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Journal articles on the topic 'Women in paintings'
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1
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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Steinberg, Faith. "Women and the Dura-Europos Synagogue Paintings." Religion and the Arts 10, no. 4 (2006): 461–96. http://dx.doi.org/10.1163/156852906779852848.
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AbstractBetween 1928 and 1937, during excavations at a site in Mesopotamia, archaeologists uncovered an ancient city, Dura-Europos, on the Euphrates River. Among their many findings, which included numerous pagan temples, were a Christian house and a synagogue. A room in the house had been converted into a baptistery with frescoes. In a large assembly room of the synagogue, murals depicting biblical narratives were painted in three registers on all four walls. The Second Commandment forbids the use of imagery, and the finding, the earliest and only one of such magnitude to date, caused a stir and has generated an extensive literature. Many scholars attribute this phenomenon to the rise of Christianity. But there is an aspect of the paintings that has not been investigated. In the most visually accessible and most holy area of the room, the Torah shrine, heroic Jewish women of the Bible were depicted. In light of the patriarchal nature of historical Judaism, this paper examines the murals and the architectural and archeological findings in an effort to understand this anomaly.
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김현숙. "Icon and Allegory of Chun Kyung - ja’s Paintings - A Focus on Women Figure Paintings." Korean Bulletin of Art History ll, no. ll (2016): 79–105. http://dx.doi.org/10.15819/rah.2016...79.
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Cahill, James. "Paintings Done for Women in Ming-Qing China?" NAN NÜ 8, no. 1 (2006): 1–54. http://dx.doi.org/10.1163/156852606777374637.
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AbstractAn eight-leaf album of scenes of women in domestic settings, painted by a seventeenth-century Suzhou artist, opens the question of whether we can identify a body of Ming-Qing paintings arguably addressed to an audience and clientele of women. These would include hanging-scroll representations of women meant for hanging in their rooms, and handscroll depictions of stories and subjects of special interest to them, combining narrative paintings with texts, for private looking and reading. These are quite separate from the more prestigious name-artist works valued within the male world of collecting and connoisseurship; the question of "genuineness" may be irrelevant to them.
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Nunn, Pamela Gerrish. "Alienation, Adoption or Adaptation? Aestheticist Paintings by Women." Cahiers victoriens et édouardiens, no. 74 Automne (November 14, 2011): 141–54. http://dx.doi.org/10.4000/cve.1364.
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Nunn, Pamela Gerrish, Jane Hylton, Deborah Hart, and Joanne Drayton. "Modern Australian Women: Paintings and Prints 1925-1945." Woman's Art Journal 24, no. 2 (2003): 44. http://dx.doi.org/10.2307/1358789.
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Downs, Katie. "Cinderella! Cinderella!: A closer look into Dutch seventeenth-century gender roles and genre paintings." Visual Inquiry 9, no. 3 (2020): 123–39. http://dx.doi.org/10.1386/vi_00016_1.
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This article highlights a time when Northern artists were no longer allowed to paint or carve holy images as they had done during the Middle Ages and the Renaissance. The Catholic Church banned this art form due to the interpretation of the second commandment: ‘Thou shalt make no graven image of thy God’. Genre paintings were the outcome of this banishment and a way to represent and depict an everyday life scene in a Dutch seventeenth-century household. The paintings would show the best of a situation and also its worst counterpart in almost a mocking comical way. By exploring these paintings, we come to understand how women were fed propaganda into becoming a better housewife, mother and bearing the weight of physical nourisher to all. Although amusing, the images have been celebrated and considered legendary during the Golden Age of the Netherlands. While taking a closer look at genre paintings and the everyday practices of the Dutch household, we can connect patterns to how these paintings affected women and influenced their domestic duties in the Golden Age.
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Swami, Viren, Nina Grant, Adrian Furnham, and I. Christopher McManus. "Perfectly Formed? The Effect of Manipulating the Waist-to-Hip Ratios of Famous Paintings and Sculptures." Imagination, Cognition and Personality 27, no. 1 (2007): 47–62. http://dx.doi.org/10.2190/ic.27.1.e.
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Forty-three women and 45 men rated a series of images of selected paintings and sculptures for aesthetic appeal and originality. For each painting or sculpture, there were three versions: the original image and two manipulated images, one displaying a lower waist-to-hip ratio (WHR) and the other displaying a higher WHR than in the original. The results showed that, in general, both male and female participants considered the original and, in some cases, the image with the higher WHR as the most aesthetically pleasing. The results also showed that participants were generally able to discern the undoctored image as being the original, although women were better at this task than men. Implications for the study of aesthetics and physical attractiveness are considered.
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Trowbridge, Serena. "‘The very sky and sea-line of her soul’: Nature, Destruction, and Desire in Dante Gabriel Rossetti's Poems." Victoriographies 10, no. 1 (2020): 71–89. http://dx.doi.org/10.3366/vic.2020.0367.
