You may use a chapter from an edited book for your assignment. The books below may help you in your search. Find them either in Criss Library or online; click on the book title for more information. Look carefully at the title and abstract or first paragraph of the chapter to ensure the topic and time period fits the assignment parameters.
Women as Artists and Patrons in the Netherlands, 1500-1700 by
This essay collection features innovative scholarship on women artists and patrons in the Netherlands 1500-1700. Covering painting, printmaking, and patronage, authors highlight the contributions of women art makers in the Netherlands, showing that women were prominent as creators in their own time and deserve to be recognized as such today.
Picturing Women in Late Medieval and Renaissance Art by
This extensively illustrated book discusses the representation of women in the art of the late Middle Ages in Northern Europe. Drawing on a wide range of different media, but making particular use of the rich plethora of woodcuts, the author charts how the images of women hanged during the period and proposes two basic categories - the Virgin and Eve, good and evil. Within these, however, we discover attitudes to sinful, foolish, married and unmarried women and the style and use of these images exposes the full extend of the misogyny entrenched in medieval society.
The Feminine Dynamic in English Art, 1485-1603 by
A significant contribution to the understanding of sixteenth-century English art in an historical context, this study by Susan James represents an intensive rethinking and restructuring of the Tudor art world based on a broad, detailed survey of women's diverse creative roles within that world. Through an extensive analysis of original documents, James examines and clarifies many of the misperceptions upon which modern discussions of Tudor art are based. The new evidence she lays out allows for a fresh investigation of the economics of art production, particularly in the images of Elizabeth I; of strategies for influencing political situations by carefully planned programs of portraiture; of the seminal importance of extended clans of immigrant Flemish artists and of careers of artists Susanna Horenboult and Lievine Teerlinc and their impact on the development of the portrait miniature. Drawn principally from primary sources, this book presents important new research which examines the contributions of Tudor women in the formation, distribution and popularization of the visual arts, particularly portraiture and the portrait miniature. James highlights the involvement of women as patrons, consumers and creators of art in sixteenth-century England and their use of the painted image as a statement of cultural worth. She explores and analyzes the amount of time, money, effort and ingenuity which women across all social classes invested in the development of art, in the uses they found for it, and the surprising and unexpected ways in which they exploited it.
Saints, sinners, and sisters : gender and northern art in Medieval and Early Modern Europe by
A collection of original essays, Saints, Sinners, and Sisters showcases the diverse questions currently being asked by gender scholars dealing with French, Netherlandish and German art from the medieval and early modern periods. Moving beyond the reclamation of personalities and oeuvres of 'lost' female artists, the contributors pose questions about gender and sex within specific historical contexts, addressing such issues as intended audience, use of the object, and patronage. These avenues of inquiry intersect with larger cultural questions concerning societal control of women. The book's three sections, 'Saints,' 'Sinners,' and 'Sisters, Wives, Poets' are each preceded by a concise introductory essay, detailing themes and offering reflective comparisons of theses and information. In 'Saints,' contributors look at women who were positive exemplar used by society to uphold standards. In the second section, the essays focus on the power of women's sexuality. The third section expands beyond the customary dichotomous division of the first two to examine women in diverse roles not widely studied as positions of women in those times. This final section expands our definitions of women's responsibilities and realigns them historically; it argues that women, and thus gender, need to be understood within a much broader historical context and beyond simplistic approaches sometimes superimposed by present-day readers on past times. This volume answers an acute need for research on the art of Northern Europe prior to the 20th century, and highlights the possibilities of new directions in the field. The effect of the new scholarship presented here is to broaden the discursive field, allowing fluidity of disciplinary boundaries, resulting in a volume that is illuminating to historians of more than art alone.
Reassessing the Roles of Women As 'Makers' of Medieval Art and Architecture by
These volumes propose a renewed way of framing the debate around the history of medieval art and architecture to highlight the multiple roles played by women. Today's standard division of artist from patron is not seen in medieval inscriptions--on paintings, metalwork, embroideries, or buildings--where the most common verb is 'made' (fecit). At times this denotes the individual whose hands produced the work, but it can equally refer to the person whose donation made the undertaking possible. Here twenty-four scholars examine secular and religious art from across medieval Europe to demonstrate that a range of studies is of interest not just for a particular time and place but because, from this range, overall conclusions can be drawn for the question of medieval art history as a whole.
