This title was first published in 2000: Women in the 19th century have long been presented as the angel in the house. The author re-writes this history by investigating the life and working conditions of a number of middle-class women who sought to establish themselves as professional artists in Scotland. Contrary to the orthodox view preoccupied with oppression and difficulty, the author demonstrates that women artists of the period were independent producers, teachers and travellers, alert to changes in taste and fashion. They derived great pleasure from their work, and enjoyed the benefits of women working together, forming their own and joining existing professional associations. The book is not biographical but elaborates on the life and working conditions of middle-class artists by discussing their work in terms of economic and social history.
This title was first published in 2002. To date, studies explaining decorative practice in the early modernist period have largely overlooked the work of women artists. For the most part, studies have focused on the denigration of decorative work by leading male artists, frequently dismissed as fashionably feminine. With few exceptions, women have been cast as consumers rather than producers. The first book to examine the decorative strategies of late nineteenth- and early twentieth-century women artists, Women Artists and the Decorative Arts concentrates in particular on women artists who turned to fashion, interior design and artisanal production as ways of critically engaging various aspects of modernity. Women artists and designers played a vital role in developing a broad spectrum of modernist forms. In these essays new light is shed on the practice of such well-known women artists as May Morris, Clarice Cliff, Natacha Rambova, Eileen Gray and Florine Stettheimer, whose decorative practices are linked with a number of fascinating but lesser known figures such as Phoebe Traquair, Mary Watts, Gluck and Laura Nagy.
This title was first published in 2000: Women in the 19th century have long been presented as the angel in the house. The author re-writes this history by investigating the life and working conditions of a number of middle-class women who sought to establish themselves as professional artists in Scotland. Contrary to the orthodox view preoccupied with oppression and difficulty, the author demonstrates that women artists of the period were independent producers, teachers and travellers, alert to changes in taste and fashion. They derived great pleasure from their work, and enjoyed the benefits of women working together, forming their own and joining existing professional associations. The book is not biographical but elaborates on the life and working conditions of middle-class artists by discussing their work in terms of economic and social history.
This title was first published in 2002. To date, studies explaining decorative practice in the early modernist period have largely overlooked the work of women artists. For the most part, studies have focused on the denigration of decorative work by leading male artists, frequently dismissed as fashionably feminine. With few exceptions, women have been cast as consumers rather than producers. The first book to examine the decorative strategies of late nineteenth- and early twentieth-century women artists, Women Artists and the Decorative Arts concentrates in particular on women artists who turned to fashion, interior design and artisanal production as ways of critically engaging various aspects of modernity. Women artists and designers played a vital role in developing a broad spectrum of modernist forms. In these essays new light is shed on the practice of such well-known women artists as May Morris, Clarice Cliff, Natacha Rambova, Eileen Gray and Florine Stettheimer, whose decorative practices are linked with a number of fascinating but lesser known figures such as Phoebe Traquair, Mary Watts, Gluck and Laura Nagy.
The history of women and art in Canada has often been celebrated as a story of progress from amateur to professional practice. Rethinking Professionalism challenges this narrative by questioning the assumptions that underlie the category of artistic professionalism, a construct as influential for artistic practice as it has been for art historical understanding. Through a series of in-depth studies, contributors examine changes to the infrastructure of the art world that resulted from a powerful discourse of professionalization that emerged in the late- nineteenth century. While many women embraced this new model, others fell by the wayside, barred from professional status by virtue of their class, their ethnicity, or the very nature of the artworks they produced. The richly illustrated essays in this collection depict the changing nature of the professional paradigm as it was experienced by women painters, photographers, craftspeople, architects, curators, gallery directors, and art teachers. In so doing, they demonstrate the ongoing power of feminist art history to disrupt patterns of thought that have become naturalized and, accordingly, invisible. Going beyond the narratives of recovery or exclusion that the category of professionalism has traditionally encouraged, Rethinking Professionalism explores the very consequences of telling the history of women's art in Canada through that lens. Contributors include Annmarie Adams (McGill University), Alena Buis (Queen's University), Sherry Farrell Racette (University of Manitoba), Cynthia Hammond (Concordia University), Kristina Huneault (Concordia University), Loren Lerner (Concordia University), Lianne McTavish (University of Alberta), Kirk Niergarth (Mount Royal University), Mary O'Connor (McMaster University), Sandra Paikowsky (Concordia University), Ruth B. Phillips (Carleton University), Jennifer Salahub (Alberta College of Art & Design), and Anne Whitelaw (Concordia University).
This book examines the alternation between accusative-dative and dative-accusative order in Old Florentine clitic clusters and its decline in favor of the latter. Based on an exhaustive analysis of data collected from medieval Florentine and Tuscan texts we offer a novel analysis of the rise of the variable order, the transition from one order to the other, and the demise of the alternation that relies primarily on iconicity and analogy. The book employs exophoric pragmatic iconicity, a language-external iconic relationship based on similarity between linguistic structure and the speaker/writer's conceptualization of reality, and endophoric iconicity, a language-internal iconic relationship where the iconic ground is construed between linguistic signs and structures. Analogy is viewed as a productive process that generalizes patterns or extends grammatical rules to formally similar structures, and obtains the form of the analogical relationship between the masculine singular definite article and the third person singular accusative clitic, which shared the same phonotactically constrained distribution patterns. The data indicate that exophoric pragamatic iconicity exploits and maintains the alternation, whereas endophoric iconicity and analogy conspire to end it.
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