Mary D. Garrard

The expanding discourse : feminism and art history

* Introduction: The Expanding Discourse Norma Broude and Mary D. Garrard. * The Virgins One Bare Breast: Nudity, Gender, and Religious Meaning in Tuscan Early Renaissance Culture Margaret R. Miles. * Women in Frames: The Gaze, the Eye, the Profile in Renaissance Portraiture Patricia Simons. * Leonardo da Vinci: Female Portraits, Female Nature M. D. Garrard. * The Taming of the Blue: Writing Out Color in Italian Renaissance Theory Patricia L. Reilly. * Botticellis Primavera: A Lesson for the Bride * Lilian Zirpolo. * Titians Sacred and Profane Love and Marriage Rona Goffen. * The Loggia dei Lanzi: A Showcase of Female Subjugation Yael Even. * The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence Margaret D. Carroll. * The Muted Other: Gender and Morality in Augustan Rome and Eighteenth-Century Europe Natalie Boymel Kampen. * Secluded Vision: Images of Feminine Experience in Nineteenth-Century Europe Anne Higonnet. * Disagreeably Hidden: Construction and Constriction of the Lesbian Body in Rosa Bonheurs Horse Fair James M. Saslow. * LArt Fminin: The Formation of a Critical Category in Late Nineteenth-Century France Tamar Garb. * Morisots Wet Nurse: The Construction of Work and Leisure in Impressionist Painting Linda Nochlin. * Modernity and the Spaces of Femininity Griselda Pollock. * Edgar Degas and French Feminism, ca1880: The Young Spartans, the Brothel Monotypes, and the Bathers Revisited N. Broude. * Renoir and the Natural Woman T. Garb. * Going Native: Paul Gauguin and the Invention of Primitivist Modernism * Abigail Solomon-Godeau. * Gauguins Tahitian Body Peter Brooks. * The MoMAs Hot Mamas Carol Duncan. * Constructing Myths and Ideologies in Matisses Odalisques Marilynn Lincoln Board. * Ladies Shot and Painted: Female Embodiment in Surrealist Art Mary Ann Caws. * Culture, Politics, and Identity in the Paintings of Frida Kahlo Jaine Helland. * Egalitarian Vision, Gendered Experience: Women Printmakers and the WPA/FAP Graphic Arts Project Helen Langa. * Lee Krasner as LK Anne M. Wagner. * Georgia OKeeffe and Feminism: A Problem of Position Barbara Buhler Lynes. * Judy Chicagos Dinner Party: A Personal Vision of Womens History Josephine Withers. * Race RiotsCocktail PartiesBlack PanthersMoon Shots and Feminists: Faith Ringgolds Observations of the 1960s in America Lowery S. Sims. * Afrofemcentrism and Its Fruition in the Art of Elizabeth Catlett and Faith Ringgold Freida High W. Tesfagiorgis. * The Discourse of Others: Feminists and Postmodernism Craig Owens.

Feminism and Art History Questioning the Litany

* Introduction: Feminism and Art History Norma Broude and Mary D. Garrard. * Matrilineal Reinterpretation of Some Egyptian Sacred Cows Nancy Luomala. * The Great Goddess and the Palace Architecture of Crete Vincent Scully. * Mourners on Greek Vases: Remarks on the Social History of Women Christine Mitchell Havelock. * Social Status and Gender in Roman Art: The Case of the Saleswoman Natalie Boymel Kampen. * Eve and Mary: Conflicting Images of Medieval Woman Henry Kraus. * Taking a Second Look: Observations on the Iconography of a French Queen, Jeanne de Bourbon (13381378) Claire Richter Sherman. * Delilah Madlyn Millner Kahr. * Artemisia and Susanna M. D. Garrard. * Judith Leysters PropositionBetween Virtue and Vice Frima Fox Hofrichter. * Art History and Its Exclusions: The Example of Dutch Art Svetlana Alpers. * Happy Mothers and Other New Ideas in Eighteenth-Century French Art Carol Duncan. * Lost and Found: Once More the Fallen Woman Linda Nochlin. * Degass Misogyny N. Broude. * Gender or Genius? The Woman Artists of German Expressionism Alessandra Comini. * Virility and Domination in Early Twentieth-Century Vanguard Painting C. Duncan. * Miriam Schapiro and Femmage: Reflections on the Conflict Between Decoration and Abstraction in Twentieth-Century Art N. Broude. * Quilts: The Great American Art Patricia Mainardi.

Artemisia Gentileschi's Self-Portrait as the Allegory of Painting

In her Self-Portrait as the Allegory of Painting, Artemisia Gentileschi (1593-ca. 1652) made an audacious claim upon the core of artistic tradition, to create an entirely new image that was quite literally unavailable to any male artist. Her apparently modest self-image was, moreover, a sophisticated commentary upon a central philosophical issue of later Renaissance art theory, indicating an identification with her profession on a plane of greater self-awareness, intellectually and culturally, than has previously been acknowledged.

The Power of Feminist Art: The American Movement of the 1970s, History and Impact

Since its inception nearly 25 years ago, the feminist art movement has transformed the art world. Now, two professors of art history bring together 18 influential historians, critics, and artists to create this landmark volume. 245 illustrations, many in full-color. Bibliography. Notes. Time line.

Miriam Schapiro (1923–2015)

ion.4 Schapiro found stimulus for her layered fabric femmages and her politically charged art of decoration in the creative artifacts of women’s lives and experiences in America. An apron 1 Miriam Schapiro, Big OX #1, 1967. Acrylic on canvas, 90 x 108 in. Artist’s collection. By permission of the Estate of Miriam Schapiro

Michelangelo in Love: Decoding the Children's Bacchanal

Abstract In 1532-33, Michelangelo created a group of drawings for Tommaso de’ Cavalieri, some of which allude openly to the passion for Cavalieri that the artist professed in sonnets. More cryptic is the Childrens Bacchanal, which has resisted interpretation but opens to enriched understanding if dream analysis methods are used to explore Michelangelos creative process. A new reading suggests that Michelangelo plays referentially within his own formal vocabulary to represent the effect of love on artistic creativity. Figuring himself in coded ways, he also depicts Tommaso de’ Cavalieri in disguise, a reference that clarifies other images of Michelangelos beloved in his art.

Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art.

Artemisia Gentileschi, widely regarded as the most important woman artist before the modern period, was a major Italian Baroque painter of the seventeenth century and the only female follower of Caravaggio. This first full-length study of her life and work shows that her powerfully original treatments of mythic-heroic female subjects depart radically from traditional interpretations of the same themes.