Relevant bibliographies by topics / Women in paintings

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Women in paintings'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Women in paintings"

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Ji-Young Shin. "A Feminist Reading of Hye-sok Rha’s Impressionist Paintings: Sexual Politics of Space and Rha’s Landscape Paintings." Women and History ll, no. 11 (2009): 75–104. http://dx.doi.org/10.22511/women..11.200912.75.

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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 Picasso’s representations of women in his cubist paintings. This research examines the way naturalized definitions of gender have found their way into Picasso’s paintings. By applying the Butlerian concept of gender performativity to a number of Picasso’s cubist artworks, we try to indicate how stereotypes of gender linger in the discourse of modernism. Analyses lead to the conclusion that although the cubist style of painting is an experimentation in form, hardly any avant-gardism can be traced in the representation of gendered identities in Picasso.
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Herz, Rachel S., and Gerald C. Cupchik. "The Effect of Hedonic Context on Evaluations and Experience of Paintings." Empirical Studies of the Arts 11, no. 2 (1993): 147–66. http://dx.doi.org/10.2190/36rg-0v9j-4y4g-7803.

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This study examined the proposition that the hedonic context within which paintings are viewed interacts with the hedonic quality of paintings to determine aesthetic evaluation. Hedonic context was manipulated using twelve positive and twelve negative odor cues in three different formats (odor alone, odor + name, name alone). The hedonic quality of paintings was manipulated using six positive, six negative and twelve neutral emotionally toned paintings. Twenty-four males and twenty-four females viewed each painting in the context of a different cue with half of the emotional cue-painting trials being hedonically congruent (e.g., pos-pos) and half hedonically incongruent (e.g., neg-pos). Following each cue-painting trial subjects provided their evaluations of the paintings along artistic (e.g., artistic quality, visual complexity) and subjective-emotional (e.g., personal meaningfulness, pleasantness, tense-relaxed) dimensions. As predicted, all aesthetic evaluations were intensified when the cue and painting were hedonically congruent. Moreover, evaluations of the most emotionally potent painting group (negative paintings) were least influenced by context, and women were more sensitive to congruency and emotional context in general than were men. The results were interpreted in accordance with prior research and principles in experimental psychology and aesthetics.
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Hulea, Lavinia. "Pre-Raphaelites Painting Shakespeare’s Women." Gender Studies 11, no. 1 (2012): 126–34. http://dx.doi.org/10.2478/v10320-012-0033-6.

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Abstract Iconic signs such as paintings, engravings or book illustrations come into existence as a result of visual attempts at redefining the literary text to which they refer. Although they belong to a different medium, they are always conditioned and influenced by the original literary work. English painting displays a series of famous images which explicitly have their roots in literary texts. While the works of Shakespeare, Keats and Tennyson seem to determine a special connection with painting, Shakespeare’s plays are the source of one of the most inspiring subjects of the Pre-Raphaelite painters: women.
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Tamboukou, Maria. "Beyond Figuration and Narration: Deleuzian Approaches to Gwen John's Paintings." Deleuze Studies 8, no. 2 (2014): 230–55. http://dx.doi.org/10.3366/dls.2014.0144.

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In this paper I trace pictorial acts that move beyond figuration and narration, particularly focusing on Gwen John's portraits of women and girls, the work of her maturity as an artist. In doing this I make connections between John's and Cézanne's letters about their painting techniques and direction. The analysis draws on Deleuze and Guattari's approaches to the work of art. I discuss in particular the concept of faciality in the Thousand Plateaus and the problem of painting forces in Deleuze's work on Bacon, The Logic of Sensation. My argument is that an analysis that goes beyond phenomenology and semiotics opens new ways of seeing and appreciating a modernist woman artist's paintings, and sheds new light on the way her art allows the female figure to emerge as a woman-becoming-imperceptible within a patriarchal regime of signs.
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Lv, Jia, Lin Bao, and Xin Ke Zhang. "Cheongsam Design with Shanghai Style Depicted on the Calendar Advertising Paintings." Advanced Materials Research 175-176 (January 2011): 968–71. http://dx.doi.org/10.4028/www.scientific.net/amr.175-176.968.

