Women and portraits in early modern Europe : gender, agency, identity
Author(s)
Bibliographic Information
Women and portraits in early modern Europe : gender, agency, identity
(Women and gender in the early modern world)(An Ashgate book)
Routledge, 2016, c2008
Available at 1 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
"First published 2008 by Ashgate Publishing"--T.p. verso
"First issued in paperback 2016"--T.p. verso
Includes bibliographical references (p. [203]-220) and index
Description and Table of Contents
Description
As one of the first books to treat portraits of early modern women as a discrete subject, this volume considers the possibilities and limits of agency and identity for women in history and, with particular attention to gender, as categories of analysis for women's images. Its nine original essays on Italy, the Low Countries, Germany, France, and England deepen the usefulness of these analytical tools for portraiture. Among the book's broad contributions: it dispels false assumptions about agency's possibilities and limits, showing how agency can be located outside of conventional understanding, and, conversely, how it can be stretched too far. It demonstrates that agency is compatible with relational gender analysis, especially when alternative agencies such as spectatorship are taken into account. It also makes evident the importance of aesthetics for the study of identity and agency. The individual essays reveal, among other things, how portraits broadened the traditional parameters of portraiture, explored transvestism and same-sex eroticism, appropriated aspects of male portraiture to claim those values for their sitters, and, as sites for gender negotiation, resistance, and debate, invoked considerable relational anxiety. Richly layered in method, the book offers an array of provocative insights into its subject.
Table of Contents
- Contents: Introduction: portraiture's selves, Andrea Pearson
- Gender and the configuration of early Netherlandish devotional skill, Bret Rothstein
- Productions of meaning in portraits of Margaret of York, Andrea Pearson
- The posthumous image of Mary of Burgundy, Ann M. Roberts
- Effaced: falling widows, Allison Levy
- Daddy's little girl: patrilineal anxiety in 2 portraits of a Renaissance daughter, Katherine A. McIver
- Engaging negation in Hans Holbein the Younger's portrait of Christina of Denmark Duchess of Milan, Christiane Hertel
- All the queen's women: female double portraits at the Caroline court, Jennifer L. Hallam
- Troubling identities and the agreeable game of art: from Madame de Pompadour's theatrical 'breeches' of decorum to Drouais' portrait of Madame Du Barry en homme, Melissa Lee Hyde
- Sculpting her image: Sarah Siddons and the art of self-fashioning, Heather McPherson
- Bibliography
- Index.
by "Nielsen BookData"