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Relevant bibliographies by topics / Women in art. Women Nude in art. Icon painting

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Academic literature on the topic 'Women in art. Women Nude in art. Icon painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Women in art. Women Nude in art. Icon painting"

1

Belova, Darya Nikolaevna. "Manifestation of female image in iconography of the Tibetan thangka and orthodox icon." Культура и искусство, no. 5 (May 2020): 1–17. http://dx.doi.org/10.7256/2454-0625.2020.5.32764.

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This article analyzes the female beginning reflected in the Buddhist art of thangka, and emphasizes its specificity in comparison with the Orthodox icon. The author examines symbolism of the key visual elements that form iconography of female characters and their color solution, as well as analyzes the symbolism of light in thangka painting and painting of icons. In drawing parallels between light symbolism of a female image in both types of religious paintings, the author determines their definite similarity in perception of light as a divine beginning of enlightened mind. The subject of this

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Saeid, Samaneh, and Laleh Atashi. "Vintage Ladies in Cubist Exhibitions: Pablo Picasso's Cubist Women and Judith Butler's Performativity." k@ta 22, no. 1 (2020): 28–35. http://dx.doi.org/10.9744/kata.22.1.28-35.

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As a prominent figure in the history of painting, Pablo Picasso has bestowed upon the world his uniquely striking paintings in different styles, the most revolutionary of which being his Cubist art. The representation of women occupies a significant space in Picasso’s Cubist works. While the painter’s style is highly revolutionary, rejecting the accepted principles of painting, the subject matter does not change as such: nude women are objectified with a cubist look. Judith Butler’s theory of gender performativity which examines the roots of naturalized concepts of gender, has been applied to

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3

Ciobanu, Estella Antoaneta. "Food for Thought: Of Tables, Art and Women in Virginia Woolf’s To the Lighthouse." American, British and Canadian Studies 29, no. 1 (2017): 147–68. http://dx.doi.org/10.1515/abcsj-2017-0023.

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Abstract This article examines art as it is depicted ekphrastically or merely suggested in two scenes from Virginia Woolf’s novel To the Lighthouse, to critique its androcentric assumptions by appeal to art criticism, feminist theories of the gaze, and critique of the en-gendering of discursive practices in the West. The first scene concerns Mrs Ramsay’s artinformed appreciation of her daughter’s dish of fruit for the dinner party. I interpret the fruit composition as akin to Dutch still life paintings; nevertheless, the scene’s aestheticisation of everyday life also betrays visual affinities

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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 t

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Flint, Azelina. "‘Her lovely presence ever near me lives’: A Brief Encounter from the Archives with May Alcott Nieriker." Brief Encounters 2, no. 1 (2018). http://dx.doi.org/10.24134/be.v2i1.86.

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This article is a brief account of the professional and married life of painter, May Alcott Nieriker, sister of the author, Louisa May Alcott, who wrote Little Women (1868). I outline the theoretical importance of the current ‘archival turn’ in enabling the recovery of lesser-known female artists, and consider how scholarly bias has obscured the prolific and unpublished life-writings of Louisa May Alcott’s female relatives. The article provides a short account of how I became interested in May’s life, while conducting research for my PhD thesis on her sister at the Houghton Library, Harvard. I

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Coull, Kim. "Secret Fatalities and Liminalities: Translating the Pre-Verbal Trauma and Cellular Memory of Late Discovery Adoptee Illegitimacy." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.892.

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I was born illegitimate. Born on an existential precipice. My unwed mother was 36 years old when she relinquished me. I was the fourth baby she was required to give away. After I emerged blood stained and blue tinged – abject, liminal – not only did the nurses refuse me my mother’s touch, I also lost the sound of her voice. Her smell. Her heart beat. Her taste. Her gaze. The silence was multi-sensory. When they told her I was dead, I also lost, within her memory and imagination, my life. I was adopted soon after but not told for over four decades. It was too shameful for even me to know. Impri

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Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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   From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha

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Dissertations / Theses on the topic "Women in art. Women Nude in art. Icon painting"

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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.<br>Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Rene Arcilla. Includes bibliographical references (leaves 112-113).

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Books on the topic "Women in art. Women Nude in art. Icon painting"

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Naked authority: The body in western painting, 1830-1908. Cambridge University Press, 1990.

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Haddad, Michèle. La divine et l'impure: Le nu au XIXe. Jaguar, 1990.

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Bijutsukan, Utsukushigahara Kōgen. Rafu meisakuten. Chōkoku no Mori Bijutsukan, 1992.

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Indiscrétion: Femmes à la toilette. Seuil, 2012.

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

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Pointon, Marcia R. Naked authority : the body in Western painting, 1830-8. Cambridge University Press, 1990.

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Kim Yŏng nudŭ dŭroing 100-sŏn. Yŏrhwadang, 1985.

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Les dames de Fontainebleau. Franco Maria Ricci, 1987.

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Picabia, Francis. Francis Picabia. Galerie Beaubourg, 1998.

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Picabia, Francis. Francis Picabia. Waddington Galleries, 1990.

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Book chapters on the topic "Women in art. Women Nude in art. Icon painting"

1

Vélez, Karin. "Anonymous Renovators of Icons." In The Miraculous Flying House of Loreto. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691174006.003.0006.

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This chapter begins by examining how two peripheral artworks of the Virgin of Loreto, the eighteenth-century wooden statue from the Moxos missions and the seventeenth-century Roman painting by Caravaggio, each tapped into outside streams of Marian art. The same impetus for transformation is observed for the original icon of the Madonna of Loreto at the Italian shrine. Updates to this icon were spurred by an awareness of the world outside Loreto. The chapter concludes with a return to the frontier, to Canada, to consider some significantly named but lesser known Huron women converts who contributed to Mary's global public image. Overall, these case studies of modifications to the Virgin of Loreto reflect what mattered to people on both sides of the Atlantic about Mary at this time: she was alien, yet she was accessible; she moved, and she could also be moved.

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