The meaning of a painted portrait and even its subject may be far more complex than expected, Tamar Garb reveals in this book. She charts for the first time the history of French female portraiture from its heyday in the early nineteenth century to its demise in the early twentieth century, showing how these paintings illuminate evolving social attitudes and aesthetic concerns in France over the course of the century. The author builds the discussion around six canonic works by Ingres, Manet, Cassatt, Cézanne, Picasso, and Matisse, beginning with Ingres’s idealized portrait of Mme de Sennones and ending with Matisse’s elegiac last portrait of his wife. During the hundred years that separate these works, the female portrait went from being the ideal genre for the expression of painting’s capacity to describe and embellish “nature,” to the prime locus of its refusal to do so. Picasso’s Cubism, and specifically Ma Jolie, provides the fulcrum of this shift.
The Body in Time looks at two different genres in relation to the construction of femininity in late ninetheenth-century France: Degas's representation of ballet dancers and the transforming tradition of female portraiture heralded by the "new woman." Class, gender, power, and agency are at stake in both arenas, but they play themselves out in different ways via different pictorial languages. Tamar Garb is Durning Lawrence Professor in Art History, University College London.
Thought to be unequivocally different from one another, modern men and women were expected to express their sexuality and social positions in the clothes they wore, the poses they struck, and the behavior they exhibited. In a series of case studies, Bodies of Modernity looks at works by Cezanne, Renoir, Seurat, Tissot, and Caillebotte as well as photographs of male body builders to establish an image of the modern body. Well-known works such as Renoir's Nude in the Sunlight, Seurat's Young Woman Powdering Herself, and Cezanne's Large Bathers are given new interpretations, while lesser known paintings like Tissot's series on The Women of Paris or Caillebotte's iconoclastic Man at the Bath are looked at seriously for the first time.Bodies of Modernity is an original account of one of the best-loved periods in Western art history. By taking "figure and flesh" as its focus, it bypasses traditional art historical categories and style labels to provide a reading of the work of the Impressionists and their contemporaries that gets to the heart of French society of the period.
Although the women of the Union were often quite conservative politically, socially, and stylistically, says Garb, they believed that women had a special gift that would enhance France's cultural reputation and maintain the uplifting moral-cultural position that seemed in jeopardy at the turn of the century. Focusing on the developments that made the prominence of the organisation possible, Garb discusses the growth of the women's movement, educational reforms, institutional changes in the art world, and critical debates and contemporary scientific thought.
The meaning of a painted portrait and even its subject may be far more complex than expected, Tamar Garb reveals in this book. She charts for the first time the history of French female portraiture from its heyday in the early nineteenth century to its demise in the early twentieth century, showing how these paintings illuminate evolving social attitudes and aesthetic concerns in France over the course of the century. The author builds the discussion around six canonic works by Ingres, Manet, Cassatt, Cézanne, Picasso, and Matisse, beginning with Ingres’s idealized portrait of Mme de Sennones and ending with Matisse’s elegiac last portrait of his wife. During the hundred years that separate these works, the female portrait went from being the ideal genre for the expression of painting’s capacity to describe and embellish “nature,” to the prime locus of its refusal to do so. Picasso’s Cubism, and specifically Ma Jolie, provides the fulcrum of this shift.
The High School outsider takes off her glasses, puts on a dress, and becomes the Prom Queen; the dowdy woman has her hair done, buys some chic new clothes and starts to attract the men. Cinderella and Pygmalion stories still provide inspiration for the plots of Hollywood romantic comedies, dramas, and even action films. Their perennial use prompts a series of questions: is, for example, male agency necessary to effect the transformation, or can the woman change herself? Can she ever change him? Most pressingly, what do these images of change and transformation, of improvement and transcendence tell us, the viewers, about what we should be doing? Investigating these questions, this book examines a key but frequently overlooked aspect of film style: the costume. Across all the films discussed, costume and the body it covers becomes the crucial element in the transformation scene, exemplifying the 'before' and 'after' of the successful change. Exploring the fantasies of transcendence and transformation sold through these films and exemplified in the costumes, this book examines "Calamity Jane", "Midnight Cowboy", "Clueless", "The Long Kiss Goodnight", "The Devil Wears Prada", and many other examples from both classic and contemporary Hollywood.
