東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Femmes Artistes Modernes: Women, art...

Birnbaum, Paula J.

FindBook

Google Book

Amazon

博客來

Femmes Artistes Modernes: Women, art, and modern identity in interwar France.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Femmes Artistes Modernes: Women, art, and modern identity in interwar France./
作者:	Birnbaum, Paula J.
面頁冊數:	619 p.
附註:	Source: Dissertation Abstracts International, Volume: 59-07, Section: A, page: 2218.
Contained By:	Dissertation Abstracts International59-07A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9839955
ISBN:	9780591938333

Femmes Artistes Modernes: Women, art, and modern identity in interwar France.
Birnbaum, Paula J.

Femmes Artistes Modernes: Women, art, and modern identity in interwar France. - 619 p.

Source: Dissertation Abstracts International, Volume: 59-07, Section: A, page: 2218.

Thesis (Ph.D.)--Bryn Mawr College, 1996.

This dissertation considers the debate on the "woman artist" as a critical category in interwar France by focusing upon a group of over one hundred artists who exhibited their works with the Societe des Femmes Artistes Modernes (FAM), an annual women's exhibition forum in Paris between 1931 and 1938. Founded by the French painter Marie-Anne Camax-Zoegger (1887-1952), the group attracted artists of diverse generations, social classes, ethnic and national origins such as Marie Laurencin (1885-1956), Tamara de Lempicka (1898-1980), and Suzanne Valadon (1865-1938). Through a series of case studies of works by a selection of FAM participants, the following chapters analyze how the group fostered heterogeneity while simultaneously upholding stereotypes of gender-identity that persisted in the French art press since the nineteenth century. In certain cases, contradictory images of sexual liberation and traditional femininity coexisted in the oeuvre of an individual artist, or even simultaneously in one specific work of art. Such a discrepancy addresses an ideological tension between progressive and conservative social values that all members of the FAM confronted as both women and artists in the interwar period in France.

ISBN: 9780591938333Subjects--Topical Terms:

2122701
Art history.

Femmes Artistes Modernes: Women, art, and modern identity in interwar France.
LDR:03233nmm a2200301 4500 001 2070265
005 20160531114018.5
008 170521s1996 ||||||||||||||||| ||eng d
020 $a 9780591938333
035 $a (MiAaPQ)AAI9839955
035 $a AAI9839955
040 $a MiAaPQ $c MiAaPQ
100 1 $a Birnbaum, Paula J. $3 3185311
245 1 0 $a Femmes Artistes Modernes: Women, art, and modern identity in interwar France.
300 $a 619 p.
500 $a Source: Dissertation Abstracts International, Volume: 59-07, Section: A, page: 2218.
500 $a Adviser: Steven Z. Levine.
502 $a Thesis (Ph.D.)--Bryn Mawr College, 1996.
520 $a This dissertation considers the debate on the "woman artist" as a critical category in interwar France by focusing upon a group of over one hundred artists who exhibited their works with the Societe des Femmes Artistes Modernes (FAM), an annual women's exhibition forum in Paris between 1931 and 1938. Founded by the French painter Marie-Anne Camax-Zoegger (1887-1952), the group attracted artists of diverse generations, social classes, ethnic and national origins such as Marie Laurencin (1885-1956), Tamara de Lempicka (1898-1980), and Suzanne Valadon (1865-1938). Through a series of case studies of works by a selection of FAM participants, the following chapters analyze how the group fostered heterogeneity while simultaneously upholding stereotypes of gender-identity that persisted in the French art press since the nineteenth century. In certain cases, contradictory images of sexual liberation and traditional femininity coexisted in the oeuvre of an individual artist, or even simultaneously in one specific work of art. Such a discrepancy addresses an ideological tension between progressive and conservative social values that all members of the FAM confronted as both women and artists in the interwar period in France.
520 $a Chapter One provides an institutional background for the FAM, addressing how members of this organization sought both to construct and transmit their own history of women artists that stretched back to female Impressionists. Chapter Two considers how two prominent FAM artists--Marie Laurencin and Alice Halicka (1889-1975)--employed different strategies of self-representation to comment upon their limited access to the elite cultures of the artistic avant-garde. Both artists realized that their own professional reputations relied upon their personal associations with prominent male artists and writers who were considered to be at the core of the cubist circle. Chapter Three relates the recurrence of the theme of motherhood in women's painting as well as popular culture of the period to the nationalistic desire for procreation following World War I. I argue that the FAM, as an institution of exhibition and criticism, drew upon the pronatalist language of Reconstruction for its own ends and constructed a history of women artists through diverse images of the maternal body.
590 $a School code: 0025.
650 4 $a Art history. $3 2122701
650 4 $a Womens studies. $3 2122688
650 4 $a European history. $2 bicssc $3 1972904
690 $a 0377
690 $a 0453
690 $a 0335
710 2 $a Bryn Mawr College. $3 1032915
773 0 $t Dissertation Abstracts International $g 59-07A.
790 $a 0025
791 $a Ph.D.
792 $a 1996
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9839955