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"In Painting Gender, Constructing Theory, Marcia Brennan examines how Stieglitz and the critics drew on early twentieth-century discourses on sex and the psyche, particularly the theories of Sigmund Freud and Havelock Ellis, to characterize the artworks of the Stieglitz circle. Critics routinely described the often highly abstracted paintings of Georgia O'Keeffe, Arthur Dove, John Marin, Marsden Hartley, and Charles Demuth as transparent displays of the most intimate aspects of the self, taking both subject matter and painterly form to be guided by the artist's own gendered and psychic energies." "Focusing on the key historical criticism and art-works, Brennan shows how the identities of all five Stieglitz circle artists were presented in terms of the masculinity and femininity, and the heterosexuality and homosexuality, thought to be embedded in their work. Brennan also discusses Stieglitz's relation to competing artistic and critical movements, including Thomas Hart Benton's regionalist art and Clement Greenberg's reformulation of formalism."--Jacket.

Aesthetics --- Stieglitz, Alfred --- Gender identity in art. --- Modernism (Art) --- Stieglitz Circle (Group of artists).

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How have major civilizations of the last two millennia treated people who were attracted to their own sex? In a narrative tour de force, Louis Crompton chronicles the lives and achievements of homosexual men and women alongside a darker history of persecution, as he compares the Christian West with the cultures of ancient Greece and Rome, Arab Spain, imperial China, and pre-Meiji Japan. Ancient Greek culture celebrated same-sex love in history, literature, and art, making high claims for its moral influence. By contrast, Jewish religious leaders in the sixth century B.C.E. branded male homosexuality as a capital offense and, later, blamed it for the destruction of the biblical city of Sodom. When these two traditions collided in Christian Rome during the late empire, the tragic repercussions were felt throughout Europe and the New World. Louis Crompton traces Church-inspired mutilation, torture, and burning of “sodomites” in sixth-century Byzantium, medieval France, Renaissance Italy, and in Spain under the Inquisition. But Protestant authorities were equally committed to the execution of homosexuals in the Netherlands, Calvin’s Geneva, and Georgian England. The root cause was religious superstition, abetted by political ambition and sheer greed. Yet from this cauldron of fears and desires, homoerotic themes surfaced in the art of the Renaissance masters—Donatello, Leonardo, Michelangelo, Sodoma, Cellini, and Caravaggio—often intertwined with Christian motifs. Homosexuality also flourished in the court intrigues of Henry III of France, Queen Christina of Sweden, James I and William III of England, Queen Anne, and Frederick the Great. Anti-homosexual atrocities committed in the West contrast starkly with the more tolerant traditions of pre-modern China and Japan, as revealed in poetry, fiction, and art and in the lives of emperors, shoguns, Buddhist priests, scholars, and actors. In the samurai tradition of Japan, Crompton makes clear, the celebration of same-sex love rivaled that of ancient Greece. Sweeping in scope, elegantly crafted, and lavishly illustrated, Homosexuality and Civilization is a stunning exploration of a rich and terrible past.

Homosexuality --- Gender identity --- Homophobia --- Anti-gay bias --- Anti-GLBT bias --- Anti-homosexual bias --- Anti-LGBT bias --- Antigay bias --- Discrimination against gays --- Fear of gays --- Fear of homosexuality --- GLBT bias --- Homonegativity --- Homophobic attitudes --- Homoprejudice --- Lesbophobia --- LGBT bias --- Sexual orientation discrimination --- Discrimination --- Phobias --- Heterosexism --- Sex identity (Gender identity) --- Sexual identity (Gender identity) --- Identity (Psychology) --- Sex (Psychology) --- Queer theory --- History. --- History --- Homosexualité --- Identité sexuelle --- Homophobie --- Histoire --- Sociology of the family. Sociology of sexuality --- History of civilization --- Gender dysphoria

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Boucher, François --- Gender identity in art --- Geslachtsidentiteit in de kunst --- Identité sexuelle dans l'art --- Criticism and interpretation --- Art criticism --- France --- History --- 18th century --- Art [Rococo ] --- receptiegeschiedenis

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This original analysis of the representation and self-representation of women in literature and visual arts revolves around multiple early modern senses of "painting": the creation of visual art in the form of paint on canvas and the use of cosmetics to paint women's bodies. Situating her study in sixteenth- and seventeenth-century Italy, France, and England, Patricia Phillippy brings together three distinct actors: women who paint themselves with cosmetics, women who paint on canvas, and women and men who paint women - either with pigment or with words. Phillippy asserts that early modern attitudes toward painting, cosmetics, and poetry emerge from and respond to a common cultural history. Materially, she connects those who created images of women with pigment to those who applied cosmetics to their own bodies through similar mediums, tools, techniques, and exposure to toxic materials. Discursively, she illuminates historical and social issues such as gender and morality with the nexus of painting, painted women, and women painters. Teasing out the intricate relationships between these activities as carried out by women and their visual and literary representation by women and by men, Phillippy aims to reveal the delineation and transgression of women's creative roles, both artistic and biological. In "Painting Women", Phillippy provides a cross-disciplinary study of women as objects and agents of painting.

Painting --- History of civilization --- Literature --- Sociology of the family. Sociology of sexuality --- anno 1600-1699 --- anno 1500-1599 --- Europe --- 7.071.1-055.2 --- Vrouwelijke kunstenaars --- Arts, European --- Cosmetics --- Feminine beauty (Aesthetics) --- Gender identity in art. --- Women in art. --- Social aspects --- 7.071.1-055.2 Vrouwelijke kunstenaars --- Gender identity in art --- Women in art --- Beauty aids --- Complexion --- Make-up (Cosmetics) --- Makeup (Cosmetics) --- Costume --- Beauty, Personal --- Beauty culture --- Toilet preparations --- European arts --- Ideal beautiful women --- Aesthetics

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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.

Painting --- vrouwbeeld --- Iconography --- anno 1400-1499 --- anno 1500-1599 --- Europe --- 7.041.5 --- Iconografie: portretten --- Art, European. --- Gender identity in art --- Women --- History. --- 7.041.5 Iconografie: portretten --- Art, European --- Human females --- Wimmin --- Woman --- Womon --- Womyn --- Females --- Human beings --- Femininity --- Art, Modern --- European art --- Nouveaux réalistes (Group of artists) --- Zaj (Group of artists) --- History --- vrouwenportretten