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Judith with the Head of Holofernes by Lucas Cranach the Elder, 1530 15th-century aquamanile with Phyllis riding Aristotle [1] Jacopo Amigoni, Jael and Sisera, 1739. The "Power of Women" (German: Weibermacht) is a medieval and Renaissance artistic and literary topos, showing "heroic or wise men dominated by women", presenting "an admonitory and often humorous inversion of the male-dominated ...
The absence of women from the canon of Western art has been a subject of inquiry and reconsideration since the early 1970s. Linda Nochlin's influential 1971 essay, "Why Have There Been No Great Women Artists?", examined the social and institutional barriers that blocked most women from entering artistic professions throughout history, prompted a new focus on women artists, their art and ...
Gothic art was a style of medieval art that developed in Northern France out of Romanesque art in the 12th century AD, led by the concurrent development of Gothic architecture. It spread to all of Western Europe , and much of Northern , Southern and Central Europe , never quite effacing more classical styles in Italy.
The unusually large size of the piece allows a wide range of the repertoire of popular scenes from different literary sources in French Gothic art to be shown, which display a variety of medieval attitudes to love and the role of women: "Themes such as lust and chastity, folly and wisdom are juxtaposed in a series of non-connected scenes". [5]
Susan Louise Smith (1947 – April 5, 2021) [1] was an associate professor emeritus in the Department of Visual Arts at the University of California, San Diego (UCSD). She was noted for her 1995 book The Power of Women: A Topos in Medieval Art and Literature, an expansion of her 1978 doctoral dissertation on the Power of Women topos.
Although many women served in more traditional roles, and it was mainly men who had a more influential hold over society, that does not mean women did not participate in civil discourse. Even though the voices of women were heavily suppressed due to society's undemocratic nature, they still had a voice through writing, or in courts or synod.
"Melisende of Jerusalem: Queen and Patron of Art and Architecture in the Crusader Kingdom." In Reassessing the Roles of Women as Makers of Medieval Art and Architecture, edited by Therese Martin, pp. 429–477. Leiden; Boston: Brill, 2012. Jaroslav Folda, The Art of the Crusaders in the Holy Land, 1098-1187. Cambridge University Press, 1995.
Art historian Mary Garrard believes that Judith Slaying Holofernes portrays Judith as a "socially liberated woman who punishes masculine wrongdoing". [13] Although the painting depicts a scene from the Bible, art historians have suggested that Gentileschi drew herself as Judith and her mentor Agostino Tassi , who was tried for and convicted of ...