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the representation of abstract ideas or principles by characters, figures, or events in narrative, dramatic, or pictorial form. |
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a form of social organization in which the father is the supreme authority in the family, clan, or tribe and descent is reckoned in the male line, with the children belonging to the father's clan or tribe.
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Usually a child working with a guild member to learn a trade |
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controlled price of labor, protected the worker and esnured quality for the buyer |
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end of the 16th century – 1750
Interest in light and space
Rich use of color and dramatic contrasts
Innovative illusionism
More emphasis on emotion than reason
Multi-media sensory overload |
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a cultural and intellectual movement during the Renaissance, following the rediscovery of the art and literature of ancient Greece and Rome. A philosophy or attitude concerned with the interests, achievements and capabilities of human beings rather than with the abstract concepts and problems of theology. |
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Those who followed Caravaggio's style |
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a hand written and illustrated manuscript from the Western or Islamic traditions, commonly produced on vellum and incorporating gold and silver leaf |
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contrast between light and dark |
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painting of artfully arranged objects on a table |
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mathematic system for depicting the illusion of depth on a two-dimensional surface invented in the Renaissance |
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the movement of self-renewal and reform within the Roman Catholic Church following the Protestant Reformation of the early 16th century and attempting to combat its influence. Its principles were formulated and adopted at the Council of Trent, 1545 -1563. |
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the story is usually told from the white heterosexual male protagonist's point of view, the viewer is assumed to also be white, male and heterosexual |
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a fast drying, water-based paint that
uses egg yolk as a binder |
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use of strong chiaroscuro and artificially illuminated areas to create dramatic contrast of light and dark in a painting
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a slow drying paint that
uses lind seed oil as a binder |
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centered on Europe or the Europeans; reflecting a tendency to interpret the world in terms of western and especially European or Anglo-American values and experiences |
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embroidered works made in English workshops during the 11th century
By 1250, these professional women embroiderers in England were highly respected |
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a talented, attractive and properly behaved woman. A woman endowed with masculine abilities. |
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What motto are the ancient Greeks described as living by? What information does this convey about women’s place in Greek society? |
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"Man is the measure of all things."
Women of all classes were considered far inferior to males
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For what reasons did a medieval woman join a convent?
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- Wanted to live a religious life
- Adult women with pasts to be forgotten
- Daughters presented as tithes by parents
- Sickly or un-marriageable daughter
- Women who wanted to escape the roles of motherhood and marriage - convents provided the only opportunity for women to live outside the constraints of medieval society
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When women were able to make art in the Middle Ages and Early Renaissance, what kinds of works did they produce?
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Because of the structure of commerce, Medieval women's artistic production usually falls into two categories: Illuminated manuscripts and Embroideries
· Nuns produced illuminated manuscripts
Upper class women who were not nuns produced embroideries |
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What is the Renaissance ideal of beauty and what artist/s helped to form it?
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Noblewoman
Fair skin
Curly hair
Dark eyes
Perfectly curved brows
Rounded flesh |
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During the Renaissance, it became popular for husbands to have portraits painted of their wives in a distinctive manner. How were these wives customarily portrayed? What does this tradition say about the woman's place in Renaissance society?
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The side profile of the woman, usually wearing the crest of the family and jewels
Women were there to be shown off, much like a pretty ring or something |
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What influence/ significance did the city of Bologna have to women's art history?
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Having a university that admitted women, beginning in the 13th century
Painter's guild honored a female patron - Saint Catherine
Men and women joined its artisans guild equally
More women artists associated with Bologna than any other Italian city
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How does Artemisia Gentileschi depart from tradition in her depictions of these women?