National Geographic magazine is probably the most visible and popular expression of geography in the USA. Presenting America's World presents a critical analysis of the world portrayed by National Geographic, from its formative years in the nineteenth century, through to 1945. It situates the National Geographic Society's development within the context of a new American overseas expansionism, interrogates the magazine as America's ubiquitous source of wholesome exotica and erotica, examines the ways in which it framed the world for its millions of readers, and questions its participation in the cultural work of US global hegemony. The book argues that National Geographic successfully employed 'strategies of innocence', a contradictory stance of representation which simultaneously asserts innocence - either the innocence of 'just watching' or the innocence of altruistic behaviour - while naturalizing Western hegemony. Presenting America's World not only considers the world that National Geographic presented to its readers, but also examines the magazine’s own institutional world of writers, photographers and editors. Particular attention is paid to Gilbert H. Grosvenor, the magazine's editor for over 50 years, Maynard Owen Williams, a writer and photographer who worked on nearly 100 articles from 1919 to 1960 and Harriet Chalmers Adams, a freelancer, explorer and Pan-American activist who contributed 21 articles.
From the national bestselling author of Butter Safe Than Sorry Magdalena Yoder gets caught up in a case of hotcake homicide... During the annual church breakfast, Minerva J. Jay slumps over dead after ingesting stacks and stacks of pancakes. Police Chief Ackerman wonders if the serving of fatal flapjacks is a case of assault and batter. He turns to Magdalena for help, but first she has to make a special delivery of her own...
Five 'sensation' novels are here presented complete and fully reset, along with scholarly annotation, a bibliography of 'sensation' fiction and articles contributing to contemporary debate.
The book of Leviticus provides two different theologies related to God's presence within ancient Israel. Leviticus 1-16 was written by an elite caste of priests (P), and Leviticus 17-26 (H) was added to the book to "democratize" access to God. While the Priestly work has hardly inspired lay readers, the Holiness Writings provide some of the most inspiring and well-known verses from the Bible. This volume shows how gender dynamics shift between the static worldview of P and the dynamic approach of H and that, ironically, as holiness expands from the priests to the people, from the temple to the land of Israel, gender behaviors become more highly regulated. This complicates associations between power and gender dynamics and opens the door to questions about the relationships between power, gender, and theological perspectives.
An Amish Bed and Breakfast Mystery with Recipes – PennDutch Mysteries #10 Pennsylvania Dutch Inn owner Magdalena Yoder is back in the tenth book in the mouthwatering series... Conman Clarence Webber career has been long and very lucrative—until he landed himself in Hernia’s jail, and is promptly poisoned. Since Magdalena’s PennDutch Inn provides all of the meals for Hernia’s tiny jail, all eyes are on her. She retraces Webber’s criminal path through Pennsylvania—and even Maryland!—she soon discovers that he left a long list of victims, all with good reason to try to do the conman in!! With the reputation of her beloved PennDutch Inn on the line, Magdalena puts on her investigator bonnet to learn who in Hernia poisoned the gruel... “Bubbling over with mirth and mystery.” –Dorothy Cannell b>“A delicious treat.” –Carolyn G. Hart “Charming and delightful...Tamar Myers [keeps] it fresh and original.” -- Midwest Book Review
An up-close view of the 1990s music scene that brought us neo-klezmer bands, Tzadik Records, and a new vision of Jewish identity. Coined in 1992 by composer/saxophonist John Zorn, “Radical Jewish Culture,” or RJC, became the banner under which many artists in Zorn’s circle performed, produced, and circulated their music. New York’s downtown music scene, part of the once-grungy Lower East Side, has long been the site of cultural innovation, and it is within this environment that Zorn and his circle sought to combine, as a form of social and cultural critique, the unconventional, uncategorizable nature of downtown music with sounds that were recognizably Jewish. Out of this movement arose bands, like Hasidic New Wave and Hanukkah Bush, whose eclectic styles encompassed neo-klezmer, hardcore and acid rock, neo-Yiddish cabaret, free verse, free jazz, and electronica. Though relatively fleeting in rock history, the “RJC moment” produced a six-year burst of conversations, writing, and music—including festivals, international concerts, and nearly two hundred new recordings. During a decade of research, Tamar Barzel became a frequent visitor at clubs, post-club hangouts, musicians’ dining rooms, coffee shops, and archives. Her book describes the way RJC forged a new vision of Jewish identity in the contemporary world, one that sought to restore the bond between past and present, to interrogate the limits of racial and gender categories, and to display the tensions between secularism and observance, traditional values and contemporary concerns. Includes links to audiovisual content
