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Relevant bibliographies by topics / Women artists Nude in art

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Academic literature on the topic 'Women artists Nude in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Women artists Nude in art"

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Nikolić, Jovana. "Symbolism and imagination of the medieval period: The lady and the unicorn in the works of Gustave Moreau." Kultura, no. 168 (2020): 51–68. http://dx.doi.org/10.5937/kultura2068051n.

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The French Symbolist painter Gustave Moreau often used the motifs of fantastic beings and animals in his works, amongst which the unicorn found its place. Moreau got the inspiration for the unicorn motif after a visit to the Cluny Museum in Paris, in which six medieval tapestries with the name "The Lady and the Unicorn" were exhibited. Relying on the French Middle Age heritage, Moreau has interpreted the medieval legend of the hunt for this fantastic beast (with the aid of a virgin) in a new way, close to the art of Symbolism and the ideas of the cultural and intellectual climate of Paris at the end of the 19th century. In the Moreau's paintings "The Unicorn" and "The Unicorns", beautiful young nude girls are portrayed in the company of one or multiple unicorns. Similarly to the lady on the medieval tapestry, they too gently caress the animal, showing a close and sensual relationship between them. Although they were rid of their clothes, the artist donned lavish capes, crowns and jewellery on them, alluding to their privileged social status. Their beauty, nudity and closeness with the unicorns ties them to the theme of the femme fatal, which was often depicted in the Symbolist art forms. Showing the fairer sex as beings closer to the material, instinctual and irrational, Moreau has equated women and animals, as is the case with these paintings. Another important theme of the Symbolic art forms which can be seen on the aforementioned paintings is nature, wild and untouched. The landscape in the paintings shows a harmony between the unrestrained nature and the heroes of the painting, freed from strict moral laws of the civil society, or civilization in general. Putting the ladies and the unicorns in an ideal forest landscape, Moreau paints an intimate vision of an imaginary golden age, in this case the Middle Age, through a harmonic relationship of unicorns, women and nature. In that manner, Moreau's unicorns tell a fairy tale of a modern European man at the end of the 19th century: a fairy tale of harmony, sensuality and beauty, hidden in the realms of imagination and dreams.

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Kudelska, Dorota. "What the Polish Mother Does Not Say. Zbylut Grzywacz Against the Myth." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (October 30, 2019): 103–23. http://dx.doi.org/10.18290/rh.2019.68.4-5en.

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The Polish version of the article was published in Roczniki Humanistyczne vol. 62, issue 4 (2014). The article presents the art of Zbylut Grzywacz in the context of his post-mortem exhibition in the Kraków National Museum in 2009. The subjects of the analysis are his paintings from the 1970s and 1980s, presenting women through a simple rough treatment of human body form, without an academic idealization. The destruction of the form conforms to the deconstruction of the myth of a Polish Mother. It is due to the change of a social position of the figures whom Grzywacz gives the roles of guardians of tradition, as well as due to their mental and moral degradation. The artist uses an irony in showing his knowledge of the tradition of showing a human body in an academic nude (what he denies), in a Flemish art of showing torn animal meat (with the Rembrandt’s reflection) and Holbein’s tradition of the post-mortem decay (The Body of the Dead Christ in the Tomb). One of the main themes in Grzywacz’s paintings is the loneliness, especially distinct in a representation of symbolically naked persons among insensible pedestrians. The Polish Mother—here she doesn’t belong to any society. The explicitness and the picturesque materiality covers a certain “crack” in the world presented inside the hard-to-comprehend present-day multitude of Grzywacz’s paintings. Behind the cover of the foreground tale, as one could think on the basis of the sketchbooks, there is a kind of an “unpresented world”, in which the author incessantly tells us about the pain of his existence with no anaesthetization by grotesque.

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Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (July 13, 2020): 62–87. http://dx.doi.org/10.46539/cmj.v1i2.21.

