Invisible Women

Experiment ◽  
2019 ◽  
Vol 25 (1) ◽  
pp. 295-309
Author(s):  
Louise Hardiman
Keyword(s):  
Nineteenth Century ◽  
Women Artists ◽  
Art World ◽  
Periodical Press ◽  
Russian Art ◽  
Artistic Activity ◽  
Women's Art ◽  
Applied Art ◽  
History Of ◽  
Works Of Applied Art

Abstract Maria Vasilievna Iakunchikova designed three works of applied art and craft in a Neo-Russian style for the Russian section of the Paris “Exposition Universelle” of 1900—a wooden dresser, a toy village in carved wood, and a large embroidered panel. Yet, so far as the official record is concerned, Iakunchikova’s participation in the exhibition is occluded. Her name does not appear in the catalogue, for it was the producers, rather than the designers, who were credited for her works. Indeed, her presence might have been entirely unknown, were it not for several reports of the Russian display in the periodical press by her friend Netta Peacock, a British writer living in Paris. The invisibility of the designer in this instance was not a matter of gender, but it had consequences for women artists. In general, women were marginalized in the mainstream of the nineteenth-century Russian art world—whether at the Academy of Arts or in prominent groups such as the Peredvizhniki—and, as a result, enjoyed fewer opportunities at the Exposition. But the Neo-national movement, linked closely with the revival of applied art and the promotion of kustar industries, was one in which women’s art had space to flourish. And, in the so-called village russe at the Exposition, which featured a display of kustar art, by far the larger contribution was made by women, both as promoters and as artists. In this article, I examine Iakunchikova’s contribution to the Exposition within a broader context of female artistic activity, and the significance of the Russian kustar pavilion for a gendered history of nineteenth-century art.

The Good News

2021 ◽  
pp. 73-112
Author(s):  
Sarah C. Schaefer
Keyword(s):  
Nineteenth Century ◽  
Visual Language ◽  
Good News ◽  
Periodical Press ◽  
The Bible ◽  
History Of ◽  
Illustrated Press

Chapter 2 examines the Doré Bible illustrations through the lens of the illustrated periodical press. Having begun his career as a newspaper illustrator, Doré approached the Bible with the same aim toward comprehensiveness and compositional variety that one finds in the illustrated press of the time. At the same time, Doré’s images are rooted in the history of biblical representation and are thus dialectically situated in the discourses of contemporaneity and tradition. This chapter also takes into account the role that wood engraving played in the realm of illustration and in Doré’s practice specifically. Used primarily for book and periodical illustration, wood engraving became the most ubiquitous printed form in nineteenth-century Europe. Doré’s aim to elevate the medium to a higher status resulted in a set of illustrations that simultaneously derive from the visual language of journalistic imagery and depart from it in significant ways.

scholarly journals Historical Articles in the Lithuanian Periodical Press, 1904–1918: A Quantitative Approach

Lituanistica ◽  
2020 ◽  
Vol 66 (3) ◽  
Author(s):  
Titas Krutulys
Keyword(s):  
Nineteenth Century ◽  
Point Of View ◽  
Right Wing ◽  
Left Wing ◽  
Periodical Press ◽  
Social Democrats ◽  
Historical Significance ◽  
Political Ideologies ◽  
History Of ◽  
The Republic