An original ethnographic study about communication and culture in Palestine and Israel during the Twentieth Century, examining three modes of communication--soul talks, straight talk, and talk radio. The vision of communication as authentic dialogue, as the mutual communion of souls, has animated a great many twentieth century discussions of language and communication, both in scholarly writings and in various forms and contexts of popular culture. In its various manifestations, this communicative utopia has identified dialogue or conversation as a locus of authenticity of both individuals and groups. This study traces the ways in which this utopian vision of communication has played itself out in the particular context of Israeli society through the twentieth century, encapsulating central trends in the evolving Israeli cultural conversation over the years. In this sense, it is a historically-situated study of the cultural fluctuations of a given society in all its particularity. In another sense, however, it seeks to offer a more general statement about the culturally constructed nature of the quest for authenticity as a project of modernity by focusing on conceptions of communication and language as its quintessential loci." --From the Introduction by Tamar Katriel
Doris Day was a major star during the 1950s and 60s. Even now, many years after her final film and years since her last regular television appearances, the star's name retains currency: she is often invoked as shorthand for a kind of sexuality now felt outmoded, with virginity firmly maintained until marriage. Although this assumption is widespread, close attention to the facts of Day's own life challenges it, and the majority of her film roles also prove otherwise, with Day most frequently portraying a woman of maturely sexual desires. Redressing a surprisingly meagre body of work on Doris Day, this book investigates why the rigid view of Day's maintained virginity should have arisen and become so fixed to the star, even now. Taking a twofold approach, Tamar Jeffers McDonald both closely examines Day's film roles and performances and explores material from other popular media for the source of the virgin myth. Day featured continuously in public discourse, and media stories were often devoted to her personal life: it was widely known that she had been married three times and had a son. Why then did the pejorative label, 'the-forty-year-old virgin', arise, and why has it stuck so tenaciously to Day until today? Investigating a range of sources in order to discover why this maturely sexual star has become indelibly associated with maintained virginity, Doris Day Confidential analyses in detail Day's characters and performances across her career. By focusing on contemporary popular culture contexts, using newspaper stories, articles from film, fan and lifestyle magazines, reviews and gossip, it charts the developments in Day's screen 'persona', highlighting the changing public perception of the star of Calamity Jane, Love Me Or Leave Me and Pillow Talk, as aided and abetted by the media.
This book focuses on the complex network of relationships between the poet Uri Zvi Grinberg and the Labor Movement in Mandate Palestine from 1923 to 1937. Making use of letters found in the Uri Zvi Grinberg Archive at the National Library of Israel (NLI), the author reconstructs the characteristics of Grinberg’s pioneer readership, attesting to their special relationship with his poetry. In the 1920s, it is argued, they considered Grinberg’s poetry an authentic expression of their complex spiritual world and especially of the reality of their lives. On his side, Grinberg accepted the pioneering ethos as the ideological basis of his works, becoming an outstanding poet of the Labor Movement. The chapters of this book track the various phases of Grinberg’s life and poetry, from his emigration to Palestine through to the 1930s, when he joined the Revisionist Movement and became increasingly ostracized from the Labor Movement. The story of Grinberg’s relations with the pioneers was emotionally charged—a mixture of enchantment and rejection, spiritual closeness and repulsion. Ultimately, this book analyzes the intensity of this connection and its many contradictory layers. This book will interest researchers in a range of fields, including Hebrew poetry and reception theory, as well as anyone interested in Israeli studies and the history of the Labor Movement in Palestine.
Sausages to kill for . . . The competition to go into business with Hernia's finest sausage makers is getting hotter than Magdalena Yoder's frying pan in this sizzling culinary cozy. Schmucker Brothers' Sausages are the talk of the town. The good folk of Hernia are obsessed with the delectable meaty treats, and the prospect of going into partnership with the brothers is proving equally irresistible to investors far and wide, including Magdalena Yoder's current guests at the Penn-Dutch Inn - grocery store chain CEOs Christine Landis and Kathleen Dooley, restaurant owner Terry Tazewell, and Mr Duckworth Limehouse. All four are in town to pitch a business deal to the Schmuckers. But after a visit to the brothers' pork factory, one of the would-be investors is found slaughtered back at the inn, and Mags must catch a murderer intent on turning her guests juicy pork dreams to rashers! Could there be more to the Schmuckers' sausages than meets the eye?