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The “Calendar Painting” in the period of the Republic of China was a medium of commercial advertising, which was initially a calendar picture for products promotion. The typical images of beautiful women dressed in cheongsams depicted in the calendar paintings became the significant feature of commercial advertising at that time. Cheongsam, as a most important representative of garment for women in the period of the Republic of China, was accompanied by the changes of times of the Republic of China with its production, transformation and development. Based on the studies of calendar advertising paintings during the time of old Shanghai, this paper elaborates such as innovation of cheongsam dress style and pattern design. In the meantime, the characteristics of cheongsam design at that time, the breakthrough on traditional aesthetics for urban women and the effects to contemporary costume design from cheongsam with Shanghai style are also researched in this paper.
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Blanchard, Lara C. W. "Defining a Female Subjectivity." positions: asia critique 28, no. 1 (2020): 177–205. http://dx.doi.org/10.1215/10679847-7913106.

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Cui Xiuwen (b. 1970) and Yu Hong (b. 1966) are contemporary Chinese artists whose images of women reflect a complicated gendered perspective. This article focuses on Cui’s Ladies’ Room (2000) and Yu’s Female Writer (2004, from the series She). Both can be construed as feminist reinterpretations of Chinese works of the imperial era that represented idealized female figures from a male perspective. Ladies’ Room, a video that shows behind-the-scenes images of sex workers in a nightclub washroom, brings to mind earlier paintings that depict women in feminine space. Ladies’ Room, however, incorporates multiple female gazes: not only that of the artist but also those of the subjects, who look at each other and at their own mirror reflections. Female Writer, a diptych consisting of a photograph and painting of the writer Zhao Bo, recalls paintings from the “beautiful women” genre. Though both photograph and painting reflect Yu Hong’s point of view, Zhao Bo was permitted to select her photograph, and thus the work engages with both author’s and subject’s gaze. Ladies’ Room and Female Writer both reclaim female subjectivity as they present images of contemporary Chinese women while also grappling with problems of authenticity, the public/private dichotomy, identity, and self-expression.
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Erişti, Özgür Ceren. "Representation of Women in Late Ottoman Paintings." Moment Journal 2, no. 2 (2015): 59–79. http://dx.doi.org/10.17572/mj2015.2.5979.

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Yamada, Nanako, and Helen Merritt. "Uemura Shoen: Her Paintings of Beautiful Women." Woman's Art Journal 13, no. 2 (1992): 12. http://dx.doi.org/10.2307/1358147.

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Chavda, Jagdish J. "The Narrative Paintings of India's Jitwarpuri Women." Woman's Art Journal 11, no. 1 (1990): 26. http://dx.doi.org/10.2307/1358383.

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Dissertations / Theses on the topic "Women in paintings"

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WAN, Lai Na. "Portrayals of women in Chen Hongshou’s figure paintings." Digital Commons @ Lingnan University, 2014. https://commons.ln.edu.hk/vs_etd/6.

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Chen Hongshou (1598/1599-1652), a famous artist of late Ming and early Qing China, was particularly well-known for his figure paintings, which exerted a noticeable influence on later generations and has been the subject most commonly discussed by scholars. Among Chen’s figure painting oeuvre, this study is especially concerned with his portrayals of women ranging between the 1630s and 1650s with an intention to explore what their representations, audience and function reveal about the artist. The existing monographs on Chen’s female figures is limited to only few case studies, from which the artist’s depictions of women have not been clearly sorted out, so there is room for further investigation of the relation between female imagery, cultural meanings and the artist’s identity. The contribution of this study is to research on some specific questions in these regards. The three chapters of this dissertation consider Chen’s depictions of women from different perspectives. It begins by analyzing Chen’s appropriations and innovations revealed in his female figures in terms of iconographic and thematic aspects. The artist’s works demonstrate identifiable features ascribed to the past paintings that indicate his considerable familiarity with the subject established in the broad history. At the same time, they are distinguished by innovative traits which show his awareness of popular trends in his own time and his facility in reinvention. This thesis then proceeds to examine Chen’s attitude towards women by positioning his representations of female figures in relation to the social and cultural context in the seventeenth century. It is found that Chen’s portrayals of women, on the whole, reveal the artist’s ambivalent stance towards women as he on one hand shows positive on female talent, bonding and emotional disclosure, but on the other hand treats women as object of desire. His conflicting attitudes in fact correspond to the complex status of women at that time. The final chapter of this thesis explores the intended audience and functions of Chen’s rendering of women, from which the artist’s dual identities as a literate man and a professional painter in his late life are strongly revealed.
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Winter, Leslie J. "Body, Identity, and Narrative in Titian's Paintings." Wittenberg University Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1399284506.