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As part of a larger study on the mainstreaming of pornography in contemporary film and television, this essay attempts to examine and extend our vocabulary for discussing visual representations of the human body by revisiting Kenneth Clark’s important study The Nude from 1972. Clark’s book provides a history of the male and female nude in two- and three-dimensional art from Ancient Egypt and Greece to the Renaissance and beyond. This essay focuses on places within his analysis that are especially generative for understanding pornography such as the importance of placing the nude form within a narrative (Venus is emerging from her bath, for example) or attempts by artists to suggest movement within static forms. The essay places Clark’s rich typology in conversation with other thinkers, such as Fredric Jameson, Erwin Panofsky, E. H. Gombrich, and Michel Foucault. The piece ends with a discussion of androgyny and hermaphroditism as they relate to the expression of gender in plastic art, especially the notion that all representations of the body necessarily include a gender spectrum within one figure. Artists whose work is looked at in some detail include Da Vinci, Michelangelo, and Donatello.

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del Mar Pérez-Gil, María. "Undressing the Virgin Mary: Nudity and Gendered Art." Feminist Theology 25, no. 2 (January 2017): 208–21. http://dx.doi.org/10.1177/0966735016679907.

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Stripping the Virgin Mary of the myths, stories, and dogmas surrounding her is a task that has particularly appealed to a branch of feminist theology which seeks to reclaim her as a figure of female empowerment. This article aims to explore the transformation of Mary’s body into an element of resistance in the work of some contemporary artists. By depicting her nude or semi-nude, artists disrupt the gender values commonly associated with the Virgin and open up alternative possibilities of affirmative selfhood through her body. I contend that, in these works, the Virgin’s body functions as a ‘relational’ body that enters into dialogue with hitherto marginalized categories, such as the carnal, the sensual, the notion of fleshly materiality, or even the excluded sexualities of transgender people.

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Samu, Margaret. "The Nude in Eighteenth- and Nineteenth-Century Russian Sculpture." Experiment 18, no. 1 (2012): 33–60. http://dx.doi.org/10.1163/221173012x643044.

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Abstract This article analyzes Russian attitudes toward nudity in art in the eighteenth and nineteenth centuries, from the importation of Italian nudes by Peter the Great to the continued study of the nude model by Socialist Realist artists. Questions addressed include the reception of nude sculpture in Russia and its change over time; the role of life models; and the subject matter sculptors chose.

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Andrews, Julia F. "Women Artists in Twentieth-Century China." positions: asia critique 28, no. 1 (February 1, 2020): 19–64. http://dx.doi.org/10.1215/10679847-7913041.

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This article is a reflection on two intersecting themes, the rise of women as artists and as female subjects for art, in the context of the evolving status of women in twentieth-century China. Set in the context of the nascent modern education for women and the emergence of feminism, the two phenomena, like the art world itself, are primarily urban. After surveying the accelerating progress made between 1910 and 1940, it interrogates, in light of contemporary art world patterns and current definitions of feminism, the slowing and even regression in recognition of women as artists in subsequent years.

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Lasa Álvarez, María Begoña. "Women Artists and Activism in Ellen Clayton's "English Female Artists" (1876)." Oceánide 12 (February 9, 2020): 37–44. http://dx.doi.org/10.37668/oceanide.v12i.23.

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In her biographical compilation English Female Artists (1876), Ellen Clayton documented the lives of many talented and hard-working women as a means of bringing to light and celebrating their role in the history of art. Moreover, she also explored these artists’ biographies in order to problematize more general issues, thus entering into one of the most significant initiatives of the period: the movement for women’s rights, with proposals including the improvement of women’s education, their access to art academies, and the amelioration of laws regarding marriage, family and employment. Of particular interest are the lives of celebrated artists who were also leading activists in the period, such as Laura Herford, Eliza Bridell-Fox and Barbara Leigh Smith Bodichon. Therefore, this study aims to explore not only Clayton’s approach to female artists within the specific domain of art, but also the incursions that they made into broad social and political issues regarding women. Finally, the presence in various biographies of the term “sisters” is particularly revealing in that Clayton, through her text, could be said to be assembling as many women as possible, not just artists, as a means of fighting for their rights together as sisters.

