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During the Renaissance, Italian painters would traditionally depict the wives of their patrons as Madonnas, often rendering them more beautiful than they actually were. Over centuries in religious paintings, the Madonna has been presented as the clement and protective mother of God. However, with the passing of time, Mary gradually lost some of her spiritual characteristics and became more mortal and accessible to human sentiments. Virgin Portraits illuminates this evolution and contains impressive works by Michelangelo, Caravaggio, Rubens, Fouquet, Dalí, and Kahlo.

Mary, --- Christian Women --- Women In Art --- Religion --- Art

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This anthology centers on the visual representation of woman in early modern Latin America, that is, the social and cultural construction and definition of female identity as evidenced by the art document. Artists in this period were collectively aware of a vocabulary of gender that could be tailored to deliver varying messages about the position of women in vice regal culture and society. This volume is organized not in the predictable linear framework, by periods and centuries, but rather by the realization that throughout much of this period, Spanish authorities and others envisaged the Spanish colonies of the Americas in gendered terms. Proffered as the female body, the “New” (virginal by implication) World was at differing times adored, pursued, courted, seduced, defiled, exploited, reviled, and denounced by those (males) who encountered “her.” This mentality is born out in the various forms of female representation that are discussed in this fully illustrated book. Contributors include: C. Cody Barteet, María Elena Bernal-García, Magali M. Carrera, Carol E. Damian, Carolyn Dean, Catherine R. DiCesare, Lori Boornazian Diel, Kelly Donahue-Wallace, Ray Hernandez-Duran, Andrea Lepage, Kellen Kee McIntyre, Penny Morrill, Elizabeth Q. Perry, Richard E. Phillips, Michael J. Schreffler, and Christopher C. Wilson. ERRATUM TO CHAPTER 7 Ray Hernández-Durán, “ El Encuentro de Cortés y Moctezuma : The Betrothal of Two Worlds in Eighteenth-Century New Spain” (pp. 181–206). On page 194, second paragraph, third sentence, should read: “Marina’s absence in the encounter painting, where she normally mediates contact between the men, emphasizes the phallogocentric aspect of the historic meeting.” The original phrasing, using the pivotal term, ‘phallogocentric’ (a reference to a gendered form of exchange or communication) was changed to ‘phallus-centered,’ which not only alters a central idea in the argument, but actually has nothing to do with the image in question.

Women in art. --- Art, Latin American --- Art, Spanish American --- Latin American art --- Spanish influences.

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"In this guest-edited issue of Biblical Reception, edited by Diane Apostolos-Cappadona, contributors examine the reception of the bible in art. Most of the contributions focus on biblical women, or on encounters with women in the bible. The volume is roughly chronological in structure, beginning with two pieces on Eve, one of which compares representations of Eve with those of the Virgin Mary, the other which considers how Eve is presented in Islamic texts and images. Following a contribution on Esther and Sarah the volume moves on to consider New Testament texts, with notable focus on women at the peripheries of society (the woman with the hemorrhage in Mark's gospel and the woman of Samaria). Attention is also paid to representations of Mary Magdalene and of Judith and Salome. The volume concludes with a piece on apocalyptic imagery and the woman clothed with the sun of Revelation 12. Featuring over 50 high quality color images, this volume provides scholarship of the highest level on biblical art." --Bloomsburg Publishing In this guest-edited issue of Biblical Reception, edited by Diane Apostolos-Cappadona, contributors examine the reception of the bible in art. Most of the contributions focus on biblical women, or on encounters with women in the bible. The volume is roughly chronological in structure, beginning with two pieces on Eve, one of which compares representations of Eve with those of the Virgin Mary, the other which considers how Eve is presented in Islamic texts and images. Following a contribution on Esther and Sarah the volume moves on to consider New Testament texts, with notable focus on women at the peripheries of society (the woman with the hemorrhage in Mark's gospel and the woman of Samaria). Attention is also paid to representations of Mary Magdalene and of Judith and Salome. The volume concludes with a piece on apocalyptic imagery and the woman clothed with the sun of Revelation 12. Featuring over 50 high quality color images, this volume provides scholarship of the highest level on biblical art

Art --- iconography --- Bibles --- women [female humans] --- Personnages bibliques --- Women in art. --- Women in the Bible. --- Bible

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Medizinische Bilder haben einen hohen Anteil an der Formierung von Wissen über den weiblichen Körper, indem sie dessen Be-trachtungsweisen organisieren und maßgebliche Prototypen gestalten. Diese Prototypen drücken sich in zwei Konstrukten des Frauenkör-pers aus. Zum einen durch die Imagination des weiblichen Kör-pers als jugendliche, makellose Oberfläche - somit als HÜLLE -, und zum anderen durch die Vor-stellung als potenziell mütterli-cher Körper und Behälter für den Fötus - und somit als CONTAINER. Im Internet existieren äußerst heterogene Bilder der Repräsen-tation und Konstruktion von Weiblichkeit. Dem begegnet die vorliegende Publikation, indem sie eine Ikonologie von medizini-schen Weiblichkeitsmodellen erstellt. Auf der Basis von breit angelegten Net-Scans werden exemplarische Schlüsselbilder der HÜLLE und des CONTAINERS untersucht, die medizinische Bildstrategien in unterschiedli-chen historischen und medialen Bildsorten präsentieren.

Medical illustration. --- Women in mass media. --- Women in art. --- Internet in medicine. --- Internet and women.

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The Explicit Body in Performance interrogates the avant-garde precedents and theoretical terrain that combined to produce feminist performance art. Among the many artists discussed are: * Carolle Schneemann * Annie Sprinkle * Karen Finley * Robbie McCauley * Ana Mendieta * Ann Magnuson * Sandra Bernhard * Spiderwoman Rebecca Schneider tackles topics ranging across the 'post-porn modernist movement', New Right censorship, commodity fetishism, perspectival vision, and primitivism. Employing diverse critical theories from Benjamin to Lacan to postcolon

Arts, Modern --- Feminism and the arts. --- Performance art. --- Women artists --- Women in art. --- Psychology. --- Arts and feminism --- Theatrical science --- anno 1900-1999 --- Feminism and the arts --- Performance art --- Women in art --- Happenings (Art) --- Performing arts --- Arts --- Psychology