Norma Broude

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.

Degas's “Misogyny”

In response to a series of nudes at their toilette, pastels exhibited by Degas at the Eighth Impressionist Exhibition in 1886, the contemporary novelist and critic J.-K. Huysmans initiated what has since become an established convention in the Degas literature: that of seeing personal malevolence as the unavoidable implication of Degass rejection of feminine stereotypes. Although Huysmans was not unsympathetic to the iconoclasm that had impelled Degas to substitute “real, living, denuded flesh” for “the smooth and slippery flesh of ever nude goddesses,” he could see no other motivation for this iconoclasm than a personal desire on the artists part to “humiliate” and “debase” his subjects. Degas, he maintained, had “brought an attentive cruelty and a patient hatred to bear upon his studies of nudes.”1

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.

Edgar Degas and French Feminism, ca. 1880: “The Young Spartans,” the Brothel Monotypes, and the Bathers Revisited

In this article, I shall consider the newly resurgent and visible feminist movement in France, ca. 1878-80, as a context for understanding the sometimes ambiguous and much debated meanings of many of Edgar Degass works of this period, specifically the Spartan Girls Challenging Boys (which, as evidence presented here will show, must have been revised and its figures given a more contemporaneous appearance at this time), the brothel monotypes, and the bather compositions. The writings of the Italian critic, Diego Martelli, a man who was a committed feminist activist and who was closely associated with Degas in Paris during these years, will be adduced to establish the extent to which feminist issues had become an accessible and relevant part of the modern world that Degas set out to interpret.

The Troubetzkoy Collection and the Influence of Decamps on the Macchiaioli

According to the Macchiaioli and their contemporaries, French painting in the Demidoff Collection, in particular the work of Decamps, decisively influenced the development of the macchia style. However, descriptions of works by Decamps in the collection in the period in question reveal its limited relevance to their developing style then. That Decamps must nevertheless have directly influenced the Macchiaioli is manifest from several of their works, especially between 1858 and 1860. In support of this contention, the article traces the emergence of an emphatic tonal style and thematic tastes similar to Decampss in a group of pictures by Signorini of 1858–1860, and suggests a new source — the Troubetzkoy Collection — where significant works by Decamps could have been accessible to the Macchiaioli at precisely this time.

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

G. B. Tiepolo at Valmarana: Gender Ideology in a Patrician Villa of the Settecento

The frescoes by Giambattista Tiepolo for the palazzina of the Villa Valmarana are commonly and benignly described in the art historical literature as taking for their theme “stories of love.” The political dynamics of gender, which inform their subjects, intentions, production, and reception, have never been recognized, let alone contextually probed. I argue here that the program for these frescoes embodied reactionary social norms and a conservative societal backlash in the mid-eighteenth century, engendered by the threat of dramatically changing conditions in the domestic and public lives of both women and men in the Veneto during this era.

The Macchiaioli: Art or History?

It was perhaps inevitable that the art of Italy during the nineteenth century, a century that saw the Risorgimento and the political emergence of the modern Italian state, should be added to those periods—like France during the Revolution—which are nowadays favored by both Marxist art historians and those prone to value works of art solely as reflections of political and social history. Such a concern with issues of social history rather than with those of traditional art history apparently motivated the recent exhibition of the art of the Macchiaioli—The Macchiaioli: Painters of Italian Life, 1850–1900—at the Frederick S. Wight Art Gallery at UCLA and certainly permeates the catalogue that was assembled by the American host institution to accompany that show.

The Macchiaioli as “Proto-Impressionists”: Realism, Popular Science and the Re-shaping of Macchia Romanticism, 1862–1886

In the current literature of nineteenth-century Italian painting, the Tuscan Macchiaioli are frequently described as “proto-Impression-ists,” as an early group of plein air painters, who, though less daring and unquestionably less brilliant than their better-known and somewhat younger contemporaries, the French Impressionists, followed nevertheless a line of inquiry which surely anticipated theirs.1