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Books > Arts & Architecture > History of art / art & design styles > 1600 to 1800
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Women, Art and the Politics of Identity in Eighteenth-Century Europe (Hardcover, New edition)
Loot Price: R4,146
Discovery Miles 41 460
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Women, Art and the Politics of Identity in Eighteenth-Century Europe (Hardcover, New edition)
Series: Women and Gender in the Early Modern World
Expected to ship within 12 - 17 working days
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The eighteenth century is recognized as a complex period of
dramatic epistemic shifts that would have profound effects on the
modern world. Paradoxically, the art of the era continues to be a
relatively neglected field within art history. While women's
private lives, their involvement with cultural production, the
project of Enlightenment, and the public sphere have been the
subjects of ground-breaking historical and literary studies in
recent decades, women's engagement with the arts remains one of the
richest and most under-explored areas for scholarly investigation.
This collection of new essays by specialist authors addresses
women's activities as patrons and as "patronized" artists over the
course of the century. It provides a much needed examination, with
admirable breadth and variety, of women's artistic production and
patronage during the eighteenth century. By opening up the specific
problems and conflicts inherent in women's artistic involvements
from the perspective of what was at stake for the
eighteenth-century women themselves, it also acts as a corrective
to the generalizing and stereotyping about the prominence of those
women, which is too often present in current day literature. Some
essays are concerned with how women's involvement in the arts
allowed them to fashion identities for themselves (whether
national, political, religious, intellectual, artistic, or
gender-based) and how such self-fashioning in turn enabled them to
negotiate or intervene in the public domains of culture and
politics where "The Woman Question" was so hotly debated. Other
essays examine how men's patronage of women also served as a
vehicle for self-fashioning for both artist and sponsor. Artists
and patrons discussed include: Carriera; Queen Lovisa Ulrike and
Chardin; the Bourbon Princesses Mlle Clermont, Mme AdelaA-de and
Nattier; the Duchess of Osuna and Goya; Marie-Antoinette and
Vigee-Lebrun; Labille-Guiard; Queen Carolina of Naples, Prince
Stanislaus Poniatowski of Poland and Kauffman; David and his
students, Mesdames Benoist, Lavoisier and Mongez.
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