Academic literature on the topic 'Female-painter'

The Neotropical genus Neodischistus Painter has a distribution restricted to South (Brazil and Argentina) and Central America (Panama). The genus is composed of two previously described species that are herein revised: N. currani Painter and N. collaris Painter. One new Brazilian species is described: N. marstoni sp. nov. Illustrations of the external morphology of adults and male and female terminalia are also included. An identification key to the species is presented and a short discussion about species distributions is added.

Like human life, the history of color and the emergence of nature is also very mysterious and vast. From the moment when man opened his eyes in the lap of nature, he saw nature with colors. Life cannot be imagined without color and nature.Color and nature have an unbreakable relationship with the creation of nation. Nature without colors and colors without nature cannot be imagined, every nature thing present in the earth like: - tree - plant, animal - bird, animal - animal, river, mountain, fire, water, sky etc. Colors are taken with the look मानव जीवन की भांति रंग एंव प्रकृति के उद्रय का इतिहास भी बडा रहस्यमय ओर विराट है मनुष्य ने जिस समय प्रकृति की गोद मे अपनी आॅख खोली उस समय से ही उसने प्रकृति को रंगो के साथ में देखा । रंग एंव प्रकृति के बीना जीवन की कल्पना नहीं की जा सकती है।सष्ट्रि के निर्माण के साथ ही रंग एंव प्रकृति का अटूट संबंध रहा है। रंगो के बिना प्रकृति तथा प्रकृति के बिना रंगो की कल्पना नहीं की जा सकती है सष्ट्रि में उपस्थित प्रत्येक प्रकृति वस्तु जैसे:- पेड - पौधे ,पषु - पक्षी, जीव - जन्तु ,नदी ,पहाड ,अग्नि ,जल, आकाष आदि सभी एक निष्चित स्वरुप के साथ रंग लिए होते है

Disperse dyes are well known as common sensitizers in contact allergy dermatitis. Disperse yellow 3 is usually adopted in the textile industry for dying synthetic fibers, but is also used in hair dyes and for colouring plastic materials. We describe three cases of two males and one female patient, respectively a painter, an actor and a nursery-school teacher, who presented contact allergy dermatitis to disperse yellow 3 dye.

Critics of Anne Brontëë's The Tenant of Wildfell Hall (1848) have frequently noted the artistic endeavors of the novel's heroine, Helen Graham, yet they have not fully considered the historical and narratological ramifications of Helen's career as a painter. This essay argues that Helen's artworks cannot be considered as mere background to the novel or as simply symbolic reflections of the heroine's (or the author's) emotions. Instead, we must see the scenes of painting in Tenant as indicators of the novel's radical view of women's role as creative producers during a particularly complex moment in art history, one in which early-nineteenth-century female amateurism began its gradual transition from amateur "accomplished" woman to the professional female artist——a historical transition that, as is suggested in readings of various nineteenth-century novels, is in its earliest stages at precisely the moment of the writing and publication of Tenant. At the narrative level, the novel's many scenes of painting provide its readers with detailed, if oblique, guidelines for interpretation; the novel is formally and ideologically impacted by the presence of its painter-heroine. Most particularly, such a reevaluation of the role of painting in the novel resolves a central critical debate over the novel's problematic narrative structure.

This article explores the ‘New Madonna’ in Rita Angus’s artwork in the 1940s and early 1950s. The New Madonna combines female independence and celibacy with sexualityand motherhood. She develops from Angus’s position as a woman painter who lived and worked alone, and is expressed in three nudes and a number of goddess portraits which are discussed. The origins of the term ‘New Madonna’ and the interpretative possibilities it affords to Angus’s art are examined. These works allow Angus to inscribe herself with a value derived from being female. In order to offer insight into these portraits, Angus’s letters to the composer Douglas Gordon Lilburn are considered.

The article analyzes the image system in Galsworthy’s novel The White Monkey with a focus on aesthetic directions of modernism and decadence as presented in the text. The novel creates images depicting representatives of new trends in music and visual arts. The study takes into account the names of the artists mentioned by Galsworthy himself and their relationship with real artists. The coexistence of aesthetic concepts in the artistic world of the novel was a response to the struggles in English culture in the first third of the 20th century. Intergenerational conflict is exacerbated by the clash of aesthetic concepts. It is shown how the work of fictional Vertiginist artists (Frederic Wilmer, Claude Brains) reflects Vorticism. The Vorticists identified themselves as the artists of the future, like the Italian Futurists and Russian Cubo-Futurists. The Vertiginist painter Frederic Wilmer is compared to the realist painter Hubert Marsland, whose pictures resemble the works of the Dutch painter Matthijs Maris and the French painter Gustave Courbet. The role of Claude Brains and his works in the inner world of the novel is connected with the use of modernist techniques in style and narration – fragmentation, montage, speed and movement of time. Aubrey Green’s work reflects the perception of the traditions of the Renaissance, Impressionism, Cubism, Art Nouveau graphics, Art Deco. Galsworthy depicts Vertiginists satirically, showing his preference for the character of Aubrey Green with with his mix of different styles. The model Victorine Biсket resembles E. Manet’s model Victorine Meurent. In contrast to the modern art deco trend, Victorine may become a key artistic type of the era, as the female images of Aubrey Beardsley and Charles Dana once became such types. Galsworthy does not unequivocally reject contemporary art. Through the relationship between the past and the present, he expresses his attitude towards contemporary artists.