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David, Elise J. "Making Visible Feminine Modernities: The Traditionalist Paintings and Modern Methods of Wu Shujuan." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.

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Muente, Tamera Lenz. "Repose, Reflections, and “Girls in Sunshine”: Frederick Carl Frieseke’s Paintings of Women, 1905–1920." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147531632.

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Muente, Tamera Lenz. "Repose, reflections, and "Girls in Sunshine" Frederick Carl Frieseke's paintings of women, 1905-1920 /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1147531632.

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Thesis (M.A.)--University of Cincinnati, 2006.<br>Title from electronic thesis title page (viewed July 21, 2006). Includes abstract. Keywords: art; American art; women in art; Frederick Frieseke; Frederick Carl Frieseke; Frieseke; American Impressionism; Giverny Group; women in paintings; women in American art; women in Impressionism; Impressionism; neurasthenia; rest cure; mirrors in art; nude; nude in art; nude in American art; nude in American Impressionism; nude in Impressionism; 19th-century art; 20th-century art; domestic scenes in art; domestic interiors in art; interiors in art. Includes bibliographical references.
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Steinway, Elizabeth V. "Verbal Cues, Visual Clues: Expressions of Women and Medicine in Early Modern Paintings and Drama." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1303855731.

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Dudley, Jennifer Ann. "Traversing the boundaries? : art and film in Indonesia with particular reference to Perbatasan/Boundaries : Lucia Hatini, paintings from a life /." Murdoch University Digital Theses Program, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090716.145044.

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Morioka, Michiyo. "Changing images of women : Taisho-period paintings by Uemura Shoen (1875-1949), Ito Shoha (1877-1968), and Kajiwara Hisako (1896-1988) /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6225.

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Merlin, Monica. "The late Ming courtesan Ma Shouzhen (1548-1604) : visual culture, gender and self-fashioning in the Nanjing pleasure quarter." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:0da584bf-16fc-4372-8a1b-b97afd3bcf8a.

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Ma Shouzhen (1548-1604) was a cultured courtesan who lived in the famous pleasure quarter along the Qinhuai River in Nanjing, the southern capital of the Ming dynasty (1368-1644). She was talented in dance and music, painting and poetry, and surprisingly for her time, she was also a playwright. Although she was a celebrity of the prolific Nanjing cultural milieu and there is a good corpus of extant material by and about her, the particular contribution of Ma Shouzhen - her character and her work - have been marginalised, or even neglected, by the previous scholarship. This thesis is a cross-disciplinary study of Ma Shouzhen and is the first in-depth scholarly investigation into the entirety of her activities. It employs material and methods traditionally pertaining to the disciplines of sinology, history, art history, literary and drama studies. The thesis has a dual aim: first, to provide a nuanced understanding of the courtesan, her cultural production and social practice; second, to reclaim the agency and legacy of her character within the cultural milieu of late Ming Nanjing and beyond. These aims will be achieved through two main research objectives: (1) recovering and re-evaluating visual and written sources by and about the courtesan; (2) investigating those sources in order to comprehend her modes of self-representation and strategies of self-fashioning, analysed especially through the lens of gender. The main body of the thesis is composed of an introduction, five core chapters, and an epilogue; the chapters are structured so as to provide as complete a picture of Ma Shouzhen as possible. Chapter Two explores the space of the pleasure quarter, Ma’s biography and its entwinement within the complexities of the historical moment. Chapter Three focuses on her painting, Chapter Four considers her poetry, and Chapter Five explores her theatre practice; Chapter Six extends the investigation to focus on the construction of Ma’s historical character in later decades. In its content and aims, this thesis contributes to women’s and gender history, as well as to studies in visual culture and literature.
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Walsh, Kerry. "Potions and painting." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040701.155706/index.html.

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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2003.<br>"A thesis presented to the University of Western Sydney in partial fulfillment of the requirements for the degree of Master of Arts (Honours) Creative Arts, December 2003" Includes bibliography.
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Books on the topic "Women in paintings"

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Lajmi, Lalitha. Recent paintings. Anant Art Gallery, 2006.

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Schmalix, Hubert. Hubert Schmalix: Paintings. Österreichische Galerie Belvedere, 2002.

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Art Gallery of South Australia., ed. Modern Australian women: Paintings & prints 1925-1945. Art Gallery of South Australia, 2000.

