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Archive for the 'Early Modern' Category

A very good documentary of women and Western art produced by BBC. Part One:   Part Two:

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The Leyster exhibit at the National Gallery of Art offers a rare opportunity to see and enjoy numerous works by this 17th-c. Dutch painter and her contemporaries, Frans Hals and jan Miense Molenaer.  Read more in the Washington Post, July 3, 2009.

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“Approximately half of the forty women artists discussed in this book survive only as a name on a printed page.” (F. Jacobs, Defining the Renaissance Virtuosa…, 1997/1999, 1) How can we write (or study) a history of works that no longer exist, and likely haven’t existed for centuries? Why have Sofonisba Anguissola’s and Lavinia Fontana’s […]

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As you read W. and M. Wittkower on Gentileschi, consider the language the authors use to describe Gentileschi, her personality, career, attitude(s), art, and the “case of seduction.” How do they describe Agostino Tassi and his actions? How does the “legend” of Gentileschi compare with Vasari’s account of Properzia dei Rossi? One theme we see […]

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Clothing

Two points that came out in our discussion of clothing are: social restrictions imposed on men and women regarding the clothing and accessories they wore (sumptuary laws), and the bodily restrictions clothing imposed on the wearer. Sumptuary laws made it possible to see/recognize social hierarchies, thus maintaining the stratification of social classes. These laws also […]

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Patronage

How might we summarize our discussion of art patronage in early modern Italy? Certainly, negotiation and mediation continue to be themes in our examination of women and Western art, as Heather’s discussion of Vittoria Colonna demonstrated. Joanna explored with us how some women, namely Isabella d’Este, could take on a type of art patronage (mythological […]

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Negotiating the art world…

How do women negotiate within the art world in early modern Italy? Can we make any generalizations? Keeping in mind that generalizations can be too broad! In Vasari’s Life of Properzia de’ Rossi, he writes that Properzia, “through her husband as intermediary,” applied to the cathedral committee for an opportunity to work on the facade […]

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