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives.
Mihri Rasim (1885-1954) est la plus importante peintre turque et une pionnière féministe. L’idée reçue à son sujet est qu’elle a été une artiste marginale, inclassable et qu'elle est décédée dans la désuétude aux États-Unis, amère d’avoir choisi une carrière artistique. À défaut d’information, auteurs et historiens de l’art ont masqué leur ignorance en élaborant un récit à partir de la personnalité fascinante de Rasim. La présente étude, qui est la première thèse de doctorat et aussi la première monographie extensive sur Rasim, déconstruit ce mythe. Rasim était une ambitieuse peintre et une Jeune-Turque arriviste qui avait une stratégie pour atteindre l’objet de son ambition. Elle a poursuivi deux objectifs tout au long de sa vie : élargir le spectre des possibilités des femmes et être considérée elle-même, selon ses propres termes, « parmi les gens de talents ». À Istanbul, à une époque où les femmes pouvaient difficilement sortir de leur harem, elle a instauré une première école de beaux-arts pour les femmes. Pendant qu’elle y était la directrice, elle a mis en place les premiers cours de nus féminins de l’histoire de l’art turc. Elle a permis aux femmes de recevoir une éducation artistique comparable aux standards artistiques européens et leur a donné accès à un nouveau métier. Elle a créé une bourse pour ses étudiantes à l’Académie et elle a essayé de constituer une association d’entraides pour les peintres-femmes. Elle a aussi fait les portraits des dirigeants Jeunes-Turcs et ceux de leur entourage. Elle a développé son plan artistique en conservant les mêmes objectifs et en s’appuyant toujours sur la même stratégie. Elle s’est servie de ses relations politiques et sociales à Istanbul, ou s’est efforcée d’en former de nouvelles lorsqu’elle se trouvait en Europe ou aux États-Unis. Elle a ainsi construit un réseau au service de sa carrière. Pour ce faire, elle a portraituré de grands hommes modernistes, même controversés, du vingtième siècle – Alphonse XIII, Benito Mussolini, Mustafa Kemal Atatürk, Franklin Delano Roosevelt, Thomas Edison. Dans une perspective féministe, mon étude établit l’importance de cette artiste cosmopolite du vingtième siècle. Je mets au jour les détails de la vie et de l’art de Rasim qui jusqu’à présent étaient méconnus. Au moyen de documents d’archives inédits, ses données élémentaires biographiques sont clarifiées. Une datation et une identification de ses sujets de portraits sont offertes. Je propose une approche innovatrice pour examiner l’art de Rasim que j’analyse par rapport à la scène artistique et culturelle turque, et mondiale. J’évalue l’impact, pour son époque et la nôtre, des gestes posés par Mihri Rasim. Ma thèse témoigne du rôle essentiel des femmes culturelles et politiques majeures, ainsi que des limites qui leur étaient, et qui leur sont encore, imposées par le système en place.
Mihri Rasim (1885-1954) is Turkey’s most important painter and feminist pioneer. The widely shared assumption about her is that she was a marginal, unclassifiable artist, who died in misery and resentful for having dedicated her life to art. Without any real information, authors and art historians obscured their ignorance by elaborating her life story out of her fascinating personality. My dissertation, which is also the first exhaustive art historical study on the artist, is dismantling this myth. Rasim was an ambitious artist and an upstart, Young Turk, who had a strategy to achieve her ambition. From the beginning of her career and for the rest of her life she pursued two goals: she expanded women’s horizon of possibilities and she aspired to be considered, in her own words, “among the talented people”. In Istanbul at a time when Turkish women could barely leave their harem, she set up the first fine arts school for women. While she was the head of women’s Academy, she introduced the first female nude classes in the history of Turkish arts. She allowed women to receive an art education comparable to European artistic standards and provided them access to a new profession. She created a scholarship for her students at the academy and tried to constitute an association of mutual help for female painters. She also made the portraits of Young-Turk leaders and of their entourage. She used her political connections in Istanbul, and, as she moved from Turkey to Europe to the United-States, she developed her artistic project with new interlocutors and in different contexts but always with the same purposes. She built a network to support her career. In order to achieve this she portrayed great modernist men of the first half of the twentieth century, even controversial ones – Alphonse XIII, Benito Mussolini, Mustafa Kemal Atatürk, Franklin Delano Roosevelt, Thomas Edison. With a feminist approach my dissertation establishes the importance of this cosmopolitan artist of the twentieth century. I am uncovering the details of her life and art, which were disregarded until today. Using original and unpublished archival materials, her elementary biographical facts are clarified. Dates for her works are submitted and identifications of her sitters are made. I propose an innovative approach to examine the painter and her artistic production not only in relation to Turkish plastic arts but also in relation to a more global artistic context. I assess the impact of her actions in her time and ours. My dissertation stands as a testament to the importance of major cultural and political women, and the limits that were and are once again placed upon them.

