ArtH 3281 Women & Art
UMM, Fall 2016
Please let me know right away of any persistent problems with the links! List will be updated each week.
You do not need to memorize dates, but do know the period the work is from (i.e. Ancient Roman, Medieval, Renaissance)
Figure #s given below reference our Women, Art & Society textbook.
Introduction: the status of women in art, and attempts to redress:
Steen, The Drawing Lesson, 1665
Term: genre painting (and know how different from a “history” painting)
History painting [term to know; one example: Botticelli, Birth of Venus]
Metsu, A Young Woman Drawing, c. 1660
The WARM [Women’s Art Registry of Minnesota – we didn’t talk about, but this is a regional organization specifically
dedicated to advancing the careers of women artists]
Women Artists in Antiquity & Medieval Europe
- Woman Artist in Her Studio, fresco from Pompeii, before 79 A.D.
*If interested in reading more, see “The Muse Restored: Images of Women in Roman Painting”
Woman's Art Journal, Vol. 14, No. 2 (Autumn, 1993 - Winter, 1994), pp. 28-36 [available on JSTOR from the library’s website, if this link doesn’t work]
*Also be able to comment on the importance of Pliny the Elder’s discussion of women artists,
and the recurring ways in which he characterizes women artists (reading in coursepack)
dropped: Pliny the Elder’s “Legend of the Corinthian maiden”
- Claricia, Initial “Q” with Self-portrait?, German psalter, c.1200 (Fig.18)
Here is a link to more images from the psalter, in case you’re interested!
- Hildegard of Bingen (artist? But definitely the “artistic mastermind”), Hildegard’s Vision, from the Liber Scivias, c.1142-52 (Fig. 21)
AND The Cosmic Egg, from Liber Scivias, 1142-52 (Fig. 15)
*link to a NYT review of “Vision” (recent motion picture on Hildegard of B.; available in Briggs Library)
terms: collective biography;
manuscript illumination (this is simply another term for a medieval book illustration, especially one using gold leaf)
author portrait (both Claricia and Hildegard’s Vision could be considered author portraits, imaging the writer or artist)
*Also be familiar with Christine de Pizan’s Book of the City of Ladies, especially her discussion of women artists (coursepack)
her goals in writing, and in what ways her characterization of women artists is different from Pliny’s.
Properzia de’ Rossi, Joseph and Potiphar’s Wife, c.1520 (Fig. 9)
[will not be asked to identify the portrait of Properzia discussed in class, nor the peachstone carving]
Other names/terms: Giorgio Vasari; relief sculpture
Sofonisba Anguissola (c.1535?-1625):
[dropped Self-portrait at the Clavichord, 1561 (Fig. 29) ]
Bernardo Campi Painting Sofonisba Anguissola, c.1550s (Fig. 39)
(and here is the version which appears to have been over-restored; did not see in class, just mentioned it)
Asdrubale Bitten by a Crab, c. 1554
The Chess Game, 1555
[was compared to L. Lotto, Family Portrait, won’t have to ID the Lotto work but good to know in what
ways Sofonisba’s is different]
[won’t have to know: Van Dyck, Portrait of Sofonisba Anguissola, 1624]
*Terms: Mannerist; affetti
IN-CLASS ESSAY QUESTION FOR EXAM (30 pts out of 100 on the exam):
Compare and contrast how two of the following early sources on women artists (Pliny the Elder; Christine de Pizan; or Giorgio Vasari on Properzia de’ Rossi) characterized their abilities and achievements, as found in the coursepack excerpts from these sources. Also provide some of the background context too, i.e. what kind of textual source is their excerpt from? You are not expected to use quotations on this in-class essay, but still try to support any argument you are making with specifics you can call to mind. Feel free to provide new insights or responses to what we discussed in class, based on your close reading of these texts (no additional research should be necessary here).
------------------------------- final update made 9/15/16 -------------------------------------------