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When critics write of ‘truth to nature’ in Pre-Raphaelite poetry and painting, they rarely refer specifically to Rossetti. While his paintings situate women in medievalised environments saturated with floral imagery, nature itself seems relegated to an aesthetic function. This trope seems to be continued in his ballads in Poems, where the natural world is allied to the female figure and can be read as directly relating to the beauty of the woman. This essay will argue for a more complex and nuanced relationship between the poet and his poetic figures. Rossetti wrote of his concern that his poems should be free of ‘painter's tendencies’ (Fredeman IV: 413), and though the parallels between his paintings and his poems have been explored thoroughly, I shall argue that there is a disjunction when it comes to the depiction of the natural world, which serves a different, less aesthetic, and more intricate function in many of the poems. This approach is best traced in ‘The House of Life’ sonnets, where the relationship between the speaker's emotions, depicted through a series of environmental metaphors, and the concepts with which he struggles is one which can be unpicked by exploring his changing approach to nature.
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Im, Mihyun. "A study on Kim Hong-do’s Women Figure Paintings." Paek-San Society 118 (December 30, 2020): 429–59. http://dx.doi.org/10.52557/tpsh.2020.118.429.
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Singh, Mani Shekhar. "What should happen, but has not yet happened: Painterly tales of justice." Contributions to Indian Sociology 53, no. 1 (2019): 184–216. http://dx.doi.org/10.1177/0069966718812573.
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South Asian folk and vernacular art practices have invariably been presented in scholarly writings as ‘tradition-bound’ with fixed conventions of image-making and iconography embedded in ritual and cultural life. This article proposes a shift by drawing attention to the lifeworlds and painterly practices of young women artists from the Mithila region of Bihar in India. Relatedly, then, I foreground a set of paintings, which are contemplations on a specific form of matrimonial violence in India—the terrifying murder of brides by dousing them with kerosene and burning them alive for bringing insufficient dowry. What is notable about these paintings is the ways in which the young women artists articulate the spectre of dowry violence and death using pictorial resources and techniques that are typically Maithil in signature. The paintings, in the process, create a community of spectators, whose participation in art’s performance makes the picture surface both visible and legible. Each painting, with its intimate narration of dowry violence, teases out different dynamics between tradition and violence, on the one hand, and violence and justice, on the other. Using visual resources of fragmentation and juxtaposition, centring and repetition, ambivalence and excess, the artists contest the ‘official’ imagery and iconography of justice made available in the name of blindfolded Justitia. I argue that the creative imagination of young artists and their artworks inhabit legally plural worlds, where justice for the bride is evoked by renouncing the workings of state law. And, we might add, it is by foregrounding ‘a possibility of exile, of there being an “elsewhere”’ (Das 1999) is what makes ‘worldmaking’ possible.
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Combs, Allan L., Julia Black, Alan O'Donnell, et al. "Absorption and Appreciation of Visual Art." Perceptual and Motor Skills 67, no. 2 (1988): 453–54. http://dx.doi.org/10.2466/pms.1988.67.2.453.
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For 37 participants, 16 men and 21 women, scores on the Tellegen Absorption Scale significantly correlated with liking for abstract paintings but not with liking for representational ones. After completing the scale, each participant viewed 20 paintings in quasirandom order, 10 of representational works and 10 of abstract ones. Each was rated on a scale from 1 for strongly disliked to 5 for strongly liked. The Pearson correlation of .48 for abstract paintings was significant, while that of .16 for representational ones was not.
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Dachille-Hey, Rae Erin. "The Case of the Disappearing Blue Women: Understanding how Meaning is made in Desi Sangye Gyatso’s Blue Beryl paintings." Asian Medicine 6, no. 2 (2012): 293–320. http://dx.doi.org/10.1163/15734218-12341236.
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Abstract This article dives into the idiosyncrasies of the life of the body in the world and the physician’s encounter with it. It asks the reader to patiently probe the images found within a set of seventeenth-century medical paintings, to seek the clues they provide to better understand the variable conditions of different bodies and, finally, to reflect upon how the details of the paintings themselves train the viewer to see the body in a very specific way. The paintings employ particular modes of expression, referred to here as ‘modes of representation’, to generate meaning. In reflecting upon the relationship between image and meaning in these paintings, it will become clear that it is the manner in which the idiosyncrasies of the body are depicted, the ways in which they are framed and patterned and the ways in which the viewer learns to make sense of them, that are ultimately meaningful.
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Forma, Ewa, Magdalena Bernaciak, and Magdalena Bryś. "Breast Cancer in Art Painting." Folia Biologica et Oecologica 6 (December 4, 2010): 61–68. http://dx.doi.org/10.2478/v10107-009-0007-0.
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Breast cancer is an emotive cancer. It is a disease that affects a visible sexual organ and it is the commonest single cause of death of women between 40 and 60 years of age. Nevertheless, this type of cancer was infrequently depicted in art paintings. In this article the themes from the breast cancer in famous art paintings are discussed.
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Gubińska, Maria. "Dialogue de la littérature et la peinture dans Femmes d’Alger dans leur appartement d’Assia Djebar." Quêtes littéraires, no. 6 (December 30, 2016): 100–107. http://dx.doi.org/10.31743/ql.217.