The Sides of the North by
The Sides of the North is dedicated to Yona Pinson's extensive scholarly work on Northern Renaissance art, from Hieronymus Bosch and Peter Breughel's oeuvre, through lessons of morality, the Fool's imagery, gender problems in the representation of the 'femme fatale' bourgeois seductress, to emblem studies, and up to her most recent project on Mirror, Moralization and Irony in Bosch's painting. In tribute to her research, this volume offers new insights into her fields of interest from a number of leading scholars in these disciplines. Larry Silver reconstructs a recently found Adoration of the Magi Triptych by Bosch, while Mara R. Wade, Michael J. Giordano and Kathryn M. Rudy discuss aspects of self-fashioning through portraiture, emblem books, and manuscripts and their spiritual and performative qualities. Nurith Kenaan-Kedar and Liad Rinot delve into problems of marginality in Gothic sculpture, as well as in Robert Campain's and Jan van Eyck's paintings. Ingrid Alexander-Skipnes, Ruth Strauss and Juliette Roding explore the topic of artistic identities and intentionalism, and political ideologies in various media, such as in small-scale sculptures and paintings. Just as Yona Pinson's research diversified from iconographical studies to post-modern reflections on such issues as marginality and folly, this anthology presents a broad spectrum not only of the diverse topics, genres, and media of Northern Renaissance art, but also, and particularly, an overview of the methodological range of art scholarship of recent decades, thus offering readers insights into the intricate sides of contemporary Netherlandish visual culture.
Women Who Ruled: Queens, Goddesses, Amazons in Renaissance and Baroque Art by
A fascinating examination of a variety of female archetypes, from seductress to warrior, as represented in more than 90 paintings, prints, drawings, sculptures and decorative-arts pieces from the Renaissance and Baroque periods.
Renaissance Bodies by
"Renaissance Bodies" is a unique collection of views on the ways in which the human image has been represented in the arts and literature of English Renaissance society. The subjects discussed range from high art to popular culture, from portraits of Elizabeth I to polemical prints mocking religious fanaticism, and include miniatures, manners, anatomy, drama and architectural patronage.
Attending to Women in Early Modern England by
This volume contains the edited proceedings from the 1990 symposium of the same title, focusing on the interdisciplinary study of women in early modern England. After an introduction providing an overview of the current issues shaping Renaissance women's studies, the four parts of the book cover the challenge of making women visible and its political implications in academia; the construction of identity in the representation of women's deaths; an analysis of working-class women; and issues of pedagogy.
Eva/Ave: Women in Renaissance and Baroque Prints by
Russell, a curator at the National Gallery, touches upon various topics relating to the portrayal of women during this period: chastity as social necessity; the choice between marriage and convent; the inherent (male) power of the visual image. Grouped by subject matter, the prints portray Eve, Venus, and the Virgin and saints. A section on heroines includes the biblical Judith, who decapitated Holofernes. In one print, Judith, fully clothed, is depicted as powerful and virtuous; in another by the same artist, she is eroticized by her nakedness. The chapter on lovers offers a series of ``ill-assorted'' couples--one young woman with an old man is shown with her hand open, ``demanding money before she will grant sexual favors.'' This book provides a thoughtful feminist reading of a genre of art--and a period of art history--unabashedly committed to the subjugation of the female sex.
Try combinations of the search terms below to find an article in JSTOR about the role of women in Northern Renaissance art.
| Place | Time | Subject |
|---|---|---|
|
Netherlands Belgium Germany France England Low countries |
Renaissance 14th century 15th century 16th century |
Women's art Women's patronage Female patrons Art of women Women painters Female painters Women's work Women's roles Wives in art Sisters in art Daughters in art Saints in art Virgin Mary in art Nuns in art |
Do an Advanced Search in JSTOR for articles about Northern Renaissance painting in the National Gallery Technical Bulletin.
