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Thematology --- Art --- vrouwen --- vrouwelijke kunstenaars --- kunsttheorie --- 17de eeuw --- 18de eeuw --- 19de eeuw --- 20ste eeuw --- 16de eeuw --- 738.2 --- geschiedenis --- schilderkunst --- tekenkunst --- schilder- en tekenkunst, geschiedenis volgens genres en motieven, figuren en portretten (ook portretminiaturen en -silhouetten) --- vrouw --- vrouwelijke kunstenaars. --- kunsttheorie. --- 17de eeuw. --- 18de eeuw. --- 19de eeuw. --- 20ste eeuw. --- 16de eeuw.
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Peeters, Clara --- Fontana, Lavinia --- Sharples, Rolinda --- Carriera, Rosalba Giovanna --- Sherman, Cindy --- Kauffmann, Angelica --- Beale, Mary --- Motesiczky, von, Marie Louise --- Gentileschi, Artemisia --- Modersohn-Becker, Paula --- Anguissola, Sofonisba --- Serebryakova, Zinaida --- Kahlo, Frida --- Münter, Gabriele --- Valadon, Suzanne --- Vigée-Lebrun, Elisabeth L. --- Mendieta, Ana --- John, Gwendolyn Mary --- Rego, Paula --- Kelly, Mary --- Labille-Guiard, Adélaïde --- Schjerfbeck, Helena --- Gérard, Marguerite --- portretten --- kunstenaarsportretten --- vrouwen --- schilderkunst --- fotografie --- vrouwelijke kunstenaars --- vrouw --- portretten. --- vrouw. --- History --- Identity --- Artists --- Images of women --- Biographical overview --- Biographical details --- Book
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Art and society --- Art and state --- History
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This fresh, richly illustrated book is the first in-depth presentation of how women artists have chosen to picture themselves. Beginning with the self-portraits of nuns in medieval illuminated manuscripts, Borzello reconstructs an overlooked genre and provides essential contextual information. She moves on to sixteenth-century Italy, where Sofonisba Anguissola painted one of the longest known series of self-portraits, recording her features from adolescence to old age. In 1630, Artemisia Gentileschi depicted herself as the personification of painting, and at the same time in the Netherlands Judith Leyster portrayed herself at her easel, as a relaxed, self-assured professional. In the 1700s, women from Elisabeth Vigee-Lebrun to Angelica Kauffman conveyed, each in her own way, ideas of femininity and the artist's passion for her chosen field.
Portrait --- Femme artiste --- Femme --- Perception de l'art --- Self-portraits --- Women artists --- Self-perception in women --- 75.049 --- Thema's in de schilderkunst ; zelfportretten van vrouwen --- Vrouwelijke kunstenaars --- Women --- Artists, Women --- Women as artists --- Artists --- Portraits --- Psychology --- Schilderkunst ; verschillende onderwerpen --- Painting --- art history --- self-portraits --- vrouwelijke kunstenaar --- Femme, thème
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Thema's in de schilderkunst ; zelfportretten van vrouwen --- 75.049 --- Schilderkunst ; verschillende onderwerpen --- Art --- Thematology --- Iconography --- self-portraits --- vrouwelijke kunstenaar --- art history --- women [female humans]
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Iconography --- Art --- painting [image-making] --- photography [process] --- performance art --- art theory --- nudes [representations] --- sculpting --- Brancusi, Constantin --- Magritte, René --- Horn, Rebecca --- Brown, Cecily --- Maillol, Aristide --- Baselitz, Georg --- Géricault, Théodore --- Clouet, François --- Pearlstein, Philip --- Modersohn-Becker, Paula --- Kahlo, Frida --- Wilke, Hannah --- Altfest, Ellen --- Picasso, Pablo --- Velázquez, da Silva y, Diego --- Knight, Laura --- Bilinska, Anna --- Carucci, Elinor --- Coplans, John --- Bourgeois, Louise --- Kneebone, Rachel --- Lamprou, Panayiotis --- Laserstein, Lotte --- Abramovic, Marina --- Lovell, Fenella --- Luksch-Makowsky, Elena --- Manchot, Melanie --- McGinley, Ryan --- Dumas, Marlene --- Myers, Rhoda --- Neel, Alice --- Wesselmann, Tom --- Orgel, Sandy --- Russell, Victoria Kate --- Semmel, Joan --- Shaw, Fiona --- Sleigh, Sylvia --- Tilley, Sue --- Vasconcelos, Joana --- Warren, Rebecca --- Koons, Jeff --- Klein, Yves --- Manet, Edouard --- Sherman, Cindy --- Schneemann, Carolee --- Picabia, Francis --- Giorgione --- Dürer, Albrecht --- Degas, Edgar --- Goya y Lucientes, de, Francisco José --- Dalí, Salvador --- Rodin, Auguste --- Beecroft, Vanessa --- Freud, Lucian --- Delvaux, Paul --- Munch, Edvard --- Moore, Henry --- Mapplethorpe, Robert --- Tillmans, Wolfgang --- Dijkstra, Rineke --- Chapman, Jake --- Currin, John --- Emin, Tracey --- Fischl, Eric --- Gilbert and George --- Lucas, Sarah --- Peyton, Elisabeth --- Rist, Pipilotti --- Taylor-Wood, Sam --- Smith, Kiki --- Courbet, Gustave --- Rubens, Peter Paul --- Mueck, Ron --- Orlan --- Gerstl, Richard --- Benglis, Lynda --- Gormley, Antony --- John, Gwendolyn Mary --- Mendieta, Ana --- Quinn, Marc --- Ruff, Thomas --- Saville, Jenny --- Buonarroti, Michelangelo --- Stelarc --- Tunick, Spencer --- Schiele, Egon
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For centuries, womens self-portraiture was a highly overlooked genre. Beginning with the self-portraits of nuns in medieval illuminated manuscripts, Seeing Ourselves finally gives this richly diverse range of artists and portraits, spanning centuries, the critical analysis they deserve. In sixteenth-century Italy, Sofonisba Anguissola paints one of the longest series of self-portraits, from adolescence to old age. In seventeenth-century Holland, Judith Leyster shows herself at the easel as a relaxed, self-assured professional. In the eighteenth century, from Elisabeth Vigée-Lebrun to Angelica Kauffman, artists express both passion for their craft and the idea of femininity; and the nineteenth century sees the art schools open their doors to women and a new and resonant self-confidence for a host of talented female artists, such as Berthe Morisot. The modern period demolishes taboos: Alice Neel painting herself nude at eighty years old, Frida Kahlo rendering physical pain on the canvas, Cindy Sherman exploring identity, and Marlene Dumas dispensing with all boundaries.
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Women artists. --- Self-perception in women. --- Self-portraits. --- Femmes artistes --- Perception de soi chez la femme. --- Autoportraits --- Psychologie. --- Portraits. --- Aspect psychologique.
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