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The paper presents the phenomenon of hybridity present in Assia Djebar’s writings based on the example of the collection of short stories entitled Femmes d’Alger dans leur appartement (Women of Algiers in Their Apartment). The title of the collection makes reference to famous paintings by Delacroix and Picasso but in doing so the author also supplements the Europocentric discourse with her own voice, the voice of a Francophone Algerian writer who, holding a dialogue with the painters, breaks with exoticism and the orientalising European approach. The dialogue with painting is accomplished on two levels; the first, diegetic and second, essayistic; in ‘The Overture’, and especially in ‘The Afterword’, which is not only a commentary to the painting works by Delacroix and Picasso, but also a complementation of the literary plot. The permanent link of Djebar’s writings to the dramatic present and the remembrance of the women deprived of their voice and subjected to reification is voiced powerfully in the work, which cannot be easily evaluated as it is very diverse in its references to other fields of art.
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Тарасенко, Ольга, and Андрій Тарасенко. "Mythopoetics of Women — Nature in the Paintings of Nicholas Prokopenko." Art Research of Ukraine, no. 18 (December 19, 2018): 167–73. http://dx.doi.org/10.31500/2309-8155.18.2018.152389.
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Scholz, A. "The Bearded Women from Dresden and Other Paintings of Hirsutism." Aktuelle Dermatologie 31, no. 4 (2005): 171–74. http://dx.doi.org/10.1055/s-2005-861262.
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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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Tsoumas, Johannis, and Eleni Gemtou. "Marie Spartali-Stillman’s feminism against Pre-Raphaelite Brotherhood gender stereotypes art." Journal of the Belarusian State University. History, no. 2 (May 7, 2021): 48–60. http://dx.doi.org/10.33581/2520-6338-2021-2-48-60.
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In the middle of the 19th century Great Britain, Queen Victoria had been imposing her new ethical code system on social and cultural conditions, sharpening evidently the already abyssal differences of the gendered stereotypes. The Pre-Raphaelite painters reacted to the sterile way of painting dictated by the art academies, both in terms of thematology and technique, by suggesting a new, revolutionary way of painting, but were unable to escape their monolithic gender stereotypes culture. Using female models for their heroines who were often identified with the degraded position of the Victorian woman, they could not overcome their socially systemic views, despite their innovative art ideas and achievements. However, art, in several forms, executed mainly by women, played a particularly important role in projecting several types of feminism, in a desperate attempt to help the Victorian woman claim her rights both in domestic and public sphere. This article aims at exploring and commenting on the role of Marie Spartali-Stillman, one of the most charismatic Pre-Raphaelite Brotherhood models and later famous painter herself, in the painting scene of the time. Through the research of her personal and professional relationship with the Pre-Raphaelites, and mainly through an in depth analysis of selected paintings, the authors try to shed light on the way in which M. Spartali-Stillman managed to introduce her subversive feminist views through her work, following in a way the feministic path of other female artists of her time. The ways and the conditions, under which the painter managed to project women as dominant, self-sufficient and empowered, opposing their predetermined social roles, have also been revised.
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MORGAN, JO-ANN. "Thomas Satterwhite Noble's Mulattos: From Barefoot Madonna to Maggie the Ripper." Journal of American Studies 41, no. 1 (2007): 83–114. http://dx.doi.org/10.1017/s0021875806002763.
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With emancipation a fait accompli by 1865, one might ask why Kentucky-born Thomas Satterwhite Noble (1835–1907), former Confederate soldier, son of a border state slaveholder, began painting slaves then. Noble had known the “peculiar institution” at first hand, albeit from a privileged position within the master class. As a result, his choice to embark upon a career as a painter using historical incidents from slavery makes for an interesting study. Were the paintings a way of atoning for his Confederate culpability, a rebel pounding his sword into a paintbrush to appease the conquering North? Or was he capitalizing on his unique geographic perspective as a scion of slave-trafficking Frankfort, Kentucky, soon to head a prestigious art school in Cincinnati, the city where so many runaways first tasted freedom? Between 1865 and 1869 Noble exhibited in northern cities a total of eight paintings with African American subjects. Two of these, The Last Sale of Slaves in St. Louis (1865, repainted ca. 1870) and Margaret Garner (1867), featured mixed-race women, or mulattos, as they had come to be called. From a young female up for auction, to the famous fugitive Margaret Garner, his portrayals show a transformation taking place within perceptions of biracial women in post-emancipation America. Opinions about mulattos surfaced in a range of theoretical discussions, from the scientific to the political, as strategists North and South envisioned evolving social policy.
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McCloskey, Barbara. "Marking Time: Women and Nazi Propaganda Art during World War II." Contemporaneity: Historical Presence in Visual Culture 2 (July 11, 2012): 1–17. http://dx.doi.org/10.5195/contemp.2012.43.