The paper is focused on historical articles in the periodical press of 1904 to 1918 from a quantitative point of view. This period was significant because the year 1904 marks the beginning of the legitimate Lithuanian periodical press and also the period of Lithuanian political diversification, while 1918 starts the period of the Republic of Lithuania. History was an important part of the Lithuanian national movement and it helped to create the Lithuanian identity. On the other hand, the historical significance of historical articles in the Lithuanian periodical press is usually overrated or unclear. This study shows that during this period, historical articles make up only about 1.8 per cent of the whole list of topics of articles. Meanwhile, such themes as politics, economics, religion, and literature were much more popular. However, it also shows clear progress of Lithuanian historical articles from only 27 articles in 1904 to 358 articles in 1918. This progress was uneven and we can distinguish four quantitative upswings: in 1905, 1910, 1914, and 1918. Analysis of the most common topics in Lithuanian historical articles showed that the history of the Lithuanian countryside was the most popular. Thus, the history of places close to most of the Lithuanians living in the countryside was more common than the history of the Lithuanian cities. The most popular periods of Lithuanian history was the period from the thirteenth to the fifteenth centuries and the history of the nineteenth century. Among historical events, the most popular were the Battle of Žalgiris, the abolition of serfdom in 1861, and lifting the ban on the Lithuanian press in 1904. Foreign history was also quite popular in Lithuanian periodicals. The article also deals with the relation of different Lithuanian political ideologies to historical articles. While two right-wing political groups, Lithuanian nationalists and Lithuanian Christian Democrats, wrote widely on historical topics and especially liked the period of the thirteenth to the fifteenth centuries and the nineteenth century in Lithuanian history, the Lithuanian left-wing or centre-left political parties, Lithuanian Social Democrats and Lithuanian Democrats, wrote about the past and overall history of Lithuania much less: they were mostly interested in the history of the nineteenth century and in foreign history.

“The Burial and Unburial of Women”: Thin Black Line(s) and Tracing “Moments and Connections” in Black British Women’s Art Histories

2015 ◽  
Vol 2 (2) ◽  
Author(s):  
Celeste-Marie Bernier
Keyword(s):  
Art World ◽  
Art Making ◽  
Black Line ◽  
British Art ◽  
Black British ◽  
Exhibition Space ◽  
Women's Art ◽  
The Social ◽  
History Of ◽  
Thin Black Line

As an artist who refuses categorically to shy away from both the “history of slavery” and the “contemporary grievances” arising from a white-dominated British art world, Lubaina Himid created a curatorial tour de force with her Thin Black Line(s) exhibition, on display at Tate Britain in 2011–2012. She adopted an array of signifying practices designed to riff off, reclaim, and revise the ideological biases and racialized blind spots of the Tate as a national institution. Himid’s long history of exhibiting Black British women’s work reflects her determination to fight against their “collective invisibility in the art world” as they “engaged with the social, cultural, political and aesthetic issues of the time” by undertaking a “conceptual reframing of the image of black and Asian women themselves.” Working with the spatial constraints of just one room in which to exhibit a decades-long history of Black British women artists and art making, Himid also had to rely upon numerous strategies to confront the obstacles presented by the Tate’s decision to mount Thin Black Line(s) not as a full-scale exhibition but as an “in-focus display.” This meant that it was not given as extensive a budget or as large an exhibition space as the Tate exhibitions appearing as part of their regular programming, and also not accorded the same levels of marketing, advertising, and scholarly attention. Himid set about solving these problems by engaging in diverse extra-curatorial practices and also by contesting and critiquing these limitations within the space itself. Himid’s self-reflexive strategies became a form of “guerrilla curating” as she engaged in a multitude of methods designed to critique, interrogate, and displace—if not outright reject—the challenges presented by the ideologically confining and tokenizing framing of the Tate as an exhibition space.

scholarly journals Professores, redatores e políticos: o lugar de Justiniano de Mello e Silva na imprensa periódica oitocentista

2017 ◽  
Vol 1 (1) ◽  
pp. 102
Author(s):  
Bárbara Da Silva Santos ◽  
Cristiano De Jesus Ferronato
Keyword(s):  
Nineteenth Century ◽  
Survey Method ◽  
Education History ◽  
Periodical Press ◽  
Educational Models ◽  
The Press ◽  
History Of ◽  
The Subject ◽  
Research In Education ◽  
Keywords Education

