Books

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The Arts

January 2013

The face of the city

Civic portraiture and civic identity in early modern England

by Robert Tittler, Peter Lake, Anthony Milton, Jason Peacey, Alexandra Gajda

Our conventional understanding of English portraiture from the age of Holbein and Henry VIII on to Reubens, VanDyck and Charles I clings to the mainstream images of royalty and aristocracy and to the succession of known practitioners of 'Renaissance' portraiture. In almost every respect, the 'civic' portraits examined here stand in sharp contrast to these traditional narratives. Depicting mayors and aldermen, livery company masters, school and college heads, they were meant to be read as statements about the civic leaders and civic institutions rather than about the sitters in their own right. Displayed in civic premises rather than country homes, exemplifying civic rather than personal virtues, and usually commissioned by institutions rather than their sitters, they have yet to be considered as a type of their own, or in their appropriate social and political context. This fascinating work will appeal to both art historians and historians of early modern Britain. ;

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Human figures depicted in art

April 2008

The invisible flâneuse?

Gender, public space and visual culture in nineteenth century Paris

by Edited by Aruna D'Souza and Tom McDonough

This collection of essays revisits gender and urban modernity in nineteenth-century Paris in the wake of changes to the fabric of the city and social life. In rethinking the figure of the flâneur, the contributors apply the most current thinking in literature and urban studies to an examination of visual culture of the period, including painting, caricature, illustrated magazines, and posters. Using a variety of approaches, the collection re-examines the long-held belief that life in Paris was divided according to strict gender norms, with men free to roam in public space while women were restricted to the privacy of the domestic sphere. Framed by essays by Janet Wolff and Linda Nochlin - two scholars whose work has been central to the investigation of gender and representation in the nineteenth century - this collection brings together new methods of looking at visual culture with a more nuanced way of picturing city life.

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The Arts

February 2014

Maternal bodies in the visual arts

by Rosemary Betterton

Maternal bodies in the visual arts brings images of the maternal and pregnant body into the centre of art historical enquiry. By exploring religious, secular and scientific traditions as well as contemporary art practices, it shows the power of visual imagery in framing our understanding of maternal bodies and affirming or contesting prevailing maternal ideals. This book reassesses these historical models and, in drawing on original case studies, shows how visual practices by artists may offer the means of reconfiguring the maternal. This book will appeal to students, academics and researchers in art history, gender studies and cultural studies, as well as to any readers with interests in the maternal and visual culture. It is based on visual case studies drawn from the UK, USA and Europe, which make it very attractive to an international readership. Maternal bodies in the visual arts is ideally placed to capture a growing post- and undergraduate market in maternal studies, which is beginning to emerge as a field of study in the UK and USA with courses in a wide range of social science and humanities disciplines now including the maternal as a key theme. ;

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The Arts

May 2018

Maternal bodies in the visual arts

by Rosemary Betterton

Maternal bodies in the visual arts brings images of the maternal and pregnant body into the centre of art-historical enquiry. By exploring religious, secular and scientific traditions as well as contemporary art practices, it shows the power of visual imagery in framing our understanding of maternal bodies and affirming or contesting prevailing maternal ideals. The book reassesses historical models and, in drawing on original case studies, shows how visual practices by artists may offer the means of reconfiguring the maternal. It will appeal to students, academics and researchers in art history, gender studies and cultural studies, as well as to general readers interested in the maternal and visual culture.

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Trusted Partner

The Arts

January 2099

Maternal bodies in the visual arts

by Rosemary Betterton

Maternal bodies in the visual arts brings images of the maternal and pregnant body into the centre of art historical enquiry. By exploring religious, secular and scientific traditions as well as contemporary art practices, it shows the power of visual imagery in framing our understanding of maternal bodies and affirming or contesting prevailing maternal ideals. This book reassesses these historical models and, in drawing on original case studies, shows how visual practices by artists may offer the means of reconfiguring the maternal. This book will appeal to students, academics and researchers in art history, gender studies and cultural studies, as well as to any readers with interests in the maternal and visual culture. It is based on visual case studies drawn from the UK, USA and Europe, which make it very attractive to an international readership. Maternal bodies in the visual arts is ideally placed to capture a growing post- and undergraduate market in maternal studies, which is beginning to emerge as a field of study in the UK and USA with courses in a wide range of social science and humanities disciplines now including the maternal as a key theme.

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The Arts

July 2022

Killing Men & Dying Women

Imagining Difference in 1950s New York Painting

by Griselda Pollock

What did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of abstract expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy. Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought.