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"Marking Time" considers the relative scarcity of woman's image in Nazi propaganda posters during World War II. This scarcity departs from the ubiquity of women in paintings and sculptures of the same period. In the fine arts, woman served to solidify the "Nazi myth" and its claim to the timeless time of an Aryan order simultaneously achieved and yet to come. Looking at poster art and using Ernst Bloch's notion of the nonsynchronous, this essay explores the extent to which women as signifiers of the modern – and thus as markers of time – threatened to expose the limits of this Nazi myth especially as the regime's war effort ground to its catastrophic end.
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Singh, Charanjit. "CONTEMPORARY EFFECTS ON MADHUBANI FOLK PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 222–28. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3740.
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Today, artists are doing new experiments in Madhubani folk painting, these experiments are natural as well with changing times. This change is the eternal truth of nature. We believe that art is the same. Which change with changing time, but do not let it lose its original form. With this spirit, Madhubani folk painting is being done in the main areas of Madhubani painting even today in Jitwarpur, Darbhanga, Purnia and surrounding areas. And it has been done before also.Today, if we study the folk painting of both decades (past and present) and the work style of their artists, then we get that the style of art has changed to some extent but the sentiment towards Madhubani folk painting is the same. Even today some women are working on natural things in rural areas. The same contemporary artist is busy with his work style with contemporary themes. Where previously the subjects of Madhubani folk paintings have been mainly related to the Gods and Goddesses. Madhubani folk painting was first used by women to decorate the walls and courtyards of their homes. The women here incorporate historical, religious and spiritual subjects into their art with their imagination. Religious folk life has been the main theme of Madhubani Lak paintings. Jilwarpur, a small village in Madhubani region has been the center of this art.
 आज मधुबनी लोक चित्रकला में कलाकार नित नये प्रयोग कर रहे हैं यह प्रयोग बदलते समय के साथ-साथ स्वाभाविक भी हैं। यह परिवर्तन प्रकृति का शाश्वत् सत्य है। हमारा मानना भी यही है कि कला वही है। जो बदलते समय के साथ परिवर्तित होती रहे, लेकिन अपने मूल स्वरूप को खोने न दे। इसी भावना के साथ आज भी मधुबनी चित्रकला के प्रमुख क्षेत्र जितवारपुर, दरभंगा, पूर्णिया व आस-पास के क्षेत्रों में मधुबनी लोक चित्रकला का अंकन किया जा रहा है। और पहले भी किया जाता रहा है।अगर आज हम दोनों दशकों (पूर्व व वर्तमान) की लोक चित्रकला व उनके कलाकारों की कार्य शैली का गहन अध्ययन करें तो हमें प्राप्त होता है कि लेाक कला शैली कुछ हद तक परिवर्तित हुयी है लेकिन मधुबनी लोक चित्रकला के प्रति भावनात्मकता वही है। ग्रामीण अंचलों में आज भी कुछ महिलाएँ प्राकृतिक चीजों को लेकर कार्य कर रही हैं। वही समकालीन कलाकार समकालीन विषयों को लेकर अपनी कार्य शैली में व्यस्त है। जहाँ पहले मधुबनी लोक चित्रों के विषय मुख्य रूप से देवी-देवता व प्रकृति से सम्बन्धित रहे हैं। मधुबनी लोक चित्रकला का प्रयोग पहले महिलाएँ अपने घरों की दीवारों व आँगनों को सजाने के लिये करती थी। यहाँ की महिलाएँ अपनी कल्पना से ऐतिहासिक, धार्मिक व आध्यात्मिक विषयों को अपनी कला में समाहित करती है। धार्मिक लोक जीवन मधुबनी लेाक चित्रों के मुख्य विषय-वस्तु रहे हैं। मधुबनी क्षेत्र का छोटा सा गाँव जिलवारपुर इस कला का केन्द्र रहा है।
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Knowles, Marika Takanishi. "Tricky, Fine, and Trapped: Painting the Femme Forte in Early Seventeenth-Century France." Zeitschrift für Kunstgeschichte 82, no. 1 (2019): 92–114. http://dx.doi.org/10.1515/zkg-2019-0004.
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Abstract Between the late 1620s and late 1640s, Jacques Blanchard, Simon Vouet, and Claude Vignon all painted the femme forte (strong woman), an exemplary, heroic femal type whose popularity was linked to the presence of Marie de Medici and Anne of Austria on the royal stage of France. This article puts early seventeenth-century French paintings of femmes fortes into conversation with period discourse regarding the reception of paintings and the status of women. Pictorial representation tended to cast the femme forte into contexts that compromised her exemplary status. Nude, on the verge of death by her own hand, the figure of the femme forte invited the very kind of sensual consumption that the femme forte herself attempted to disavow. Yet the ultimate threat posed by the femme forte was that her image might ‘trick’ male viewers into unwise actions.
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Ringelberg, Kirstin. "No Room of One's Own: Mary Fairchild MacMonnies Low, Berthe Morisot, and The Awakening." Prospects 28 (October 2004): 127–54. http://dx.doi.org/10.1017/s0361233300001459.