Five 'sensation' novels are here presented complete and fully reset, along with scholarly annotation, a bibliography of 'sensation' fiction and articles contributing to contemporary debate.
Limited Responsibilities explores the interaction between the criminal justice system and the wider concerns of political and social institutions, including the welfare state, social work and forensic psychiatry. Using the key concept of `responsibility', Tamar Pitch critiques the classical theories of Anglo-American and Italian criminologies, examining the allocation of responsibilities to individuals and society. Looking at the shifting political relationship between criminal justice and the welfare system, Pitch considers the problems which arise in our understandings of responsibility, particularly in relation to the young and the mentally disabled. She also documents the centrality of responsiblity as an issue in women's struggles for legislation on sexual violence, as a paradigm of the politicisation of notions of crime, victimization and criminal responsibility. Limited Responsiblities will be of interest to lecturers, students and professionals in criminology, social policy and women's studies.
An Amish Bed and Breakfast Mystery with Recipes PennDutch Mysteries #2 “Bubbling over with mirth and mystery.” –Dorothy Cannell “A delicious treat!” –Carolyn G. Hart Magdalena Yoder, chaste and abstemious proprietor of the Pennsylvania Dutch Inn, agrees to let a Hollywood crew film at the inn – for an exorbitant price, of course. But when the assistant director is found pinned to a barn post with a farming tool, dimwitted local police chief, Marvin Stoltzfus fingers Magdalena as his prime suspect. Now it’s time for Magdalena to use her extraordinary Amish sleuthing skills to reveal the real killer – before another Hollywood hellion goes belly up and turns Magdalena’s charming PennDutch Inn into a grisly horror flick!
An Amish Bed and Breakfast Mystery with Recipes PennDutch Mysteries #3 “Bubbling over with mirth and mystery.” –Dorothy Cannell “A delicious treat!” –Carolyn G. Hart Magdalena Yoder, Amish-Mennonite proprietor of the Pennsylvania Dutch Inn, travels to Farmersburg, Ohio for the funeral of her second cousin (twice removed) who had the unfortunate luck of drowning in a vat of milk...and, as Magdalena knows, Amish men just don’t go swimming in milk in the middle of February. Something’s definitely rotten in Farmersburg... When another relative is found belly up, Magdalena puts her (impressive, but attractive nonetheless, thank you very much) nose to the scent and discovers that a vicious cheese rivalry may be the cause of all this mayhem! In between keeping tabs on her saucy sister, Susannah, avoiding her sardine-loving host and spending time with her new boyfriend, Aaron Miller (a.k.a. Pooky Bear), Magdalena must find the killer...before more Yoders bite the dust! “Myers’ story is as sweet as a piece of brown-sugar pie (recipe included)...Magdalena is so likeable!” –Booklist
Magdalena is banking when three armed Amish men burst into the bank and start shooting. She collapses, leaving her unprepared husband Gabe to manage the chaos at her popular PennDutch Inn. When questions arise over whether the bandits were really Amish men, Magdalena springs back into action. Because they may be armed, but they may not be Amish...
Theorists of autobiography tend to emphasize the centrality of the individual against the community. By contrast, in her reading of Hebrew autobiography, Tamar Hess identifies the textual presence and function of the collective and its interplay with the Israeli self. What characterizes the ten writers she examines is the idea of a national self, an individual whose life story takes on meaning from his or her relation to the collective history and ethos of the nation. Her second and related argument is that this self - individually and collectively - must be understood in the context of waves of immigration to Israel's shores. Hess convincingly shows that autobiography is a transnational genre deeply influenced by the nation's literary as well as cultural history. This book makes an additional contribution to the history of autobiography and contemporary autobiography theory by analyzing the strategies of fragmentation that many of the writers Hess studies have adopted as ways of dealing with the conflicts between the self and the nation, between who they feel they are and what they are expected to be. Hess contrasts the predominantly masculine tradition of Hebrew autobiography with writings by women, and offers a fresh understanding of the Israeli soul and the Hebrew literary canon. A systematic review of contemporary Hebrew autobiography, this study raises fundamental questions essential to the debates about identity at the heart of Israeli culture today. It will interest scholars and students of contemporary Israeli culture, as well as those intrigued by the literary genre of autobiography.
Five 'sensation' novels are here presented complete and fully reset, along with scholarly annotation, a bibliography of 'sensation' fiction and articles contributing to contemporary debate.
