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Women, Art and the Politics of Identity in Eighteenth-Century Europe
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Table of Contents

Contents: Introduction: art, cultural politics and the woman question, Melissa Hyde and Jennifer Milam; 'An ornament of Italy and the premier female painter of Europe': Rosalba Carriera and the Roman academy, Christopher M.S. Johns; Lovisa Ulrike of Sweden, Chardin and enlightened despotism, Paula Rea Radisich; Practicing portraiture: Mademoiselle de Clermont and J.-M. Nattier, Kathleen Nicholson; Commerce in the boudoir, Jill H. Casid; Matronage and the direction of sisterhood: portraits of Madame AdelaA-de, Jennifer Milam; Under the sign of Minerva: AdelaA-de Labille-Guiard's Portrait of Madame AdelaA-de, Melissa Hyde; The cradle is empty: Elisabeth Vigee-Lebrun, Marie-Antoinette, and the problem of intention, Mary D. Sheriff; Ancient matrons and modern patrons: Angelica Kauffman as a classical history painter, Wendy Wassyng Roworth; Angelica's odyssey: Kauffman's paintings of Penelope and the weaving of narrative, Angela Rosenthal; The 'other atelier': Jacques-Louis David's female students, Mary Vidal; Goya's portraits of the Duchess of Osuna: fashioning identity in enlightenment Spain, Andrew Schulz; Bibliography; Index.

About the Author

Melissa Hyde, University of Florida, USA and Jennifer Milam, University of Sydney, Australia Melissa Hyde, Jennifer Milam, Christopher M.S. Johns, Paula Rea Radisich, Kathleen Nicholson, Jill H. Casid, Mary D. Sheriff, Wendy Wassyng Roworth, Angela Rosenthal, Mary Vidal, Andrew Schulz.

Reviews

'This wide-ranging series of in-depth studies of women as artists, as subjects of art, and as interlocutors and practitioners in artistic production in Europe during the eighteenth century offers new research on little-known figures, and at the same time provides valuable insights into the lives and working conditions of recognised artists.' Marcia Pointon, Professor Emerita, School of Art History and Archaeology, University of Manchester

'A bold new interpretation of how eighteenth-century women produced, commissioned, acquired, and used art to shape their sense of self . . . Written by many of the most prominent art historians of early modern Europe, each piece in this '"nterventionist project" is excellent, and the whole is still greater than the sum of the parts.' Nina Gelbart, Professor of History and Anita Johnson Wand Professor of Women's Studies, Occidental College

'This collection of eleven essays is notable for its consistently high quality and thematic coherence.' Kimberly Chrisman-Campbell, British Journal of 18th-Century Studies

'This long-awaited work is an excellent study of a key monument in Byzantine art and culture... Eastmond's study stands out for its broad-ranging engagement with questions of interpretation helped by an extensive use of theological, liturgical and historical writings showing an exemplary command of the primary sources.... The book is lavishly produced with good black and white and coloured photographs. The generous number of the colour plates is eminently laudable. Equipped with useful appendices, indexes and ample annotations, Eastmond's study of the church of St Sophia contributes significantly to the reappraisal of the monument, setting the tone for similar publications/studies and making a lasting contribution to the field.' Byzantinische Zeitschrift

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