| Titre : |
American Women Artists : From early indian times to the present |
| Type de document : |
texte imprimé |
| Auteurs : |
Charlotte Streifer Rubinstein (1921-2013), Auteur |
| Editeur : |
Boston [Etats-Unis] : Avon |
| Année de publication : |
1982 |
| Importance : |
1 vol. (56o p.) - [32] p. de pl |
| Présentation : |
ill. en noir et blanc, ill. en coul., couv. ill. en coul. |
| Format : |
24 cm |
| ISBN/ISSN/EAN : |
071001015959 |
| Langues : |
Anglais (eng) |
| Catégories : |
Art indien d'Amérique -- Amérique du Nord
Femmes artistes -- États-Unis
Indiennes d'Amérique -- Dans l'art
|
| Index. décimale : |
7:396.93/99 Histoire générale des femmes artistes |
| Résumé : |
Here, for the first time, is a look at hundreds of American artists, most of them previously all but forgotten by history-brought to life with fascinating anecdotes about the times in which they lived and the social and cultural milieus that influenced their art. The lives of these women have been as diverse as the art they created.
Her family's survival in the New World depended on the money Henrietta Deering Johnston made painting portraits of Charleston's leading citizens with the pastels she brought from Ireland, and her work established her as this country's first pastel artist.
America's first professional sculptor, Patience Lovell Wright, became so famous that she was invited to Buckingham Palace to model portraits of the king and queen.
In 1906, another famous woman sculptor, Evelyn Beatrice Longman, competed anonymously against some of the best-known men sculptors of the day and won the commission to do the massive bronze entrance doors to the chapel of the U.S. Naval Academy at Annapolis.
Mary Cassatt's father said he'd almost rather see her dead than have her study abroad, but she went to Paris and became America's first impressionist-exhibiting alongside Degas, Renoir and Monet. Thousands pass by Emma Stebbins' bronze fountain, The Angel of the Waters, in New York and Anne Whitney's statue of Leif Ericsson in boston, never dreaming that they were created by women artists.
The feminist movement of the seventies and eighties has encouraged recognition of America'swomen artists, and from the pottery, weaving and painting of Indian women, to the works of such twentieth-century art pioneers as Georgia O'Keeffe, sculptor Louise Nevelson, and abstract painters Lee Krasner and Helen Frankenthaler, much art that has previously been overlooked is now finding its rightful place in museums of fine art. |
American Women Artists : From early indian times to the present [texte imprimé] / Charlotte Streifer Rubinstein (1921-2013), Auteur . - Boston (Etats-Unis) : Avon, 1982 . - 1 vol. (56o p.) - [32] p. de pl : ill. en noir et blanc, ill. en coul., couv. ill. en coul. ; 24 cm. ISSN : 071001015959 Langues : Anglais ( eng)
| Catégories : |
Art indien d'Amérique -- Amérique du Nord
Femmes artistes -- États-Unis
Indiennes d'Amérique -- Dans l'art
|
| Index. décimale : |
7:396.93/99 Histoire générale des femmes artistes |
| Résumé : |
Here, for the first time, is a look at hundreds of American artists, most of them previously all but forgotten by history-brought to life with fascinating anecdotes about the times in which they lived and the social and cultural milieus that influenced their art. The lives of these women have been as diverse as the art they created.
Her family's survival in the New World depended on the money Henrietta Deering Johnston made painting portraits of Charleston's leading citizens with the pastels she brought from Ireland, and her work established her as this country's first pastel artist.
America's first professional sculptor, Patience Lovell Wright, became so famous that she was invited to Buckingham Palace to model portraits of the king and queen.
In 1906, another famous woman sculptor, Evelyn Beatrice Longman, competed anonymously against some of the best-known men sculptors of the day and won the commission to do the massive bronze entrance doors to the chapel of the U.S. Naval Academy at Annapolis.
Mary Cassatt's father said he'd almost rather see her dead than have her study abroad, but she went to Paris and became America's first impressionist-exhibiting alongside Degas, Renoir and Monet. Thousands pass by Emma Stebbins' bronze fountain, The Angel of the Waters, in New York and Anne Whitney's statue of Leif Ericsson in boston, never dreaming that they were created by women artists.
The feminist movement of the seventies and eighties has encouraged recognition of America'swomen artists, and from the pottery, weaving and painting of Indian women, to the works of such twentieth-century art pioneers as Georgia O'Keeffe, sculptor Louise Nevelson, and abstract painters Lee Krasner and Helen Frankenthaler, much art that has previously been overlooked is now finding its rightful place in museums of fine art. |
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