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Faulkner, Kristi. "Women, Protest, and Dance: An Activist Art?" Congress on Research in Dance Conference Proceedings 40, S1 (2008): 90–94. http://dx.doi.org/10.1017/s2049125500000558.

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As members of society, artists have historically served a dualistic purpose—to reflect the ideologies of the world in which they live, and to challenge those ideologies. By challenging ideologies, artists may enter into a world of social and political activism. However, can art be an effective form of protest? In this paper I explore the characteristics that allow dance to function as a form of social and political activism. Furthermore, I explore the potential implications of the female dancing body as it pertains to dance as an activist art form.

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Dekel, Tal. "Art and Struggle: Ethiopian Women Artists in Israel." International Journal of the Arts in Society: Annual Review 3, no. 5 (2009): 43–52. http://dx.doi.org/10.18848/1833-1866/cgp/v03i05/35521.

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Schaefer, Jean Owens, Edith Krull, and Janet Wolff. "Marxism, the Sociology of Art, and Women Artists." Woman's Art Journal 12, no. 1 (1991): 53. http://dx.doi.org/10.2307/1358194.

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Dissertations / Theses on the topic "Women artists Nude in art"

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Missia, Frano G. "Painting the nude by male artists in Western art /." Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396210.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.
Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Rene Arcilla. Includes bibliographical references (leaves 112-113).

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McEwin, Florence Rebecca. "American women artists and the female nude image (1969-1983)." Thesis, North Texas State University, 1986. http://catalog.hathitrust.org/api/volumes/oclc/23638110.html.

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Thesis (Ph. D.)--North Texas State University, 1986.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).

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Schanding, Desireé Rose. "The ephemeral form and objects of inspection /." Online version of thesis, 2008. http://hdl.handle.net/1850/10828.

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Seaman, Leah M. "The depiction of female emotion as seen through the work of Italian Renaissance artists Artemisia Gentileschi and Michelangelo Caravaggios Judith Beheading Holofernes and Artemisia Gentileschi and Cavaliere dArpinos Susanna and the Elders." Marietta College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors161944857779248.

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McNeal, Joanne Carolyn. "Western Arctic women artists' perspectives on education and art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25113.pdf.

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Deepwell, Catherine Naomi. "Women artists in Britain between the two world wars." Thesis, Birkbeck (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282800.

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McLaughlin, Pamela Ann. "Mapping an identity how women artists develop an artistic identity /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.

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Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.

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Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.

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Lee, Andrea Kathleen Wahlman Maude. "Envisioning the sacred expressions of spirituality by contemporary women artists /." Diss., UMK access, 2006.

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Thesis (Ph. D.)--Dept. of Art and Art History and Center for Religious Studies. University of Missouri--Kansas City, 2005.
"A dissertation in art history and religious studies." Advisor: Maude Southwell Wahlman. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 29, 2007. Includes bibliographical references (leaves 354-398). Online version of the print edition.

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Books on the topic "Women artists Nude in art"

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Duldulao, Manuel D. The lives and loves of artists and models. Manila, Philippines: Art Association of the Philippines, 2006.

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Betancourt, Lorena Zamora. El desnudo femenino: Una visión de lo propio. México: Instituto Nacional de Bellas Artes, 2000.

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Maillol, Aristide. Maillol: L'Annonciade, Musée de Saint-Tropez, 9 juillet-26 septembre 1994. [Saint-Tropez]: Le Musée, 1994.

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Maillol, Aristide. Maillol: L'Annonciade, Musée de Saint-Tropez, 9 juillet-26 septembre 1994. [Saint-Tropez]: Le Musée, 1994.

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Wlérick, Robert. Wlérick. [Saint-Tropez]: Le Musée, 1994.

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Maillol, Aristide. Maillol: [exposition] mars-mai 1987, Galerie Dina Vierny, Paris. Paris: La Galerie, 1987.