Figuring Faith and Female Power in the Art of Rubens argues that the Baroque painter, propagandist, and diplomat, Peter Paul Rubens, was not only aware of rapidly shifting religious and cultural attitudes toward women, but actively engaged in shaping them. Today, Rubens’s paintings continue to be used -- and abused -- to prescribe and proscribe certain forms of femininity. Repositioning some of the artist’s best-known works within seventeenth-century Catholic theology and female court culture, this book provides a feminist corrective to a body of art historical scholarship in which studies of gender and religion are often mutually exclusive. Moving chronologically through Rubens’s lengthy career, the author shows that, in relation to the powerful women in his life, Rubens figured the female form as a transhistorical carrier of meaning whose devotional and rhetorical efficacy was heightened rather than diminished by notions of female difference and particularity.

Chapter 10 compares the work of J. Sheridan Le Fanu, Edgar Allan Poe, and Emmanuel Swedenborg. Le Fanu is closely connected to Maturin and copies a number of his tropes in ‘Spalatro’: mimetic contagion, blood for money, the demonic tempter, and suicide. Le Fanu, aware of the deathliness of his Anglo-Irish culture, seeks ways to engender life and movement through narrating and revealing death so that a transcendence beyond can be imagined. He is compared to Poe, whose female protagonists remain entrapped by materiality even as they seek to escape it, and shown to be more grotesque. He uses Swedenborg to render the afterlife itself material and real, especially through his spiritual creatures, and to make the transcendent the cause of the natural. A proto-feminist theology yokes female Gothic entrapment to the power of death, and the heroines of ‘Schalken the Painter’ and ‘Carmilla’ apocalyptically reveal the presence of death in its grotesque materiality, while the women of Uncle Silas act as agents of heavenly charity.

Giorgio Agamben’s earliest encounter with Gershom Scholem concerns an essay from 1972 entitled ‘Walter Benjamin and his Angel’,1 Scholem’s first attempt to provide a definitive account of Benjamin’s legacy. At its centre was a short text entitled ‘Agesilaus Santander’, which Benjamin composed on 12 and 13 August 1933 as a gift for the Dutch painter Anna Maria Blaupot ten Cate. In the text, the narrator is first given a ‘secret’ Jewish name, which is then revealed to contain an image of the ‘New Angel’ as well as a ‘female’ and ‘male’ form. Before naming himself as such, the ‘new angel’ presents himself as one of a host of angels that God creates at every given moment, whose only task, according to the Kabbalah, is to sing God’s praises at His throne before returning to the void. By sending his ‘feminine aspect’ to the masculine one, however, the angel has only strengthened the narrator’s ‘ability to wait’; even when face to face with the woman he awaits he does not fall upon her because ‘he wants happiness: […] the conflict in which the rapture of that which happens just once [des Einmaligen], the new, the as-yet-unlived is combined with the bliss of experiencing something once more [des Nocheinmal], of possessing once again, of having lived’. Thus, the narrator continues, ‘he has nothing new to hope for on any road other than the road home’ to the future whence he came, where the as-yet-unlived will have been lived.

During 1938-1939, Virginia Woolf and the Chinese writer and painter Ling Shuhua engaged in frequent correspondence, which gave them the opportunity to confide to each other their shared sense of bereavement, as well as their respective anxieties over recent historical events in China, Europe, and Japan. Ling’s novel, Ancient Melodies, published by the Hogarth Press in 1953, exemplifies the idea of female solidarity and pacifism, opposing the rapid growth of international militarisation world-wide. This chapter elucidates the nexus between Woolf and Shuhua by juxtaposing their works, The Years (1937) and Ancient Melodies (1938). It shows that both women turn back to family, childhood and tradition to explore their cultural heritages to voice out distinctive female reflections on their respective cultures.