As pesquisas que refletem sobre os modelos educacionais abordados nos jornais do século XIX contribuem para a construção da História da Educação, pois elas contêm aspectos educacionais que nos permitem entender o contexto atual nesse campo. Nesse ínterim, o presente artigo busca refletir acerca dos agentes participantes dos jornais, destacando Justiniano de Mello e Silva, bem como apresentar a contribuição da imprensa periódica nesse período para as pesquisas em História da Educação. Homens de letras, os redatores da imprensa do século XIX, ao disporem de certo domínio com as palavras, redigiram textos que ultrapassaram a temática da política. Esta pesquisa está inserida no campo referido e, para alcançarmos o objetivo, empregamos o método de levantamento e análise de fontes documentais e bibliográficas, as quais consistiram no jornal “Sete de Março” e em trabalhos que pesquisam sobre redatores, imprensa e educação. Esta metodologia consiste na organização dos documentos a fim de elaborar um mapeamento dos conteúdos.Teachers, writers and politicians: the place of Justiniano de Mello e Silva in the periodical press of the nineteenth century. The studies that reflect on the educational models covered in the newspapers of the nineteenth century contribue to the construction of the History of Education, for in them context of this field. However, this article aims to reflect on those participating in the newspapers that highlight Justiniano de Mello e Silva, as well as presenting the contribution of the periodical press of this period for research in, Education History. Men of letters, the writers of the press of the nineteenth century, had dominion with the words, they wrote texts that exceeded the subject of politics. This research is inserted in this field, and to achieve the goal, we use the survey method and analysis of documentary and bibliographic sources, which consisted of the newspaper "Seven March" and work researching writers, media and education. This methodology consists in the organization of the documents, in order to prepare a mapping of content. Keywords: Education; Press; Journal Sete de Março; Writers; Sociability.

scholarly journals WOMEN ARTISTS OF THE LATE 19TH CENTURY: CONTINUITY AND CHANGE AT THE SUNSET OF IMPERIAL CHINA

2021 ◽  
Author(s):  
Zhou Xiaoqin ◽  
Haji Baharudin bin Haji Mohd Arus
Keyword(s):  
19Th Century ◽  
Women Artists ◽  
Chinese Women ◽  
Late 19Th Century ◽  
Continuity And Change ◽  
Women's Art ◽  
History Of ◽  
Imperial China ◽  
Male Discourse ◽  
The 19Th Century

Increasing attention to the history of Chinese women artists gives further impetus to re-evaluation of their artistic contribution. Here I focus on developments in women’s art in the later part of the 19th century, entering into an interrogation of the assumption that the century had witnessed its decline in tandem with the decline of the Imperial China itself. A focus of the article is the 2017 Zhejiang exhibition, which has served to further intensify the imperative for research. Adopting a perspective based on gender and class, this paper examines the work of the female Chinese artists of the late 19th century both in the traditional Jiangnan area, which had been the epicentre of culture and economy, and in the newly developing trade areas, most notably Shanghai. There a vibrant art market emerged, bringing significant opportunities for women artists from broader social strata. This dynamic is illustrated by the particular example of Ren Xia. In these circumstances significant changes took place in the context of the presence of continuity in women’s aesthetic production, while a traditional male discourse remained hegemonic.

Engendering Change: Charting a History of the Emirates through Women Artists

Hawwa ◽  
2021 ◽  
pp. 1-23
Author(s):  
Elizabeth Derderian
Keyword(s):  
United Arab Emirates ◽  
Women Artists ◽  
English Language ◽  
Art World ◽  
Resource Exploitation ◽  
Rapid Urbanization ◽  
Educational Structures ◽  
History Of ◽  
Public Behavior

Abstract Contrary to narratives of universally positive modernization in the United Arab Emirates, this article draws on the lives and work of women artists to offer a more detailed view of the UAE’s rapid urbanization and development. First, the article shows how changing educational structures and systems led to the privileging of the English language, which has resulted in differential generational access to a contemporary art world that operates predominantly in English. Second, the article looks at the losses of urbanization illustrated by artists reflecting on the changing experience of community, gendered norms of public behavior, the role of buildings and monuments in navigation and identity, and resource exploitation.

scholarly journals Historical Texts in the Periodical Press of Lithuanian Humanities and Social Sciences, 1907–1941: A Quantitative Approach