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Several art historians have discerned a gendered division of subject matter between male and female artists of the late 19th century. Griselda Pollock's landmark text, “Modernity and the Spaces of Femininity,” serves as both the first and fullest discussion of this issue from a feminist perspective. Pollock argues that women Impressionists should not be viewed as outside the development and rhetoric of modernity because of their failure to depict its most representative sites (cafés, bars, and other public spaces where bourgeois women dared not enter); rather, we should note their restricted, chiefly domestic realm as another space of modernity that these women were particularly adept at analyzing. According to Robert Herbert, works by women Impressionists are “easily distinguished” from those of their male counterparts, who tend to highlight the figures over their surroundings and fail to note the expressive capabilities of household furnishings. There is much to recommend the approaches of both Pollock and Herbert; in particular, they have given critical and aesthetic value to the paintings of women Impressionists in their analyses. But, paradoxically, their analyses also have the effect of reinforcing the same gendered distinctions of paintings once used to devalue those works by women.
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Jessani, Hinna. "DEPICTION OF WOMEN IN THE PAINTINGS OF PAKISTANI ARTIST, IQBAL HUSSAIN." PEOPLE: International Journal of Social Sciences 4, no. 2 (2018): 1364–71. http://dx.doi.org/10.20319/pijss.2018.42.13641371.
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Gradvohl, S. M. O., and E. R. Turato. "From the lack to the sublimation: Psychodynamic considerations about the inability to become pregnant by the way of biographical data about Frida Kahlo." European Psychiatry 26, S2 (2011): 1691. http://dx.doi.org/10.1016/s0924-9338(11)73395-8.
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IntroductionThe inability to gestate is considered a difficult experience for women. It is impossible to distinguish whether the cause of greatest suffering is the absence of the desired child or the feeling of failure. According to Freudian theory, this inability could reopen the narcissistic wound, arisen in the castration complex, once the woman is inserted as an incomplete being again. Sublimation is a mechanism for dealing with the deprivation, used by Frida Kahlo, a famous Mexican artist. The aim of this study was to understand the sublimation in the life of Frida by her inability to gestate.MethodBiographical research about Frida Kahlo articulated with the Freudian theory.ResultsFrida sublimated her deprivation through the painting: “Painting completed my life. I lost three children…painting substituted for all this. I believe that works is the best thing. Through the emptiness, Frida reinvented herself, recognized her absence and enabled the emergence of other objects “I paint self-portraits because I am so often alone, because I am the person I know best”.ConclusionAlthough she managed to sublimate her pain through painting, Frida did not have a happy life: “I hope the exit is joyful - and I hope never to return”. Sublimation helped her to overcome the lack of children, but not healed her narcissistic wound. Her paintings were a manifestation of her symptoms, the revelation of the discovered behind the repression necessary to sublimation: “I never painted dreams, I painted my own reality”.
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Ariesa Pandanwangi, Belinda Sukapura Dewi, and Shopia Himatul Alya. "NARASI VISUAL CERITA FABEL DALAM KARYA SENI LUKIS." Jurnal Budaya Nusantara 3, no. 2 (2020): 135–42. http://dx.doi.org/10.36456/b.nusantara.vol3.no2.a2545.
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Bandung is one of the creative cities in Java, especially West Java. Proven Bandung has a lot of local wisdom dug up from legendary stories, animal fable stories, culinary riches, and many more which later became interesting ideas into the concept of creating art. This local wealth is an important claim by artists who actively work. This research will reveal the expression of artists in paintings. They express their expression by bringing up the fable story of the archipelago. Archipelago fable story is processed, dug up and used as a source of inspiration to create works of art. The problems in this study are (1) What is the concept of a painting that was conceived from the fable story of the archipelago. (2) What is the visualization of the archipelago fable painting created by female artists ?. This research method is descriptive qualitative by examining the aesthetic aspects which include elements of the object, composition, color, harmonization. The media used in this painting is fabric. Samples of paintings, taken from works created by women from an exhibition held in Bandung. The coloring process with the colet technique. The color used is the dye for the fabric. The findings in the research are the concept of the work carried by artists visualizing animal stories that can be used as good moral examples. This exhibition is important because in addition to visual narration there is also a message delivered to the public. Whereas visually, many female artists use realistic objects, center composition, contrasting and attractive colors. The results of this study the concept of fable stories are brought back into an attractive visual narrative with colors that are presented in contrast with many techniques in coloring.
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Riaz, Mehvish, and Muhammad Shaban Rafi. "Gender-based Socio-semiotic Analysis of Honour Killing in Pakistani Paintings." Pakistan Journal of Women's Studies: Alam-e-Niswan 26, no. 1 (2020): 125–49. http://dx.doi.org/10.46521/pjws.026.01.0021.
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Episodes of ideological concern related to honour norms and construction of social meanings depicted through paintings are pertinent in foregrounding the social realities of Pakistan. This paper analyzes the grammar of paintings from the perspective of gender roles assumed in the context of honour. The grammar of the visual design of five paintings painted by male and female Pakistani painters belonging to different areas of Pakistan have been qualitatively studied in the light of the social semiotic framework suggested by Kress and Leeuwen (2006). The results show that women are represented as helpless, outcast and oppressed beings; while men have been depicted, indirectly through signs, as oppressors. Paucity of research in this area and implications of the analysis for gender studies, anthropological linguistics, violence studies and visual literacy, make it a significant contribution to the existing literature.
