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Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society"; [8] according to the art historian Susanna Partsch, he was "the enfant terrible of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". [9]
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]
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 ...
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 ...
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.
"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.
For Gothic sculptors, the desired effect was not of body movement, but of elegance and elongation. [6] By the beginning of the fourteenth century and the start of the Late Gothic style, sculptures began to lack in volume. This extension and lightness is evident in Mary’s body.
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