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Pennsylvania Academy of the Fine Arts. Museum of American Art., ed. Paintings by Nelson Shanks. The Academy, 1996.

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Cooper, Eileen. Eileen Cooper: Paintings drawings prints 1990. Benjamin Rhodes Gallery, 1990.

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Shirin Ettehadieh: Selected paintings, 1980-2007. Māhʹrīz, 2007.

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Liang, Junwu. Liang Junwu hua ce: Roberto Liang's paintings. Taibei shi li mei shu guan, 1991.

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Picabia, Francis. Francis Picabia: Late paintings. Michael Werner, 2000.

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Ty, Bunny. Some Women. Anvil Publishing, Inc., 2009.

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Thomas, Troy. Poussin's Women. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463721844.

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Poussin’s Women: Sex and Gender in the Artist’s Works examines the paintings and drawings of the well-known seventeenth-century French painter Nicolas Poussin (1594-1665) from a gender studies perspective, focusing on a critical analysis of his representations of women. The book’s thematic chapters investigate Poussin’s women in their roles as predators, as lustful or the objects of lust, as lovers, killers, victims, heroines, or models of virtue. Poussin’s paintings reflect issues of gender within his social situation as he consciously or unconsciously articulated its conflicts and assumptions. A gender studies approach brings to light new critical insights that illuminate how the artist represented women, both positively and negatively, within the framework in his seventeenth-century culture. This book covers the artist’s works from Classical mythology, Roman history, Tasso, and the Bible. It serves as a good overview of Poussin as an artist, discussing the latest research and including new interpretations of his major works.
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Book chapters on the topic "Women in paintings"

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Estrada, Ursula Tania. "Unpretentious Paintings." In Women in International and Universal Exhibitions, 1876–1937. Routledge, 2017. http://dx.doi.org/10.4324/9781315196534-3.

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Sala, Teresa-M. "Women in nineteenth-century paintings." In The Routledge Hispanic Studies Companion to Nineteenth-Century Spain. Routledge, 2020. http://dx.doi.org/10.4324/9781351122900-22.

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Bruyn, J., B. Haak, S. H. Levie, P. J. J. Van Thiel, and E. Van De Wetering. "The departure of the Shunammite woman." In A Corpus of Rembrandt Paintings. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-0811-6_54.

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Bruyn, J., B. Haak, S. H. Levie, P. J. J. Van Thiel, and E. Van De Wetering. "Portrait of a 70-year-old woman." In A Corpus of Rembrandt Paintings. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-0811-6_81.

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Van De Wetering, Ernst. "Rembrandt — Christ and the Woman Taken in Adultery." In A Corpus of Rembrandt Paintings. Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-1-4020-5786-1_8.

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Bruyn, J., B. Haak, S. H. Levie, P. J. J. Van Thiel, and E. Van De Wetering. "Portrait of a young woman, probably Maria Trip." In A Corpus of Rembrandt Paintings. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-0811-6_32.

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Bruyn, J., B. Haak, S. H. Levie, P. J. J. Van Thiel, and E. Van De Wetering. "Portrait of a seated woman with a handkerchief." In A Corpus of Rembrandt Paintings. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-0811-6_83.

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Van De Wetering, Ernst. "Pupil of Rembrandt — Christ and the woman of Samaria." In A Corpus of Rembrandt Paintings. Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-1-4020-5786-1_30.

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Bruyn, J., B. Haak, S. H. Levie, P. J. J. Van Thiel, and E. Van De Wetering. "Half-length figure of a young woman in fanciful costume." In A Corpus of Rembrandt Paintings. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-0811-6_64.

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Bruyn, J., B. Haak, S. H. Levie, P. J. J. Van Thiel, and E. Van De Wetering. "Bust of a young woman (commonly called the artist’s wife)." In A Corpus of Rembrandt Paintings. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-0811-6_72.

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Conference papers on the topic "Women in paintings"

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Yang, Liu, and Long Jiang. "The Study of Women Dress in Zhang Daqian Beauty Paintings." In 2nd International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.200.

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Yulianto, Nanang, Narsen Afatara, Bani Sudardi, and Warto Warto. "The Spirituality of the Women Body in Galih Reza Suseno’s Paintings." In Proceedings of the 1st Seminar and Workshop on Research Design, for Education, Social Science, Arts, and Humanities, SEWORD FRESSH 2019, April 27 2019, Surakarta, Central Java, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2286879.