The first three titles in the PennDutch Amish Bed & Breakfast Mystery Series in a box set! TOO MANY CROOKS SPOIL THE BROTH This debut mystery introduces Magdalena Yoder, prim, proper, and persnickety proprietor of the PennDutch Inn, where guests luxuriate in the true “Amish experience,” (read: doing Magdalena’s chores and paying top dollar for the opportunity!). What at first seems to be a horrible accident (and insurance nightmare for Magdalena!) could turn out to be a much more sinister event; and when another mishap occurs, Magdalena is certain there is a killer in her group – and it’s up to her to sniff out the culprit...before the world’s most incompetent town sheriff throws her in jail! Readers will delight in this laugh-out-loud cozy mystery debut – and relish the country cooking recipes included. PARSLEY, SAGE, ROSEMARY AND CRIME Magdalena Yoder, chaste and abstemious proprietor of the Pennsylvania Dutch Inn, agrees to let a Hollywood crew film at the inn – for an exorbitant price, of course. But when the assistant director is found pinned to a barn post with a farming tool, dimwitted local police chief, Marvin Stoltzfus fingers Magdalena as his prime suspect. Now it’s time for Magdalena to use her extraordinary Amish sleuthing skills to reveal the real killer – before another Hollywood hellion goes belly up and turns Magdalena’s charming PennDutch Inn into a grisly horror flick! NO USE DYING OVER SPILLED MILK Magdalena Yoder, Amish-Mennonite proprietor of the Pennsylvania Dutch Inn, travels to Farmersburg, Ohio for the funeral of her second cousin (twice removed) who had the unfortunate luck of drowning in a vat of milk...and, as Magdalena knows, Amish men just don’t go swimming in milk in the middle of February. Something’s definitely rotten in Farmersburg... When another relative is found belly up, Magdalena puts her (impressive, but attractive nonetheless, thank you very much) nose to the scent and discovers that a vicious cheese rivalry may be the cause of all this mayhem! In between keeping tabs on her saucy sister, Susannah, avoiding her sardine-loving host and spending time with her new boyfriend, Aaron Miller (a.k.a. Pooky Bear), Magdalena must find the killer...before more Yoders bite the dust!
An Amish Bed and Breakfast Mystery with Recipes – PennDutch Mysteries #12 A sizzling new mystery in the national bestselling series set in the always hilarious PennDutch Inn... The entire town of Hernia, Pennsylvania is abuzz with activities to celebrate its bicentennial—including a mouth-watering BBQ and the opening of a time capsule buried in the town’s foundry! Magdalena is celebrating a full house of paying guests, but the festivities are cut short when a guest, Buzzy Porter, is murdered and the time capsule goes missing! Chief of Police, Melvin Stolfutz, who’s also Magdalena’s brother-in-law, asks her to head the investigation, as he’s out campaigning for reelection; hence too busy to do it himself (and too dim to multitask!). And all too soon, Magdalena has her hands full trying to keep community spirits high, grill the likely suspects—and smoke out the killer. “Bubbling over with mirth and mystery.” –Dorothy Cannell b>“A delicious treat.” –Carolyn G. Hart “Charming and delightful...Tamar Myers [keeps] it fresh and original.” -- Midwest Book Review
The television industry has metamorphosised from a national and largely-monopolized sector to a commercial and global enterprise. This has profoundly altered the way 'historical truth' and shared memory are constructed and conveyed. Here Ashuri provides a groundbreaking study of the changes through the vantage point of an illuminating mode of television production, international co-productions. By taking an example based on current events in the Middle East - a television documentary on the Arab Israeli conflict co-produced by three television networks (BBC, PBS, MBC) - her study enriches contemporary media research, providing an unprecedented, behind-the-scenes look at the entire production process of a co-produced television history.She shows that making the documentary on the Arab-Israeli struggle turned into a war: a war over competing memories, interpretation, editing, and finally narration. Ashuri's analysis of transnational documentary collaborations reveals inherent tensions between economic constraints and cultural forces, between the local and global, and between 'shared' and 'cosmopolitan' memory. Enriching political economy studies of media by exploring the cultural negotiations at the heart of television production process, and highlighting the economic processes that underlie the contested constructions of national histories, "The Arab-Israeli Conflict in the Media" will be essential reading for those interested in media and television studies, as well as globalization and cultural identity.
