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As one of the first books to treat portraits of early modern women
as a discrete subject, this volume considers the possibilities and
limits of agency and identity for women in history and, with
particular attention to gender, as categories of analysis for
women's images. Its nine original essays on Italy, the Low
Countries, Germany, France, and England deepen the usefulness of
these analytical tools for portraiture. Among the book's broad
contributions: it dispels false assumptions about agency's
possibilities and limits, showing how agency can be located outside
of conventional understanding, and, conversely, how it can be
stretched too far. It demonstrates that agency is compatible with
relational gender analysis, especially when alternative agencies
such as spectatorship are taken into account. It also makes evident
the importance of aesthetics for the study of identity and agency.
The individual essays reveal, among other things, how portraits
broadened the traditional parameters of portraiture, explored
transvestism and same-sex eroticism, appropriated aspects of male
portraiture to claim those values for their sitters, and, as sites
for gender negotiation, resistance, and debate, invoked
considerable relational anxiety. Richly layered in method, the book
offers an array of provocative insights into its subject.
As one of the first books to treat portraits of early modern women
as a discrete subject, this volume considers the possibilities and
limits of agency and identity for women in history and, with
particular attention to gender, as categories of analysis for
women's images. Its nine original essays on Italy, the Low
Countries, Germany, France, and England deepen the usefulness of
these analytical tools for portraiture. Among the book's broad
contributions: it dispels false assumptions about agency's
possibilities and limits, showing how agency can be located outside
of conventional understanding, and, conversely, how it can be
stretched too far. It demonstrates that agency is compatible with
relational gender analysis, especially when alternative agencies
such as spectatorship are taken into account. It also makes evident
the importance of aesthetics for the study of identity and agency.
The individual essays reveal, among other things, how portraits
broadened the traditional parameters of portraiture, explored
transvestism and same-sex eroticism, appropriated aspects of male
portraiture to claim those values for their sitters, and, as sites
for gender negotiation, resistance, and debate, invoked
considerable relational anxiety. Richly layered in method, the book
offers an array of provocative insights into its subject.
Illuminated here are the relationships between visual culture,
faith, and gender in the courtly, monastic, and urban spheres of
the early modern Burgundian Netherlands. By examining works by
artists such as the Master of Mary of Burgundy, Jan van Eyck, Hans
Memling, and Bernard van Orley, author Andrea Pearson identifies
and explores pictorial constructions of masculinity and femininity
in regard to the expectations, experiences, and practices of
devotion. Specifically, she demonstrates that two of the most
prominent visual genres of the period, books of hours and
devotional portrait diptychs, were manipulated by patrons and
spectators of both sexes to challenge and negotiate the boundaries
and hierarchies of gender, and that marginalized individuals and
groups appropriated the types to resist the authority of others and
advance their own. Ultimately, the books and diptychs emerge as
critical and often contentious sites for deliberating and
transacting gender. By integrating books of hours and devotional
portrait diptychs into current interdisciplinary theoretical
discourse on gender, power and devotion, the author engages
scholars in a range of disciplines: art history, history, religion
and literature, as well as women's and men's studies.
Illuminated here are the relationships between visual culture,
faith, and gender in the courtly, monastic, and urban spheres of
the early modern Burgundian Netherlands. By examining works by
artists such as the Master of Mary of Burgundy, Jan van Eyck, Hans
Memling, and Bernard van Orley, author Andrea Pearson identifies
and explores pictorial constructions of masculinity and femininity
in regard to the expectations, experiences, and practices of
devotion. Specifically, she demonstrates that two of the most
prominent visual genres of the period, books of hours and
devotional portrait diptychs, were manipulated by patrons and
spectators of both sexes to challenge and negotiate the boundaries
and hierarchies of gender, and that marginalized individuals and
groups appropriated the types to resist the authority of others and
advance their own. Ultimately, the books and diptychs emerge as
critical and often contentious sites for deliberating and
transacting gender. By integrating books of hours and devotional
portrait diptychs into current interdisciplinary theoretical
discourse on gender, power and devotion, the author engages
scholars in a range of disciplines: art history, history, religion
and literature, as well as women's and men's studies.
Examining women's agency in the past has taken on new urgency in
the current moment of resurgent patriarchy, Women's Marches, and
the global #MeToo movement. The essays in this collection consider
women's agency in the Renaissance and early modern period, an era
that also saw both increasing patriarchal constraints and new forms
of women's actions and activism. They address a capacious set of
questions about how women, from their teenage years through older
adulthood, asserted agency through social practices, speech acts,
legal disputes, writing, viewing and exchanging images, travel, and
community building. Despite family and social pressures, the
actions of girls and women could shape their lives and challenge
male-dominated institutions. This volume includes thirteen essays
by scholars from various disciplines, which analyze people, texts,
objects, and images from many different parts of Europe, as well as
things and people that crossed the Atlantic and the Pacific.
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