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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.

Painting --- vrouwbeeld --- Iconography --- anno 1400-1499 --- anno 1500-1599 --- Europe --- 7.041.5 --- Iconografie: portretten --- Art, European. --- Gender identity in art --- Women --- History. --- 7.041.5 Iconografie: portretten --- Art, European --- Human females --- Wimmin --- Woman --- Womon --- Womyn --- Females --- Human beings --- Femininity --- Art, Modern --- European art --- Nouveaux réalistes (Group of artists) --- Zaj (Group of artists) --- History --- vrouwenportretten

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Iconography --- iconology --- religious art --- Early Netherlandish --- anno 1500-1599

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sexuality --- women's studies --- gender [sociological concept] --- Netherlandish --- anno 1400-1499 --- anno 1500-1599

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"In Gardens of Love and the Limits of Morality in Early Netherlandish Art, Andrea Pearson charts the moralization of human bodies in late medieval and early modern visual culture, through paintings by Jan van Eyck and Hieronymus Bosch, devotional prints and illustrated books, and the celebrated enclosed gardens of Mechelen among other works. Drawing on new archival evidence and innovative visual analysis to reframe familiar religious discourses, she demonstrates that depicted topographies advanced and sometimes resisted bodily critiques expressed in scripture, conduct literature, and even legislation. Governing many of these redemptive greenscapes were the figures of Christ and the Virgin Mary, archetypes of purity whose spiritual authority was impossible to ignore, yet whose mysteries posed innumerable moral challenges. The study reveals that bodily status was the fundamental problem of human salvation, in which artists, patrons, and viewers alike had an interpretive stake"--

Christian moral theology --- Art --- visual culture --- anno 1400-1499 --- anno 1500-1599 --- Netherlands --- Flanders --- Iconography --- Human figure in art --- Art, Netherlandish --- Art and morals --- Arts and religion --- Netherlandish art --- Human body in art --- Composition (Art) --- Figurative art --- Anatomy, Artistic --- Figure drawing --- Figure painting --- Ethics and art --- Morals and art --- Ethics --- Arts --- Religion and the arts --- Religion --- Religious aspects --- Human figure in art. --- Art, Netherlandish. --- gardens [open spaces] --- gardens of love --- De liefdestuin --- Art and morals - Benelux countries --- Arts and religion - Benelux countries --- Hollandse school --- kunst en godsdienst --- Vlaamse school