Between the opening of the École des beaux-arts to women in the late 19th century and the attack by suffragette Mary Richardson at the dawn of World War I against Velázquez’s The Toilet of Venus, ...commonly known in English as the Rokeby Venus, there was an abundance of speeches on the subject of the violence of women. The practice of a physically demanding art such as sculpture and the revolt against the repression of the Suffragettes stimulated an iconography that made reference to Gentileschi’s depiction of the Old Testament story of Jael and Sisera. The representation of armed women came to symbolise the institutional recognition of women artists, either in a meliorative or depreciating way, depending on the attempt made to counter the symbolic “threat” that this this new recognition posed.
Mellom 1892 og 1901 var Gustav Vigeland på to lange opphold i Paris, i en periode som ledet opp til hans gjennombrudd. Arbeidene han slo gjennom med kan tolkes som inspirert av samtidig fransk kunst. ...Fra disse årene finnes flere likheter mellom Vigelands og franske Camille Claudels verk. I hvilken grad var hun en inspirasjon for Vigeland? Gjennom kontekst og utvalgte verk diskuterer artikkelen en mulig forbindelse.
Contributeurs : Yvan Daniel, Philippe Forest, Elena Galtsova, Pascal Lécroart, Françoise Magny, Catherine Mayaux, Jean-Yves Tadié, Sœur Barbora Turkova, Michel Wasserman et Jan Čep.
Originally published in Russian in 1913, this essay considers the work of the Polish sculptor Edward Wittig (1879-1941) in relation to the broad history of sculpture from antiquity to the early ...twentieth century. The essay is divided into three parts. Part I reflects on "possible paths of sculpture" through Rodin and the Greco-Roman tradition of sculpture. Part II considers Aristide Maillol, the influence of Egyptian art, and Edward Wittig. Part III further reflects on modern sculptors, such as Constantin Meunier, and Egyptian sculpture in relation to the cult of the machine and modern clothing.
Portrait of a Woman Artist Borda, Jennifer
Feminist media studies,
06/2009, Letnik:
9, Številka:
2
Journal Article
Recenzirano
The analysis of the film Camille Claudel works to uncover the textual negotiations and sources of viewing pleasure rhetorically constructed into the cinematic representation of the film's subject. I ...argue that female viewers, in particular, are presented with a paradoxical viewing experience as the film both invites identification with Claudel, the film's subject, at the same time that it creates a sense of distance from the woman artist through her representation as an object of the filmic gaze. I conclude that these competing images may be seen as both ideologically interesting to female viewers and simultaneously challenging for feminist ideals.
Provider: - Institution: - Data provided by Europeana Collections- Rodin I is a sculpture - story loosely based on the life and fate of four different characters, Rodin, Camille Claudel, Rose and the ...Elephant Man. They are connected through the space of their bodies, the territory of Rodin's art. They are sculptures caught at the various points of a spasm. Their fleeting sensual perceptions feed one into other - with the aim of developing the perfect contour of touch, a fluctuating line of touching.
Iva Jevtić- Rodin I je skulptura-zgodba, ki temelji na življenjskih usodah štirih različnih oseb, Rodina, Camille Claudel, Rose Rodin in Cloveka slona. Ti liki so povezani skozi pokrajino svojih teles, skozi področje Rodinovega ustvarjanja. So skuplture ujete v različnih presekih krča. Njihova minljiva senzualna percepcija se med seboj dopolnjuje - in razvije bežen obris dotika, valujočo linijo dotikanja.
Iva Jevtić- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
PDF