Lituanistica ◽  
2021 ◽  
Vol 67 (3) ◽  
Author(s):  
Titas Krutulys
Keyword(s):  
Social Sciences ◽  
Nineteenth Century ◽  
Twentieth Century ◽  
Periodical Press ◽  
Historical Sources ◽  
Scholarly Journals ◽  
Historical Texts ◽  
History Of ◽  
Humanities And Social Sciences ◽  
Historical Periods

In Lithuania, the first half of the twentieth century was the beginning of the Lithuanian scholarly journals. Lithuanian humanities and social sciences, which were held in high esteem by Lithuanian society, were making efforts to reflect both the development of science and research in the country’s scientific past and to shed light on some of past events in Lithuania. History, therefore, was an important topic in first scholarly journals. This article is focused on historical texts (articles, reviews, bibliographies, publications of historical sources) in twenty different Lithuanian scholarly journals on history, language, literature, philosophy, religion, ethnology, economics, law, and some other disciplines from 1907 to 1941. The article starts with the first Lithuanian scholarly journal Lietuvių tauta and ends with the last historical journal of the interwar period released during the Second World War. It analyses all general sets of texts in the journals. This quantitative research attempts to show the frequency of historical texts in the scientific periodical press, the most common types of texts, the frequency of the publication of these texts during the analysed period, and the type of history (local or foreign) that was more important for each of the journals or serial publications. In addition, this article points to the historical themes and historical periods that used to recur most frequently and to the countries that were represented in historical texts. The results of the survey show that approximately 49% of all the articles in the surveyed periodical press could be described as historical: such texts comprised from 21 to 100% of all texts in each of the academic journals The most common type of such texts was the historical article (at least 70% of all texts), followed by the review and the publication of historical sources. The largest number of historical texts was published in the second half of the 1930s and the lowest in the period of 1900s to 1910s and in the second half of the 1920s. The history of Lithuania was represented in 60% of all texts and foreign history in 48% of them. Eight out of 20 analysed scholarly journals demonstrated preference for foreign history rather than local. The most common was the history of Germany, France, Russia, Italy, Poland, England, and the Baltic countries. The most common themes of historical texts in the scholarly periodical press were biographies, social, cultural, and political history. Historical themes were mostly related to different interests of sciences and there were huge differences between these groups. The survey also shows that although Lithuanian medieval history was much less important to almost all scholarly periodical press, it was interesting to the general public, and that some nineteenth-century Lithuanian historical events received more attention. The nineteenth century and the early twentieth century were the most analysed historical periods, but some journals were predominantly interested in ancient history. Some historical and language-related periodicals focused on the medieval and early modern history of Lithuania.

A history of some fruit models in wax and other materials: scientific teaching aids and courtly table decorations

2003 ◽  
Vol 30 (2) ◽  
pp. 299-316 ◽  
Author(s):  
Hans-JüRgen Lechtreck
Keyword(s):  
Nineteenth Century ◽  
Fruit Trees ◽  
Visual Aids ◽  
Early Nineteenth Century ◽  
Teaching Aids ◽  
Scientific Teaching ◽  
Glass Marble ◽  
History Of ◽  
By Products ◽  
Wax Models

Two early nineteenth century texts treating the production and use of wax models of fruit reveal the history of these objects in the context of courtly decoration. Both sources emphasise the models' decorative qualities and their suitability for display, properties which were not simply by-products of the realism that the use of wax allowed. Thus, such models were not regarded merely as visual aids for educational purposes. The artists who created them sought to entice collectors of art and natural history objects, as well as teachers and scientists. Wax models of fruits are known to have been collected and displayed as early as the seventeenth century, although only one such collection is extant. Before the early nineteenth century models of fruits made from wax or other materials (glass, marble, faience) were considered worthy of display because contemporaries attached great importance to mastery of the cultivation and grafting of fruit trees. This skill could only be demonstrated by actually showing the fruits themselves. Therefore, wax models made before the early nineteenth century may also be regarded as attempts to preserve natural products beyond the point of decay.

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