CiNii Books - Women artists and the Parisian avant-garde : modernism and 'feminine' art, 1900 to the late 1920s

This illustrated book examines the work and artistic culture of women artists in France during the period when Picasso, Matisse and Modigliani were guiding the development of modern art. Although this period is better known for the canonical fauvist and cubist works of artists such as Matisse and Picasso, Gill Perry takes as her focus several women artists who were active on the fringes of modernist groups, and whose works were widely exhibited and reviewed in the early-20th century. Apart from the better known names of Suzanne Valadon and Marie Laurencin, these artists include Emilie Charmy, Maria Blanchard, Alice Halicka, Marevna Vorobev and Jacqueline Marval. Perry explores the critical culture through which their work was represented and patronized, and the contemporary perceptions of femininity involved. Drawing on unpublished material, including letters and diary extracts, and some works in French public and private colelctions, she argues that a lack of historical material and limited access to relevant works by these artists has encouraged some mis-representations of the many complex relationships which many women negotiated with avant-garde groups and artistic players.

Table of Contents

Introduction - "Charmy....sees like a woman and paints like a man"
images of bourgeois life - early training in St Etienne and Lyon
women painters and the Parisian avant garde - Charmy and exhibiting societies, dealers and "Fauves"
"To see like a woman" - the school of Paris and the idea of a "feminine" style
public and private art - the art market and the nude
the cult of succes - consolidation and official recognition
art history and women painters in post-war Paris. Appendices: unpublished diary of first woman art dealer, Berthe Well
biographies of women artists
listings of all exhibitions
French and British art collections with their work represented.

Volume: : pbk ISBN 9780719041655

Description

This book provides an analysis of European Union pharmaceutical regulation from a policy-making perspective. The focus is on how the often conflicting agendas of the pharmaceutical industry, the EU member states, the European Commission, and consumer interests are reconciled within the context of regulatory outcomes having to serve public health, healthcare and industrial policy needs within the single market. Breaking with more traditional approaches which stress the economic determinants of pharmaceutical policy, different strands of public policy analysis, regulatory and European integration and policy-making theories are invoked in developing a new conceptual approach to frame the analysis. In-depth case-studies in three key policy areas: patent protection, market authorisation, and pricing and reimbursement, provide substantive support. In providing a unique perspective on how and why EU pharmaceutical policy is made, the book will be of interest to academics, students and policy-practitioners interested in EU policy-making, regulation and public policy analysis. -- .

Table of Contents

Introduction - "Charmy....sees like a woman and paints like a man"
images of bourgeois life - early training in St Etienne and Lyon
women painters and the Parisian avant garde - Charmy and exhibiting societies, dealers and "Fauves"
"To see like a woman" - the school of Paris and the idea of a "feminine" style
public and private art - the art market and the nude
the cult of succes - consolidation and official recognition
art history and women painters in post-war Paris. Appendices: unpublished diary of first woman art dealer, Berthe Well
biographies of women artists
listings of all exhibitions
French and British art collections with their work represented.

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Women artists and the Parisian avant-garde : modernism and 'feminine' art, 1900 to the late 1920s

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