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Christianna, Aniendya. "Javanese Women Hybridity: Postcolonial Study of Nyonya Muluk in Damar Kurung Paintings." International Journal of Creative and Arts Studies 7, no. 1 (2020): 33–48. http://dx.doi.org/10.24821/ijcas.v7i1.4164.
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ABSTRACTDamar Kurung is a typical lantern of Gresik, made in the 16th century. In 2017 Damar Kurung was declared an intangible cultural heritage by the Indonesian Ministry of Education and Culture. Masmundari (1904-2005) was a female artist who painted Damar Kurung based on skills learned from her ancestors. Among Masmundari's many paintings, Nyonya Muluk is the most frequently painted. Nyonya Muluk is described as a big woman wearing a dress and wings. Many people say that Nyonya Muluk is a picture of Queen Wilhemina that Masmundari has seen directly. To uncover Nyonya Muluk's identity, it is necessary to explain the image and meaning of this traditional art, the author uses Bahasa Rupa method (Tabrani, 2012), which analyzes the contents of the wimba, cara wimba, tata ungkapan and how to read wimba. Then, analyzed using postcolonial theory, specifically using the concepts of hybridity and mimicry to find out the identity of Nyonya Muluk. Finally, this research is to produce (1) A description of the relationship between the two cultures (East and West/invaders and colonized) which is manifested in the figure of Nyonya Muluk. (2) Nyonya Muluk is a representation of Javanese women's hybridity that illustrates the hopes and dreams of Masmundari (as an East representative) to be similar to the West.Hibriditas Perempuan Jawa: Studi Poskolonial Figur Nyonya Muluk Di Lukisan Damar KurungABSTRAKDamar Kurung adalah lentera khas Gresik, dibuat pada abad ke-16. Pada 2017 Damar Kurung dinyatakan sebagai warisan budaya tak bendawi oleh Kementerian Pendidikan dan Kebudayaan Indonesia. Masmundari (1904-2005) adalah seniman perempuan yang melukis Damar Kurung berdasarkan keterampilan yang diperolehnya secara turun temurun. Di antara banyak lukisan Masmundari, Nyonya Muluk adalah yang paling sering dilukis. Nyonya Muluk digambarkan sebagai perempuan berukuran besar yang mengenakan gaun dan memiliki sepasang sayap. Banyak orang mengatakan bahwa Nyonya Muluk adalah gambaran Ratu Wilhemina yang langsung dilihat Masmundari. Untuk mengungkap identitas Nyonya Muluk, perlu menjelaskan gambar dan makna seni lukis tradisi ini, penulis menggunakan metode Bahasa Rupa (Tabrani, 2012), yang menganalisis isi wimba, cara wimba, tata cara dan cara membaca wimba. Kemudian, dianalisis menggunakan teori postkolonial, khususnya menggunakan konsep hibriditas dan mimikri untuk mengetahui identitas Nyonya Muluk. Akhirnya, penelitian menghasilkan (1) Deskripsi hubungan antara dua budaya (Timur dan Barat/penjajah dan terjajah) yang dimanifestasikan dalam sosok Nyonya Muluk. (2) Nyonya Muluk adalah representasi dari hibriditas perempuan Jawa yang menggambarkan harapan dan impian Masmundari (sebagai perwakilan Timur) untuk menjadi serupa dengan Barat.
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Gordon, Alec, and Napat Sirisambhand. "Evidence for Thailand's Missing Social History: Thai Women in Old Mural Paintings." International Review of Social History 47, no. 2 (2002): 261–75. http://dx.doi.org/10.1017/s0020859002000603.
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With the burning of central Thailand's capital city, Ayudhya, in 1767 and the destruction of virtually all the records kept there by the centralized bureaucracy of that kingdom, and with the Burmese occupation of the north and the devastating years of fighting around 1800 to drive them out, there is virtually no written record left at all for Thailand prior to the nineteenth century. There is a little material on rulers and some of their activities, but for social history the record is nearly blank. Is there then no way to write a social history or a gender history for Thailand?
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Cela-Conde, Camilo J., Gisèle Marty, Enric Munar, Marcos Nadal, and Lucrecia Burges. "The “Style Scheme” Grounds Perception of Paintings." Perceptual and Motor Skills 95, no. 1 (2002): 91–100. http://dx.doi.org/10.2466/pms.2002.95.1.91.
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We studied the formation of style scheme (identification of the style that characterizes an artist) presenting 100 participants aesthetic visual stimuli. Participants were Spanish university students who volunteered: 72 women, 28 men of mean age 22.8 yr. Among those 50 were enrolled in History of Art and 50 students in Psychology. Stimuli belonged to different categories—High Art (pictures of well-known artists, like Van Gogh)/Popular Art (decorative pictures like Christmas postcards) and Representational (pictures with explicit meaning content, like a landscape)/Abstract (pictures without explicit meaning content, like Pollock's colored stains). Analysis using Signal Detection Theory techniques focused on how participants discriminate representational and abstract pictures. With High An stimuli, participants can better discriminate representational paintings than abstract ones. However, the difference in discrimination between representational and abstract pictures diminishes among participants studying History of Art. It seems that prior education in art favors forming style schemes and to some extent enables the participant to detect the “meaning” in High Art abstract paintings.
