far more types of headdress of men than women. The most common hair styles & headdress of men were Got, Sangtoo. Chidren before marred done Baird, bushy hair, and tied hair. In addition, Gun, Faereng-ee, Gumkijeon-lip, Bang-gun, Go-kal, Song-nak, Yu-gun, Bock-gun, Sat-got, Samo, Jeon-lip, Tang-gun, Cho-lip, Kalte-gee were appeared. Third, looking at the womens, the most common hair styles & headdress of women were Tre-meory and Eunjeun-meory. Children before married done Keemeet-meory. And Gun, Jeon-mo, Jang-ot, Tsuge chima, Garima, Ju-lip, Jeon-lip, Sat-got, Naul were appeared.

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Christen, Justine. "Balzac face à Delacroix : le défi de peindre « l’intérieur d’un harem »." Quêtes littéraires, no. 5 (December 30, 2015): 33–43. http://dx.doi.org/10.31743/ql.236.

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In spring 1834, when he started writing The Girl with the Golden Eyes, Honoré de Balzac was imbued with by Eugène Delacroix’s work and figure. Both shared an attraction towards the Orient which betrayed their tendency to romanticism. In 1834, the exhibition of the painting The women of Algiers in their Apartment encouraged a new impetus of the novelist’s oriental genius. From 1830, Balzac started to fulfill a dream: competing with Delacroix’s art by portraying the inside of a harem in the short story The Girl with the Golden Eyes, which he dedicated to the romantic painter. The hero, Henri de Marsay, conquers Paquita Valdès who is locked up in a luxurious Parisian hotel by her protector and lover, the Marquise of San Real. Paquita Valdès’s fatal passion for the Count unfolds against the backdrop of an oriental-like boudoir where Delacroix’s cherished colours prevail: yellow and red. This duo of colours, which sustains the unity of the twofold short story, prompted the following comment by Albert Béguin, a literary critic: “Balzac took up the challenge of competing with visual arts and expressing through linguistic means what painters usually say through the play with colours.” Hence the problematic question which motivates our study: How does Honoré de Balzac reproduce the romantic painter’s shape and colour language? We will first examine how the inordinate ambition to see everything and to have everything seen is expressed through Balzac’s art of composition, which he borrowed from Delacroix. The consecutive analyses of open and enclosed spaces will highlight Balzac’s treasured aesthetic law: the law of contrasts. The article will then show the aesthetic impact of the bodies and their stances upon the reader-viewer. Finally, the last part will focus on the suggestive potential of colour and motions in The Girl with the Golden Eyes.

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Ikwuemesi, Chuu Krydz, and Evaristus Obodo. "Primitives or Classicists? A Critical Look at the Work of Uli Women Painters of Nri." Critical Arts 35, no. 1 (January 2, 2021): 17–34. http://dx.doi.org/10.1080/02560046.2021.1883080.

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Inel, B., and B. Inel. "Discovering the Missing Heroines: The Role of Women Painters in Early Modernist Art in Turkey." Middle Eastern Studies 38, no. 2 (April 2002): 205–12. http://dx.doi.org/10.1080/714004451.

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Ginsburg, M. P. "On Portraits, Painters, and Women: Balzac's La Maison du chat-qui-pelote and James's "Glasses"." Comparative Literature 62, no. 2 (January 1, 2010): 122–43. http://dx.doi.org/10.1215/00104124-2010-002.

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Sohm, Philip. "Gendered Style in Italian Art Criticism from Michelangelo to Malvasia*." Renaissance Quarterly 48, no. 4 (1995): 759–808. http://dx.doi.org/10.2307/2863424.

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Did the concept of style have gender? Were the styles of particular Renaissance painters considered to have gendered qualities by contemporary critics? Because gender permeated the rhetorical and philological foundations of art criticism, it can provide a useful interpretive lens to examine the critical arsenal of writers on art, their attitudes toward style and the subterranean bias of their language. Feminist art history has grappled with gender more in terms of iconography, biography, or patronage following a social agenda to analyze a misogynist past and to remedy the marginalization of women in modern art historiography. An exceptional study by Elizabeth Cropper in 1976 broached the question of gender in aesthetics by reconstituting a complex history of love and beauty that converged in treatises on beautiful women.

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Gaitan-Salinas, Carmen. "Painters in their Own Rights: Three Second-Generation Women Artists Exiled after the Spanish Civil War." International Journal of Arts Theory and History 13, no. 2 (2018): 1–9. http://dx.doi.org/10.18848/2326-9952/cgp/v13i02/1-9.

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STOCKSTILL, MARCELLA. "Susan E. James.The Feminine Dynamic in English Art, 1485–1603: Women as Consumers, Patrons and Painters." Women's Studies 38, no. 5 (June 23, 2009): 600–604. http://dx.doi.org/10.1080/00497870903004956.

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Hunt, Jane E. "The ‘intrusion of women painters’: Ethel Anderson, modern art and gendered modernities in interwar Sydney, Australia." Women's History Review 21, no. 2 (April 2012): 171–88. http://dx.doi.org/10.1080/09612025.2012.657885.