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Removes Susanna from the garden
Presents Susanna as unwillingly exposed rather than allow the viewer to gaze upon her with voyeuristic freedom
Portrays Susanna as disgusted and horrified
by the advances rather than as a seductress
Susanna is placed in the center and near the bottom edge so that viewer relates with her more than the other figures |
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18th century style characterized by fanciful curved asymmetrical forms, elaborate ornamentation, opulence, grace and playfulness |
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annual display of art established as a venue to show the works of Academy members |
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scenes with narrative content derived from mythology, Christian history, literature and historical events |
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crayons of pulverized pigment bound to a chalk base by weak gum water |
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a woman who was completely committed to the care of her children and sacrificed all freedoms for their best interest |
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a style of art, literature and architecture popular from the late 1700s to the early 19th century that revived classical aesthetics and forms and is characterized by strong geometric compositions, severe line, order and simplicity in style. |
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term used to describe a wide variety of work produced in New York between 1940 and 1960 |
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the concept that a work's artistic value is entirely determined by its form - the way it is made, its purely visual aspects and its medium. Formalism emphasizes compositional elements such as color, line, shape and texture rather than realism, context and content. |
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technique whereby the usual intellectual control of the artist over the brush is foregone. The artist's aim is to allow the subconscious to create the artwork without rational reference. |
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art history is strictly linear and progressive. Each new style builds upon its predecessors, making them obsolete |
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philosophical approach that analyzes society by looking at cultural phenomena such as signs that have hidden underlying meanings that can be decoded |
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the act of coming to or reaching the throne; a mode of acquiring property; the invasion, approach or commencement of a disease |
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art in which the concepts or ideas involved in the work take precedence over traditional aesthetic and material concerns. Conceptual art may not even produce an art object, but rather a physical manifestation that is to be viewed as a document of the art. |
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Chief concerns of Second Wave Feminism |
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Gain full social and economic equality
Reveal and question society's definition of women's roles
To use collaboration to undermine the authority of patriarchy
To examine the natural processes of the body long disregarded by western culture
To express (finally) the woman's identity |
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art where the actions of an individual or a group at a particular place and in a particular time, constitute the work |
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was an experiment in teaching
Participants engaged in consciousness raising sessions
Collaboration was encouraged with the intention of forming a community
Only women allowed in the classroom and studio |
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term identified with several diverse strains of feministactivity and study beginning in the early 1990s. The movement arose as a response to perceived failures and backlash against initiatives and movements created by the second wave. |
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Many artists in the 60s expressed an urge to dematerialize the art object
Minimalists sought to rid art of everything that was not essential
They often rejected painting in favor of exploring sculptural and everyday materials |
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influenced by Juliet Mitchell’s Psychoanalysis and Feminism 1974
Mother and child are united in early infancy
The child becomes a link to power for the mother - the phallus
As the child gains language, the mother begins to lose possession of the child
The child's linguistic initiation gives him a positive relation to the phallus
While the mother is returned to the position of lack
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Venus of Willendorf. c. 25,000 – 20,000 BC. |
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The Battle of Hastings from the Bayeux Tapestry. c. 1086. |
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Hildegard of Bingen. Scivias. 1142-52. (illus. 15 on page 51) |
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Christine de Pizan. Book of the City of Ladies. 1405. |
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Sofonisba Anguissola. The Chess Game. 1555. |
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Lavinia Fontana. Noli Me Tangere. 1581. |
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Artemisia Gentileschi. Judith Decapitating Holofernes. c. 1618. |
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Judith Leyster. The Proposition. 1631. |
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Elisabetta Sirani. Portia Wounding Her Thigh. 1664. |
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Rachel Ruysch. Still Life with Plums. 1707. |
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Rosalba Carriera. Louis XV. 1720. |
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Angelica Kauffmann. Cornelia Pointing to Her Children as Her Treasures. c. 1785 |
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Elisabeth Vigee-Lebrun. Portrait of Marie Antoinette with Children. 1787. |
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Rosa Bonheur. The Horse Fair. 1853. |
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Julia Margaret Cameron. Sappho. 1865. |
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Edmonia Lewis. The Death of Cleopatra. 1876. |
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Berthe Morisot. Summer's Day. 1879. |
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Paula Modersohn-Becker. Self-Portrait with Amber Necklace. 1906. |
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Sonia Delaunay. Electric Prisms. 1914. |
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Hannah Hoch. Cut with a Kitchen Knife. 1919-20. |
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Claude Cahun. Self-Portrait. c. 1928. |
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Dorothea Lange. Migrant Mother, Nipomo, California. 1936. |
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Farm Security Administration |
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Frida Kahlo. The Broken Column. 1944. |
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Lee Krasner. Listen. 1957. |
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Helen Frankenthaler. Mountains and Sea. 1952. |
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Yoko Ono. Cut Piece. 1965. |
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Conceptualism & Performance |
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Judy Chicago. The Dinner Party. 1974-79. |
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Carolee Schneeman. Interior Scroll. 1975 - 1977. |
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Cindy Sherman. Untitled Film Still #6. 1979. |
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Alice Neel. Nude Self-Portrait. 1980. |
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Maya Lin. Vietnam Veterans Memorial. 1980 - 82. |
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Kara Walker. Slavery! Slavery! 1997. |
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Postmodern Identity Politics |
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Catherine Opie. Oliver in a Tutu. 2004. |
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Postmodern Identity Politics |
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Guerrilla Girls. Do Women Have to Be Naked? 2005. |
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