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Honey, Maureen. "Women and Art in the Fiction of Edith Wharton." Prospects 19 (October 1994): 419–50. http://dx.doi.org/10.1017/s0361233300005172.
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Edith Wharton's treatment of the artist has received considerable critical attention, particularly in light of her focus on male artists and the disparity between her early short stories that are dominated by tales about artists and her novels that center on other subjects. Some of these studies have looked at the writer as artist and Wharton's views on the art of writing. While such a focus can be justified by the numerous writers who people Wharton's fiction, it is instructive to examine other dimensions of her reference to art and artists, especially painting, as a way of illuminating the commentary on women's roles that pervades Wharton's work. Like other writers of her era, Wharton constructed many narratives around creative artists or linked her main characters to artistic endeavors in order to interrogate American culture, its materialism, its devaluation of art, and its restrictive sphere for women. It is my contention, however, that Wharton's concern with development of the female artist was subsumed in some of her novels by rhetorical techniques that used art as a sounding board for her social critiques. Specifically, she constructed pivotal scenes around paintings in the narrative and made subtle reference to prominent themes in Victorian artwork as ironic counterpoint to and illumination of the story being told. In this essay, I explore the way in which Wharton drew on artistic representations of women with deep cultural resonance for her audience that served to underscore her critique of Victorian mythology and to garner sympathy for the characters victimized by that mythology.
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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 with the female nude genre. Mrs Ramsay’s critical appraisal of ways of looking at the fruit - her own as an art connoisseur’s, and Augustus Carmichael’s as a voracious plunderer’s - receives a philosophical slant in the other scene I examine, Lily Briscoe’s nonfigurative painting of Mrs Ramsay. The portrait remediates artistically the reductive thrust of traditional philosophy as espoused by Mr Ramsay and, like the nature of reality in philosophical discourse, yields to a “scientific” explication to the uninformed viewer. Notwithstanding its feminist reversal of philosophy’s classic hierarchy (male knower over against female object), coterminous with Lily’s early playful grip on philosophy, the scene ultimately fails to offer a viable non-androcentric outlook on life.
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Roded, Ruth. "MODERN GENDERED ILLUSTRATIONS OF THE LIFE OF THE PROPHET OF ALLAH—ÉTIENNE DINET AND SLIMAN BEN IBRAHIM (1918)." Arabica 49, no. 3 (2002): 325–59. http://dx.doi.org/10.1163/157005802760253261.
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AbstractThe gendered messages in the paintings and text of Dinet and Sliman's Life of Mohammad are the products of a fascinating social and cultural interchange that developed over three decades between the Frenchman and Algerian life. In this social and cultural context, Dinet produced his Orientalist paintings and collaborated with Ben Ibrahim on a series of illustrated books. At the same time, Dinet undertook a spiritual journey from Orientalist painter to Islamophile, formally converting in 1913. La Vie de Mohammed was composed and published in French during World War I and immediately after appeared in English. Dinet's visual gendered perception of the life of the Prophet projects an image of dignified women believers participating in communal religious life, separated to varying degrees from men. The text of the book sends a more diffuse, stock message about Muslim women. Originally produced in a limited edition, Dinet and Sliman's work was to bring the life story of the Prophet to far-reaching parts of the world.
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Baker, Dorothy Z. "French Women, Italian Art, and Other “Advocates of the Body” in Harriet Beecher Stowe's The Minister's Wooing." New England Quarterly 83, no. 1 (2010): 47–72. http://dx.doi.org/10.1162/tneq.2010.83.1.47.
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Displays of sanctified eroticism in The Minister's Wooing reveal Harriet Beecher Stowe's conviction that the body is inherently holy. The author's experience of religious paintings and her observation of French women in Europe deepened her belief that the female body is an instrument of spirituality, as can be traced in the novel.
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고카츠 레이코. "What Japanese Women Artists Painted during the WWII— the Paintings by Hasegawa Haruko and Other Japanese Women Painters." Journal of History of Modern Art ll, no. 28 (2010): 231–77. http://dx.doi.org/10.17057/kahoma.2010..28.008.
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Alban, Gillian M. E. "Struggling, Stupendous Female Artistic Aspirations." Kadın/Woman 2000, Journal for Women's Studies 19, no. 2 (2017): 32–53. http://dx.doi.org/10.33831/jws.v19i2.251.
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Women’s struggles to express themselves artistically, whether in the visual arts or in literature, has never been easy. This writing evaluates women’s creative efforts, from Virginia Woolf’s fictional Judith Shakespeare, to the playwrights Aphra Behn and Elizabeth Inchbald, whose plays scarcely outlived their own era. In the twentieth century, Woolf shows Lily Briscoe painting despite discouragement, and Margaret Atwood and A.S. Byatt’s female characters describe similar artistic struggles to achieve success. The real-life efforts of Sylvia Plath show her creating through the traumas of her life, while Frida Kahlo undertakes a parallel struggle to create her amazing paintings through dreadful pain. These two consummate artists, Plath and Kahlo, immortalize woman’s agonizing self-expression in their verbal and visual portraits, overcoming considerable obstacles. This work presents the historical toils and fictional accounts of women artists in their attempts at artistic self-expression, proving that such efforts come at a high cost to the artist even to this day.