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Rentetzi, Maria. "The women radium dial painters as experimental subjects (1920–1990) or what counts as human experimentation." NTM International Journal of History and Ethics of Natural Sciences, Technology and Medicine 12, no. 4 (September 2004): 233–48. http://dx.doi.org/10.1007/s00048-004-0201-3.

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Ali, Alia Hadi, Marukh Khan, and Aqeel Abbas. "Unveiling Symbolism: The Allegorical Tapestry of Female Attire in Poetry and Art of Pakistan." Journal of Design and Textiles 2, no. 2 (December 5, 2023): 114–31. http://dx.doi.org/10.32350/jdt.22.06.

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This research paper sheds light on the representation of traditional women from Punjab and their allegorical representation through Sufi poets and paintings. Women are and continue to be an integral part of art and artistic expression throughout human history from pre-history to modern times. The representation of women as an expression of art is an essential aspect in the history of art. This paper highlights the cultural and traditional depiction of women in the art of Chughtai, Ustad Allah Bux, Amrita Sher Gill and Anna Molka Ahmed through attire and its metaphorical representation. The selected paintings focus on the traditional depiction of Women in Punjab, and provides themes, styles associated in representing the women in paintings of Punjab. Such paintings are very expressive and ideally formalized with great delicacy and devotion, gives importance to womanhood through allegory.The role of females and their interpretation through Sufi poetry explains in visual of painters work choosen as subject matter for explaining. This paper reflects female attire in visuals and poetry. This study is reflecting content analysis of female representation through attire in poetry and painting with context of region Punjab Pakistan.

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Artan, Tülay. "Patrons, Painters, Women In Distress: The Changing Fortunes of Nevʿizade Atayi and Üskübi Mehmed Efendi in Early Eighteenth-Century Istanbul." Muqarnas Online 39, no. 1 (October 7, 2022): 109–52. http://dx.doi.org/10.1163/22118993-00391p07.

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Abstract Images of Ottoman women in verse and manuscript painting that have long been interpreted as realistic representations of their everyday life stand in stark contrast with how women are represented, addressed, and pigeonholed in religious books of conduct. While no distinction is made between the elite and commoners in these depictions of pleasurable outdoor activities, the regular, routine roles that the women played in the family and society disappear from sight. In light of a rare but well-known court scene showing women in public space and at a real trial of 1582, appended in all illustrated copies of Nevʿizade Atayi’s Ḫamse, I discuss the specifics of the legal opinion with which Pir Mehmed Efendi was associated, and how the trial was recollected in Istanbul’s literate circles after more than a century. Whether the production of the five illustrated Ḫamses in the first quarter of the eighteenth century was a concerted effort on the part of a specific group of artists, both Istanbulites and Inner Asians, is discussed in the second part of the article.

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GLORY, M. JENCY. "Different Dimensions Of Women In The Short Stories Of O’henry’s The Skylight Room And The Last Leaf." Think India 22, no. 2 (October 25, 2019): 472–76. http://dx.doi.org/10.26643/think-india.v22i2.8753.

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American writers began by unique ways of expressing their experience. American literature demonstrated the basic characteristics of all kinds of literature such as characters, plots, settings, images and themes. In this way William Sydney Porter, better known by his pen name O’Henry, was an American short story writer. His stories were known for their surprise endings. The short story The Skylight Room was about a young woman, Miss Leeson and she stayedat one of Mrs. Parker’s parlour. During her outstayed, Miss Leeson happened to swim in hard stormy times and was later rescued by a star. Henry’s another short story The Last Leaf contained the theme of commitment, sacrifice, friendship, compassion, hope and dedication. In this story there were three painters mentioned Sue, Johnsy and Behrman who were committed to something. Very early in this story Johnsy suffered by Pneumonia and she abandonedany hope of living. She stared the vine leaves through the window and she herself concluded that her last breath is decided only by the last leaf of the vine. Sue, her friend made plans to makeJohnsy come out of fear. With the help of Behrman she rebuilt hope in Johnsy. Behrman has paid his own life in order to save the life of Johnsy. The single leaf that he had painted on the wall became his masterpiece. The last leaf had given her hope of living and perished her pessimistic heart and made her to fight against the problem. Through these stories O’Henry sketched the different dimensions of women such as fear, judgement, selfish, kind-heart, virtue, perseverance, mystery, gay-heart, optimistic heart, confidence, good will and contentment.

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Mann, Susan. "Presidential Address: Myths of Asian Womanhood." Journal of Asian Studies 59, no. 4 (November 2000): 835–62. http://dx.doi.org/10.2307/2659214.

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Salman rushdie calls mythology “the family album or storehouse of a culture's childhood, containing [its] … future, codified as tales that are both poems and oracles” (1999, 83). Myths are, in his words, “the waking dreams our societies permit” that celebrate “the non-belongers, the different ones, the outlaws, the freaks” (73). Of course, all societies have such waking dreams, but women as mythic figures loom rather larger in some cultures than in others. Chinese poets, painters, sculptors, librettists, essayists, commentators, philosophers, storytellers, puppeteers, illustrators, and historians made a veritable industry of myths of womanhood—an industry that, I shall argue today, far outstrips any of its counterparts elsewhere in Asia.

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