Academic literature on the topic 'Women in art. Painting, American. Painting, Modern'

1917-2000, Lawrence Jacob, ed. Painting Harlem modern: The art of Jacob Lawrence. University of California Press, 2009.

Painting professionals: Women artists & the development of modern American art, 1870-1930. University of North Carolina Press, 2001.

The "new woman" revised: Painting and gender politics on fourteenth street. University of California Press, 1993.

Venezia, Mike. Mary Cassatt. Childrens Press, 1991.

Alexander, Marc. Artists above all: Men and women who triumphed over adversity through their art. Mouth and Painting Artists, 2005.

Eve's daughter/Modern woman: A mural by Mary Cassatt. University of Illinois Press, 2003.

Swanson, Vern G. Utah painting and sculpture. Gibbs Smith, Publisher, 1997.

Ned, Rifkin, and Corcoran Gallery of Art, eds. 40 biennial exhibition of contemporary American painting. Corcoran Gallery of Art, 1987.

Ou Mei xian dai mei shu: European and American modern art. Yi shu jia chu ban she, 1994.

Ward, John L. American realist painting, 1945-1980. UMI Research Press, 2000.

Greenberg, Clement. "‘American-Type’ Painting." In Modern Art and Modernism: A Critical Anthology. Routledge, 2018. http://dx.doi.org/10.4324/9780429498909-18.

Modigliani, Leah. "Jeff Wall’s Picture for Women (1979) and The Destroyed Room (1978): colonizing the space of gendered discourse." In Engendering an avant-garde. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526101198.003.0002.

Viladesau, Richard. "The Cross in Modern Visual Art." In The Wisdom and Power of the Cross. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197516522.003.0004.

Reid, Donald Malcolm. "Representing Ancient Egypt at Imperial High Noon (1882–1922)." In From Plunder to Preservation. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265413.003.0009.

Hopkins, Claudia, and Iain Boyd Whyte. "František Doležal, “American Modern Painting,” translated from Czech by John Minahane, originally published as “Americké moderní malířství,” in Svobodné noviny (April 5, 1947): 5." In Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990. Routledge, 2020. http://dx.doi.org/10.4324/9781003009979-10089.

Dalivalle, Margaret, Martin Kemp, and Robert B. Simon. "The Discovery of a Masterpiece." In Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813835.003.0002.

Tombul, Işıl. "Harem and Woman From Orientalist Pictures to the Cinema." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch011.

Curtis, Cathy. "Jane Street." In Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0003.

"the context of evidence from other spheres. This evidence of manipulation may correspond to increasing concern with the production of corporate descent groups, lineages or other communities or sub-groups as suggested by Robb (1994a: 49ff) for southern Italy and by others dealing with the Neolithic elsewhere (e.g. Chapman 1981 ; Thomas & Whittle 1986). This suggests different spatialities to those described for the earlier Epipalaeolithic burials, as does the evidence in much of Neolithic southern Italy for separation of activities such as not only the procurement but also the consumption of wild animals. Remains of these are extremely rare at most settlement sites, but evidenced at other locations whether associated with 'cults' e.g. the later Neoltihic (Serra d'Alto) hypogeum at Santa Barbara, (PUG: Geniola 1987; Whitehouse 1985; 1992; 1996; Geniola 1987), or at apparently more utilitarian hunting sites e.g. Riparo della Sperlinga di S. Basilio (SIC: Biduttu 1971; Cavalier 1971). One interpretation may wish to link these to newly or differently gendered zones or landscapes (see below). ART, GENDER AND TEMPORALITIES In southern Italy there is a rich corpus of earlier prehistoric cave art, parietal and mobiliary, ranging from LUP incised representations on cave walls and engraved designs on stones and bones; probable Mesolithic incised lines and painted pebbles; and Neolithic wall paintings in caves (Pluciennik 1996). Here I shall concentrate on two caves in northwest Sicilia; a place where there is both LUP (i.e. from c. 18000-9000 cal. BC) and later prehistoric art, including paintings in caves from the Neolithic, perhaps at around 6000 or 7000 years ago. These are the Grotta Addaura II, a relatively open location near Palermo, and the more hidden inner chamber of the Grotta del Genovese on the island of Levanzo off north west Sicilia. These are isolated, though not unique examples, but we cannot talk about an integrated corpus of work, or easily compare and contrast within a widespread genre, even if we could assign rough contemporaneity. Grotta dell'Addaura II Despite poor dating evidence for the representations at this cave, material from the excavations perhaps suggests they are 10-12000 years old (Bovio Marconi 1953a). Many parts of the surface show evidence of repeated incision, perhaps also erasure as well as erosion, producing a palimpsest of humans and animals and other lines, without apparent syntax. Most of the interpretations of this cave art have centred on a unique 'scene' (fig. 3) in which various masked or beaked vertical figures surround two horizontal ones, one (H5) above the other (H6), with beak-like penes or penis-sheaths, and cords or straps between their buttocks and backs. These central figures could be flying or floating, and have been described as 'acrobats'. Bovio Marconi (1953a: 12) first suggested that the central figures were engaged in an act of homosexual copulation, but later preferred to emphasise her suggestion of acrobatic feats, though still connected with a virility ritual (1953b). The act of hanging also leads to penile erection and ejaculation; and in the 1950s Chiapella (1954) and Blanc (1954; 1955) linked this with human sacrifice, death and fertility rites. All of these interpretations of this scene are generally ethnographically plausible. Rituals of masturbation (sometimes of berdaches, men who lived as women) are recorded from North America, where the consequent dispersal of semen on ground symbolised natural fertility (Fulton & Anderson 1992: 609, note 19). In modern Papua New Guinea ritual fellatio was used in initiation ceremonies as a way of giving male-associated sexual power to boys becoming men (Herdt 1984) and this ethnographic analogy has been used by Tim Yates (1993) in his interpretation of rock art in Scandinavia, which has figures with penes, and figures without: he argues in a very unFreudian manner that to be penis-less is not necessarily a female prerogative." In Gender & Italian Archaeology. Routledge, 2016. http://dx.doi.org/10.4324/9781315428178-18.