This chapter details the author's introduction to a group of American women who wished to finance and undertake an excavation in Karnak. These women include television starlet Diane Smith, painter and art dealer Mary Martin, photographer and writer Audrey Topping, former skeet-shooting champion Betje Carlson, and Gypsy Grave, a director of a private archaeological museum in Florida. They were five power women who had pulled strings to get permission for the first all-female archaeological mission. They set up the private Nile Foundation, for which they collected roughly $100,000 in sponsors' money by way of charity and fundraising events. The concession of the project had been obtained through the American Research Center in Egypt, and the standing committee of the antiquities administration had approved it only with the stipulation that it be strictly scientific.

Today, Iran, Morocco, Tunisia, etc. women photographers have made the orientalist visual expression form the focal point of their art: the orientalist painting tradition as a result of the painter Delacroix's trip to Morocco in 1832, the imagination world and the painting tradition shaped by the economy-politics of the period, from the male-dominated point of view, the harem, the chamber, etc. It is based on fantasies based on the female body in oriental spaces. Although this painting movement maintained its effectiveness between 1832-1914, it is taken as a reference by photographers in today's postmodern art environment. In today's photography art, Shirin Neshat, Lalla Essaydi, Shadi Ghadirian, Majida Khattari, Meriem Bouderbala, who have Eastern and Western cultures and mostly live in Western countries, visualize the position of women in their countries with an interdisciplinary interpretation in their photographic visions that they shape with a post-orientalist attitude.

This chapter analyses a crucible of the state’s making in the sixteenth and seventeenth centuries, the public anatomy lesson. The body, this piece of ‘natural’ property that every human ‘has’, was being increasingly opened up and peered into for the purposes of finally seeing human nature itself. Bringing together visual studies and international relations, the chapter charts the scopic regime that established vision as modernity’s primary ordered instrument and that was honed upon the body dissected in public. To map its contours, it begins with the writings of anatomist William Harvey and scientist-statesman Francis Bacon. The chapter then tracks how this scopic regime was institutionalised by the spread of the highly popular public anatomy lesson across early modern Europe. It then analyses Renaissance and early modern representations of the public anatomy lesson, notably the frontispiece of the first manual of modern medicine, Andrea Vesalius’s On the Fabric of the Human Body (1943), and Dutch painter Rembrandt’s anatomy lesson paintings. The chapter examines the work of boundary-drawing and state-building wrought by these public performances by tracking the roles of the female and the poor body in their crafting.

Chapter 5 explores the influence exerted by Livy on Shakespeare’s Macbeth. Livy’s account of the early, legendary Rome makes itself felt in Macbeth in two distinct but complementary ways. When Hector Boece wrote his national history of Scotland, the Scotorum Historia (1527), he turned to Livy to fill the historical blanks in Scotland’s past. The Macbeth episode was no exception, and Boece modelled his Maccabeus closely on Livy’s Tarquin the Proud. Raphael Holinshed (c.1525–80?), relying on Boece’s Scotorum Historia, as well as its Scots translation by John Bellenden, for his Historie of Scotland, thereby incorporated these distinctly Livian elements into his own account of Macbeth’s reign. Shakespeare used Holinshed as his primary source for Macbeth and thus rehearsed a portrait of tyranny which was ultimately inspired by Livy’s Tarquin. The second means of transmission involves a new source for consideration: William Painter’s Second Tome of the Palace of Pleasure. By translating Livy for his novel the Two Roman Queenes, Painter highlighted the roles played by two female king-makers, Tanaquil and Tullia, in establishing and edifying the Tarquinian dynasty at Rome. It was Painter’s interpretation of Livy, this chapter argues, that alerted Shakespeare to the dramatically satisfying prospect of a wife who not only encourages her husband with an appeal to his masculinity, but readily participates in the crimes she would have her husband commit. There is more of ancient Rome to Shakespeare’s Scottish play, this chapter argues, than first meets the eye.

In February 1909 Virginia Woolf visited the Darwin family home in which wood engraver Gwen Darwin Raverat grew up amid a large, boisterous family that struck Woolf as having a temperament “too definite, burly, and industrious”. Woolf predicts that young Gwen will “end in 10 years time by being a strong and sensible woman, plainly clothed”; she never predicts or acknowledges Raverat’s artistic success. Focusing on Woolf’s robust correspondence in 1922-1923 with Raverat’s painter husband, Jacques Raverat, this chapter argues that Woolf’s readers will better understand what is at stake in Woolf’s literary visions of indefinite, ethereal, and leisured femininity if they also understand how Gwen Raverat’s competing aesthetic of definite, burly, and industrious femininity informs her wood engravings. This paper’s concern with Woolf’s aesthetic and her ascription to Raverat of an inferior, less feminine aesthetic is ultimately an inquiry into what can and cannot constitute women’s modern art.