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Sun, Xiaodong. "Research on the Lacquer Painting Art with the Theme of Hui’an Women." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.011.

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Yulianto, Nanang, Narsen Afatara, Bani Sudardi, and Warto Warto. "Various Images of Contemporary Women in Popular-Culture Perspectives on Luna Dian Setya's Painting." In Proceedings of the Third International Conference of Arts, Language and Culture (ICALC 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/icalc-18.2019.8.

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Wompere, Ruth Naomi Nancy. "The Use of Community Language Learning Method in Teaching English to Women Painters and Sellers of Bark Painting in Asei Island, Papua." In Proceedings of the International Conference on Language, Literature, and Education (ICLLE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/iclle-18.2018.26.

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Sari, Widia, Ety Nurhayati, Suhendar Sulaeman, and Nyimas Heny Purwanti. "The Effectiveness of Playing Therapy: Painting and Colouring on Anxiety Levels Preschool Children before Chemotherapy Procedures in Women and Children Hospital of Harapan Kita Jakarta." In International Conference Recent Innovation. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0009953128202826.

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Sepe Camargo, Gabriel. "Garder mon aile dans ta main: The genesis of the Open Hand." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.938.

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Abstract: The main hypothesis of this paper is that in the image of the Open Hand it is possible to find the reconciliation between two significant themes of the symbolic universe engendered by Le Corbusier: instrumentality and detachment. The genesis of the Open Hand is therefore to be seen as grounded among his late 1940s plastic works, which notably display the gradual movement of certain elements of figuration toward an iconic role. The hand appears as a crucial theme to Le Corbusier. Unlike other themes that have been set as pictograms — as the meander, the solar journey of 24 hours, and the bull figure —, the hand will not find its definitive form until very late in the architect’s work. The hand’s “other” seems to be another image from his painting: the winged figure, half woman and half animal, that appears in a wall at the Pavillion Suisse (mural, 1948) and illustrates the cover of Poésie sur Alger (1951). The image suggests an alienation from the worldly experience and the tragedy represented by the historical time, related to the volatility of natural phenomena. These two figures seem to synthesize the two attitudes governing the work of Le Corbusier thereafter. It is in Le Poème de L’Angle Droit (1947-1953) that the core of the symbolic system of Le Corbusier is found. The duality achieves its final result in the figure of the Open Hand, elected as the synthesis of the entirety of his symbolic system. Resumen: La principal hipótesis de este trabajo es que en la imagen de la Mano Abierta es posible encontrar la reconciliación entre dos temas importantes del universo simbólico engendrada por Le Corbusier: instrumentalidad y el desapego. Por tanto, la génesis de la Mano Abierta es ser visto entre sus obras plásticas finales de 1940, que sobre todo muestran el movimiento gradual de ciertos elementos de la figuración hacia un papel icónico. La mano aparece como un tema crucial para Le Corbusier. A diferencia de otros temas que se han establecido como pictogramas - como el meandro, el viaje solar de 24 horas, y la figura del toro -, la mano no encontrará su forma definitiva hasta muy tarde en la obra del arquitecto. El "otro" parece ser una imagen de su pintura: la figura alada, mitad mujer y mitad animal, que aparece en el Pabellón Suisse (mural, 1948) e ilustra la portada de Poésie sur Alger (1951). La imagen sugiere una alienación de la experiencia mundana y la tragedia representada por el tiempo histórico, relacionado con la volatilidad de los fenómenos naturales. Estas dos figuras parecen sintetizar las dos actitudes que rigen la obra de Le Corbusier a partir de entonces. Es en Le Poème L'Angle Droit de (1947-1.953) que el núcleo del sistema simbólico de Le Corbusier se encuentra. La dualidad logra su resultado final en la figura de la Mano Abierta, elegido como la síntesis de la totalidad de su sistema simbólico. Keywords: Open Hand; Le Poème de L’Angle Droit; Chandigarh; instrumentality; detachment. Palabras clave: Open Hand; Le Poème de L’Angle Droit; Chandigarh; instrumentalidade; desapego. DOI: http://dx.doi.org/10.4995/LC2015.2015.938
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Reports on the topic "Women in paintings"

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Miller, Jennifer. The Politics of Nazi Art: The Portrayal of Women in Nazi Painting. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.7033.

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