An imperial collection : women artists from the State Hermitage Museum
著者
書誌事項
An imperial collection : women artists from the State Hermitage Museum
Merrell, 2003
大学図書館所蔵 全5件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Catalogue of an exhibition held at National Museum of Women in the Arts, Washington, D.C., 14 Feb. - 18 June 2003, Frye Art Museum, Seattle, Wash., 26 July - 30 Nov. 2003
内容説明・目次
内容説明
An Imperial Collection explores how women as patrons, painters, and subjects contributed to the cultural history of Russia. Eminent families formed collections and created artistic commissions that brought women artists to Russia and extended the influence of western European art to the royal court of the czars. Some women artists were allowed into the inner circles of the aristocracy, providing an "insider" view into the private side of court life.Artists whose works are explored in the book include Elisabeth Louise Vigee-Lebrun, who from 1795 to 1801 found refuge in St. Petersburg after the French Revolution forced her to flee her own country; French sculptor Marie-Anne Collot, who was commissioned by Catherine to produce a sculpture of Peter the Great, now one of the great landmarks of St. Petersburg; Scotswoman Christina Robertson, whose prestigious commissions to paint the women of the court give a refreshing perspective on the personal relationships of the Imperial family; and Angelica Kauffman, one of the few eighteenth-century women painters to tackle the challenging field of history painting, often with a heightened sensitivity to female roles. Works by these and many other women artists are explored in depth, alongside a ground-breaking study of the importance of the Academy of Arts, the bastion of the artistic establishment since it was founded by Empress Elizabeth in the mid-eighteenth century.
This book will appeal to anyone interested in eighteenth-and nineteenth-century women artists, the history of Russian patronage of the arts, and Russian imperial history and culture.
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