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Trusted Partner

The Arts

July 2022

Killing Men & Dying Women

Imagining Difference in 1950s New York Painting

by Griselda Pollock

What did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of abstract expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy. Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought.

More
Trusted Partner

The Arts

July 2022

Killing Men & Dying Women

Imagining Difference in 1950s New York Painting

by Griselda Pollock

What did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of abstract expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy. Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought.

More
Trusted Partner

The Arts

July 2022

Killing Men & Dying Women

Imagining Difference in 1950s New York Painting

by Griselda Pollock

What did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of abstract expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy. Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought.

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Trusted Partner

The Arts

June 2021

Goddesses and Queens

The iconography of Elizabeth I

by Annaliese Connolly, Lisa Hopkins

The visual images of Queen Elizabeth I displayed in contemporary portraits and perpetuated and developed in more recent media, such as film and television, make her one of the most familiar and popular of all British monarchs. This collection of essays examines the diversity of the queen's extensive iconographical repertoire, focusing on both visual and textual representations of Elizabeth, not only in portraiture and literature, but also in contemporary sermons, speeches and alchemical treatises. The collection broadens current critical thinking about Elizabeth, as each of the essays contributes to the debate about the ways in which the queen's developing iconicity was not simply a celebratory mode, but also encoded criticism of her. Each of these essays explains the ways in which the varied representations of Elizabeth reflect the political and cultural anxieties of her subjects

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The Arts

November 2022

Painting her pleasure

Three women artists and the nude in early twentieth-century Paris

by Lauren Jimerson

In France, women were banned from studying live nude models in public art institutions until the end of the nineteenth century. Social mores discouraged women from gazing at their own naked bodies, let alone another woman's. But three artists, Suzanne Valadon, Émilie Charmy and Marie Vassilieff, painted the nude without inhibition, rupturing conventions and reversing gender roles. This book sheds light on these pioneering women, previously marginalised within art history, each of whom recast the nude in accordance with her own perception of gender, sexuality and the self. At the same time, it argues that the participation of women artists was the very thing that made modernism modern.

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Trusted Partner

The Arts

November 2022

Painting her pleasure

Three women artists and the nude in early twentieth-century Paris

by Lauren Jimerson

In France, women were banned from studying live nude models in public art institutions until the end of the nineteenth century. Social mores discouraged women from gazing at their own naked bodies, let alone another woman's. But three artists, Suzanne Valadon, Émilie Charmy and Marie Vassilieff, painted the nude without inhibition, rupturing conventions and reversing gender roles. This book sheds light on these pioneering women, previously marginalised within art history, each of whom recast the nude in accordance with her own perception of gender, sexuality and the self. At the same time, it argues that the participation of women artists was the very thing that made modernism modern.

More
Trusted Partner

The Arts

November 2022

Painting her pleasure

Three women artists and the nude in early twentieth-century Paris

by Lauren Jimerson

In France, women were banned from studying live nude models in public art institutions until the end of the nineteenth century. Social mores discouraged women from gazing at their own naked bodies, let alone another woman's. But three artists, Suzanne Valadon, Émilie Charmy and Marie Vassilieff, painted the nude without inhibition, rupturing conventions and reversing gender roles. This book sheds light on these pioneering women, previously marginalised within art history, each of whom recast the nude in accordance with her own perception of gender, sexuality and the self. At the same time, it argues that the participation of women artists was the very thing that made modernism modern.

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Civic portraiture and civic identity in early modern England

by Robert Tittler, Peter Lake, Anthony Milton, Jason Peacey, Alexandra Gajda

Gender, public space and visual culture in nineteenth century Paris

by Edited by Aruna D'Souza and Tom McDonough

by Rosemary Betterton

by Rosemary Betterton

by Rosemary Betterton

Imagining Difference in 1950s New York Painting

by Griselda Pollock

Imagining Difference in 1950s New York Painting

by Griselda Pollock

Imagining Difference in 1950s New York Painting

by Griselda Pollock

Imagining Difference in 1950s New York Painting

by Griselda Pollock

The iconography of Elizabeth I

by Annaliese Connolly, Lisa Hopkins

Three women artists and the nude in early twentieth-century Paris

by Lauren Jimerson

Three women artists and the nude in early twentieth-century Paris

by Lauren Jimerson

Three women artists and the nude in early twentieth-century Paris

by Lauren Jimerson

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