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Alban, Gillian M. E. "Struggling, Stupendous Female Artistic Aspirations." Kadın/Woman 2000, Journal for Women's Studies 18, no. 2 (2017): 32–53. http://dx.doi.org/10.33831/jws.v18i2.251.
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Women’s struggles to express themselves artistically, whether in the visual arts or in literature, has never been easy. This writing evaluates women’s creative efforts, from Virginia Woolf’s fictional Judith Shakespeare, to the playwrights Aphra Behn and Elizabeth Inchbald, whose plays scarcely outlived their own era. In the twentieth century, Woolf shows Lily Briscoe painting despite discouragement, and Margaret Atwood and A.S. Byatt’s female characters describe similar artistic struggles to achieve success. The real-life efforts of Sylvia Plath show her creating through the traumas of her life, while Frida Kahlo undertakes a parallel struggle to create her amazing paintings through dreadful pain. These two consummate artists, Plath and Kahlo, immortalize woman’s agonizing self-expression in their verbal and visual portraits, overcoming considerable obstacles. This work presents the historical toils and fictional accounts of women artists in their attempts at artistic self-expression, proving that such efforts come at a high cost to the artist even to this day.
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Montgomery, Harper. "Introduction to Carlos Mérida's “The True Meaning of the Work of Saturnino Herrán”." ARTMargins 7, no. 1 (2018): 115–27. http://dx.doi.org/10.1162/artm_a_00203.
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The introductory essay places “The True Meaning of the Work of Saturnino Herrán: The False Critics” (1920), a piece of early criticism written by the Guatemalan artist Carlos Mérida during the first year he lived in Mexico City, within the contexts of the cosmopolitan milieu of post-Revolutionary Mexico and the artist's own trajectory. It suggests that the text both demonstrates intellectuals’ interest in questions of form and national art and Mérida's desire to provide a critical framework for his own paintings of indigenous Guatemalan and Mexican women. In “The True Meaning of the Work of Saturnino Herrán: The False Critics,” Mérida lashed out at Mexican critics for praising Herrán as the best and most Mexican painter of the time, arguing, instead that the realism and sentimentalism of Herrán's paintings dishonored national themes by presenting them as picturesque stereotypes. Published in the widely-read magazine El Universal Ilustrado, the text attacks Herrán's paintings and the critics who praise them while also arguing that the predominance of the artist is symptomatic of the predominant problem of the literary nature of Mexican artists’ engagement with autochthonous art and culture.
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Mérida, Carlos. "The True Meaning of the Work of Saturnino Herrán: The False Critics." ARTMargins 7, no. 1 (2018): 128–30. http://dx.doi.org/10.1162/artm_a_00204.
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The introductory essay places “The True Meaning of the Work of Saturnino Herrán: The False Critics” (1920), a piece of early criticism written by the Guatemalan artist Carlos Mérida during the first year he lived in Mexico City, within the contexts of the cosmopolitan milieu of post-Revolutionary Mexico and the artist's own trajectory. It suggests that the text both demonstrates intellectuals’ interest in questions of form and national art and Mérida's desire to provide a critical framework for his own paintings of indigenous Guatemalan and Mexican women. In “The True Meaning of the Work of Saturnino Herrán: The False Critics,” Mérida lashed out at Mexican critics for praising Herrán as the best and most Mexican painter of the time, arguing, instead that the realism and sentimentalism of Herrán's paintings dishonored national themes by presenting them as picturesque stereotypes. Published in the widely-read magazine El Universal Ilustrado, the text attacks Herrán's paintings and the critics who praise them while also arguing that the predominance of the artist is symptomatic of the predominant problem of the literary nature of Mexican artists’ engagement with autochthonous art and culture.
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Nather, Francisco Carlos, and José Lino Oliveira Bueno. "Timing Perception in Paintings and Sculptures of Edgar Degas." Kronoscope 12, no. 1 (2012): 16–30. http://dx.doi.org/10.1163/156852412x631628.
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AbstractThe impressionist artist Edgar Degas (1834-1917) is widely known for his artistic production dedicated to the representation of movement. Degas has done a careful study, realistically depicting the movement both in his paintings of scenes of horses, women bathing and dancing, and in his sculptures of dancers in various positions of classical ballet. Since movements exist only at the intersection space-time, and visual works of art exist only in physical spaces defined by the works themselves, this article discusses the perception of time in the work of Degas. Therefore, this paper emphasizes aspects of the representation of movement used by the artist and the implied relations of these aspects with the perception of time. The timing perception is addressed according to studies that revealed components of the subjective perception of time related to a meeting of an observer with a work of visual art (aesthetic episode).