Expanding the Palace of Torah offers a broad philosophical overview of the challenges the women’s revolution poses to Orthodox Judaism, as well as Orthodox Judaism’s response to those challenges. Writing as an insider—herself an Orthodox Jew—Tamar Ross confronts the radical feminist critique of Judaism as a religion deeply entrenched in patriarchy. Surprisingly, very little work has been done in this area, beyond exploring the leeway for ad hoc solutions to practical problems as they arise on the halakhic plane. In exposing the largely male-focused thrust of the rabbinic tradition and its biblical grounding, she sees this critique as posing a potential threat to the theological heart of traditional Judaism—the belief in divine revelation. This new edition brings this acclaimed and classic text back into print with a new essay by Tamar Ross which examines new developments in feminist thought since the book was first published in 2004.
Magdalena Yoder is accused of murdering her ex-husband in this delightfully quirky cozy mystery set among Pennsylvania's Amish-Mennonite community. "You're going to be sorry, Aaron Paul Miller. Before I'm through with you, you're going to wish that you were dead." Shockwaves are running through the small town of Hernia with the news that an enormous, biblical-themed amusement park is to be built on its doorstep, destroying the community's peaceful way of life for ever. And the man spearheading this so-called Armageddonland? None other than Magdalena's ex-husband, the duplicitous Aaron Miller. At a public demonstration to showcase his plans for the new park, Aaron bites into a delicious homemade tart - with fatal consequences. It's clear the tart was poisoned . . . but who baked it? As the leader of the local resistance against the project and her acrimonious history with her ex well known, Magdalena immediately falls under suspicion. Determined to clear her name, she resolves to find the real killer, and soon finds herself wrestling with a number of scandalous secrets lurking beneath Hernia's seemingly staid surface.
An Amish Bed and Breakfast Mystery with Recipes – PennDutch Mysteries #11 When Colonel George Custard arrives in Hernia in a shiny stretch-limo, the town isn’t exactly enthusiastic. And when he announces that he plans to build a glitzy new hotel in Hernia, the residents are outraged at the threat to their quaint, quiet town. Protests soon get heated! As usual, Magdalena is right in the thick of the action—especially when the colonel is found shot to death at the PennDutch Inn. Now Magdalena Yoder must find out who caused the Colonel’s Custard's last stand—or she may lose the PennDutch Inn forever... “Bubbling over with mirth and mystery.” –Dorothy Cannell b>“A delicious treat.” –Carolyn G. Hart “Charming and delightful...Tamar Myers [keeps] it fresh and original.” -- Midwest Book Review
The biography of the first African-American prima ballerina Winner of the The Marfield Prize / National Award for Arts Writing (2011) Dancer Janet Collins, born in New Orleans in 1917 and raised in Los Angeles, soared high over the color line as the first African-American prima ballerina at the Metropolitan Opera. Night's Dancer chronicles the life of this extraordinary and elusive woman, who became a unique concert dance soloist as well as a black trailblazer in the white world of classical ballet. During her career, Collins endured an era in which racial bias prevailed, and subsequently prevented her from appearing in the South. Nonetheless, her brilliant performances transformed the way black dancers were viewed in ballet. The book begins with an unfinished memoir written by Collins in which she gives a captivating account of her childhood and young adult years, including her rejection by the Ballet Russe de Monte Carlo. Dance scholar Yaël Tamar Lewin then picks up the thread of Collins's story. Drawing on extensive research and interviews with Collins and her family, friends, and colleagues to explore Collins's development as a dancer, choreographer, and painter, Lewin gives us a profoundly moving portrait of an artist of indomitable spirit.
The Union of Women Painters and Sculptors was founded in Paris in 1881 to represent the interests of women artists and to facilitate the exhibition of their work. This lively and informative book traces the history of the first fifteen years of the organization and places it in the contexts of the Paris art world and the development of feminism in the late nineteenth century. Tamar Garb explores how the Union campaigned to have women artists written about in the press and admitted to the Salon jury and into the prestigious Ecole des Beaux-Arts and describes how the organization's leaders took their campaigns into the French parliament itself. Although the women of the Union were often quite conservative politically, socially, and stylistically, says Garb, they believed that women had a special gift that would enhance France's cultural reputation and maintain the uplifting moral-cultural position that seemed in jeopardy at the turn of the century. Focusing on the developments that made the prominence of the organization possible, Garb discusses the growth of the women's movement, educational reforms, institutional changes in the art world, and critical debates and contemporary scientific thought. She examines contemporary perceptions of both art and femininity, showing how the understanding of one affected the image of the other"--Publisher's description.
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