ArtH
3281 Women
& Art
Prof. Dabbs
UMM, Fall 2016
List of
Review Images for Exam #1 (exam scheduled
for Tues. Sept. 20)
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
National
Museum of Women in the Arts website
Guerrilla
Girls website; for
their “mission,” see this
page
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
ANCIENT
GREECE:
- the Caputi Hydria, c.460 B.C.E., Greece; and here is
the detail
I showed in class
Term:
nike
ANCIENT
ROME:
- Woman
Artist in Her Studio, fresco from Pompeii, before 79 A.D.
Term:
fresco
*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”
MEDIEVAL:
- 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.
Women Artists of the Renaissance
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):
Self-portrait
(with book),
1554
Self-portrait
painting the Madonna & Child, c. 1556
[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]
Portrait
of Queen Isabel of Valois, 1563
[won’t have to know: Van Dyck, Portrait
of Sofonisba Anguissola,
1624]
*Terms: Mannerist; affetti
Lavinia Fontana (1552-1614):
[added] Self-portrait
at a Clavichord with a Servant, 1577 [yes, study this one]
[dropped] Self-portrait
in Studiolo, 1579
[dropped] Portrait
of Antoinetta Gonzalez, c. 1594
[saw very briefly, won’t have to
know: Portrait
of a Lady with a Lapdog, 1590s]
[saw very briefly, won’t have to
know: Minerva
Dressing, 1613]
[Artemisia Gentileschi, whose works we did
not see yet, will not be on this
exam]
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 -------------------------------------------