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Maillol, Aristide. Maillol. Paris: Galerie Dina Vierny, 1987.

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Maiwald, Salean Angelika. Von Frauen enthüllt: Aktdarstellungen durch Künstlerinnen vom Mittelalter bis zur Gegenwart. Grambin: Aviva, 1999.

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Éluard, Paul. Corps mémorable. Paris: Seghers, 1996.

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1975-, Gutiérrez Arsenio, and Hernández Jorge Luis 1966-, eds. Cuerpos distantes: Tres fotógrafos en Querétaro : Demián Chávez, Arsenio Gutiérrez, Jorge Luis Hernández. Santiago de Querétaro, Qro. [Mexico]: Fondo Editorial de Querétaro, 2004.

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Book chapters on the topic "Women artists Nude in art"

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Yu, Mengting. "Women’s International Art Club: Inclusivity, Diversity and Femininity, 1900–1914." In London’s Women Artists, 1900-1914, 165–98. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_6.

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Yu, Mengting. "Women Artists at the Slade School of Fine Art in Edwardian London, 1901–1910." In London’s Women Artists, 1900-1914, 13–54. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_2.

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Yu, Mengting. "Women Artists at the Slade School of Fine Art in the Pre-war London, 1910–1914." In London’s Women Artists, 1900-1914, 55–95. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_3.

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Crosby, Sam. "OOSH Artists Explore Eco-Art for Ecopedagogical Outcomes." In The Palgrave International Handbook of Women and Outdoor Learning, 705–20. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-53550-0_48.

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Kalita, Pooja. "‘Art’ of Ethnography: Feminist Ethnography and Women Artists in South Asia." In Intersections of Contemporary Art, Anthropology and Art History in South Asia, 93–114. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05852-4_4.

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Hopper, Gill. "The Construction of Women as Artists: Art, Gender and Society." In Palgrave Studies in Gender and Education, 42–55. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137408570_2.

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Green-Cole, Ruth. "Painting Blood: Visualizing Menstrual Blood in Art." In The Palgrave Handbook of Critical Menstruation Studies, 787–801. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0614-7_57.

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Abstract While there are isolated cases of reverence for menstruation, many societies impose a strict set of rules about the visualization of menstrual blood in art and visual culture. Green-Cole examines these hegemonic and patriarchal codes controlling discussion, commemoration, or visualization of menstruation, which have been internalized by millions of women worldwide as negative and shameful. One of the main tools used to maintain menstrual stigma is to erase the presence of the scene of menstruation in speech, image, and representation. Green-Cole argues that by publicly acknowledging menstruation and making it visible, the artworks discussed in this chapter are instrumental in undermining this stigma. She demonstrates how this process of undermining also changes what we assume to be the function and value of art. Finally, Green-Cole analyzes the ways in which artists have used paint to signify or stand in for blood as a challenge to the decorum of modernist formalism, which conveniently erased women’s issues.

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"Negotiating the Nude." In Women Artists in Interwar France, 161–88. Routledge, 2017. http://dx.doi.org/10.4324/9781315083971-6.

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"Women Artists and Women in Art." In Text Sets, 277–86. Brill | Sense, 2018. http://dx.doi.org/10.1163/9789004368323_027.

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"Nude Ambition." In The Golden Key: Modern Women Artists and Gender Negotiations in Republican China (1911-1949), 58–75. BRILL, 2021. http://dx.doi.org/10.1163/9789004443945_005.

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Conference papers on the topic "Women artists Nude in art"

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Adriati, Ira, and Almira Zainsjah. "Analysis of the Aesthetic Value of Video Art by Indonesian Women Artists." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338080.

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Ramadan, Lina Nabih. "The Role of Women Artists in Qatar and the Representation of their Work in Mathaf: Arab Museum of Modern Art." In Qatar Foundation Annual Research Conference Proceedings. Hamad bin Khalifa University Press (HBKU Press), 2016. http://dx.doi.org/10.5339/qfarc.2016.sshasp2487.

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