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Brand name modernism : = Helena Rubinstein's art collection, femininity, and the marketing of modern style, 1925-1940.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Brand name modernism :/
其他題名:	Helena Rubinstein's art collection, femininity, and the marketing of modern style, 1925-1940.
作者:	Clifford, Marie Joann.
面頁冊數:	1 online resource (241 pages)
附註:	Source: Dissertations Abstracts International, Volume: 61-12, Section: A.
Contained By:	Dissertations Abstracts International61-12A.
標題:	Womens studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9943829click for full text (PQDT)
ISBN:	9780599455092

Brand name modernism : = Helena Rubinstein's art collection, femininity, and the marketing of modern style, 1925-1940.
Clifford, Marie Joann.

Brand name modernism :Helena Rubinstein's art collection, femininity, and the marketing of modern style, 1925-1940. - 1 online resource (241 pages)

Source: Dissertations Abstracts International, Volume: 61-12, Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 1999.

Includes bibliographical references

My dissertation investigates the ways in which particular forms of modernism in the United States between the wars were marketed to women via the intersecting cultural arenas of business, art, and fashion. Built around a case study of cosmetics entrepreneur Helena Rubinstein and her extensive collection of modern art, I demonstrate how certain women modified and transformed modern art and design to negotiate new career-oriented identities, define their experience of modernity, and advance different claims for modernism. I follow the shifting fortunes of two forms of modernism that met with popular success, surrealism and the School of Paris, as well as Georgia O'Keeffe's trademark flower imagery and aspects of Art Deco. My analyses focus on a broad range of imagery and display venues, including trade show exhibitions, the art and decor of exclusive beauty salons, advertisements, and fashion photography. In Chapter One I examine Rubinstein's collecting and display practices in her beauty salons, first in 1915 and then in 1937. The second chapter investigates how certain professional women working in the fashion field deliberately redefined "feminine" taste as an empowering marketable asset in the workforce. This context sheds new light on the gendered origins of the corporate collection and how business discourses inflected the American reception of French modernism. Chapter Three presents case studies about two female artists, O'Keeffe and Marie Laurencin, who were linked to Rubinstein and Elizabeth Arden; and whose reputations were mediated by fashionable modernism, female celebrity, and new concepts of the decorative. The fourth chapter examines Rubinstein's art collection as it was displayed in her triplex Park Avenue apartment. Finally, an epilogue suggests how in the immediate aftermath of World War II figures such as Rubinstein fared in the cultural landscape of High Modernism.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9780599455092Subjects--Topical Terms:

2122688
Womens studies.
Subjects--Index Terms:

Arden, ElizabethIndex Terms--Genre/Form:

542853
Electronic books.

Brand name modernism : = Helena Rubinstein's art collection, femininity, and the marketing of modern style, 1925-1940.
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520 $a My dissertation investigates the ways in which particular forms of modernism in the United States between the wars were marketed to women via the intersecting cultural arenas of business, art, and fashion. Built around a case study of cosmetics entrepreneur Helena Rubinstein and her extensive collection of modern art, I demonstrate how certain women modified and transformed modern art and design to negotiate new career-oriented identities, define their experience of modernity, and advance different claims for modernism. I follow the shifting fortunes of two forms of modernism that met with popular success, surrealism and the School of Paris, as well as Georgia O'Keeffe's trademark flower imagery and aspects of Art Deco. My analyses focus on a broad range of imagery and display venues, including trade show exhibitions, the art and decor of exclusive beauty salons, advertisements, and fashion photography. In Chapter One I examine Rubinstein's collecting and display practices in her beauty salons, first in 1915 and then in 1937. The second chapter investigates how certain professional women working in the fashion field deliberately redefined "feminine" taste as an empowering marketable asset in the workforce. This context sheds new light on the gendered origins of the corporate collection and how business discourses inflected the American reception of French modernism. Chapter Three presents case studies about two female artists, O'Keeffe and Marie Laurencin, who were linked to Rubinstein and Elizabeth Arden; and whose reputations were mediated by fashionable modernism, female celebrity, and new concepts of the decorative. The fourth chapter examines Rubinstein's art collection as it was displayed in her triplex Park Avenue apartment. Finally, an epilogue suggests how in the immediate aftermath of World War II figures such as Rubinstein fared in the cultural landscape of High Modernism.
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