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Sociology of the family. Sociology of sexuality --- Iconography --- iconoclasm --- gender issues --- blasphemy --- culturele diversiteit (kunst)
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*The Short Story of Women Artists* tells the full history - from the breakthroughs that women have made in pushing for parity with male artists, to the important contributions made to otherwise male-dominated artistic movements, and the forgotten and obscured artists who are now being rediscovered and reassessed. Accessible, concise and richly illustrated, the book reveals the connections between different periods, artists and styles, giving readers a thorough understanding and broad enjoyment of the full achievements that female artists have made.
Sociology of culture --- Art --- art history --- feminism --- gender issues --- vrouwelijke kunstenaar --- #breakthecanon
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History of civilization --- social history --- gender issues --- women [female humans] --- Louis XIV [King of France] --- anno 1600-1699 --- anno 1700-1799 --- France
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Sociology of the family. Sociology of sexuality --- Didactics of the arts --- sex role --- art appreciation --- gender issues --- educatieve werking, kinderen --- gender
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Social ethics --- Sociology of the family. Sociology of sexuality --- sex discrimination --- feminism --- social ethics --- gender issues --- women [female humans] --- anno 1900-1999 --- Berlin
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C3 --- beeldende kunst --- Wereldoorlog I --- islam --- christendom --- Kunst en cultuur --- Exhibitions --- conflict [general sense] --- Lahlou, Mehdi-Georges --- Identity (Psychology) in art --- Art, Moroccan --- Identité (Psychologie) dans l'art --- Art marocain --- Lahlou, Mehdi-Georges, --- Identité (Psychologie) dans l'art --- sculpting --- performance art --- multiculturalism --- installations [visual works] --- identity --- photography [process] --- video art --- gender issues --- Art --- Art, French --- Photography, Artistic --- Art français --- Photographie artistique --- Exhibitions. --- Expositions
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Sofonisba Anguissola, Artemisia Gentileschi, Judith Leyster, Angelika Kauffmann, Elisabeth Vigée-Lebrun, Rosa Bonheur, Natalja Gontsjarova - al deze vrouw horen ontegenzeglijk thuis in de geschiedenis van de westerse schilderkunst. Maar hun namen zijn nauwelijks bekend. Wat is het aandeel van deze vrouwen in de beeldende kunsten? Waarom zijn er maar zo weinig vrouwelijke kunstenaars geweest? En als we één goed schilderij van een vrouw kunnen vinden, waar is dan de rest van haar werk gebleven? En: hoe goed waren de vrouwen die leefden van de schilderkunst? In deze rijk geïllustreerde studie over vrouwelijke schilders en de, psychologische en sociale, hindernissen die zij in de wedloop om erkenning en succes hebben moeten overwinnen (men denke aan: afkeuring door de familie, geen plaats aan kunstacademies, het krijgen van kinderen, afgunst van vaders en broers, commerciële motieven van de kunstgaleries), heeft Germaine Greer, schrijfster van *De vrouw als eunuch*, een geslaagde, polemische poging gedaan om 'de deelname van vrouwen aan de beeldende kunsten aan de orde te stellen, niet zozeer door weer met de mythes aan te komen die zijn ontstaan rond individuele figuren, maar door te proberen die buitenbeentjes weer terug te brengen in de groep van vrouwen waar zij uit naar voren zijn gehaald, en door deze vrouwen te plaatsen in hun sociale en culturele achtergrond.' Vrouwelijke kunstenaars worden dus niet gezien als een serie enkelingen, maar als leden van een groep, die gekweld worden door dezelfde tegenstrijdige motivaties en dezelfde praktische problemen, de hindernissen, uiterlijk of innerlijk, van de wedloop om het succes; de kenmerken die zij met elkaar gemeen hebben, zijn de kenmerken van de onderdrukte persoonlijkheid: zelfcensuur, valse bescheidenheid, onzekerheid, kindvrouwtjes-gedrag, zelfbedrog, vijandigheid tegenover collega's, emotionele en seksuele afhankelijkheid van de man, verlegenheid, minderwaardigheidsgevoelens, onwetendheid.
History --- Art --- 74/76-055.2 --- Kunst ; van vrouwen --- Schilderkunst ; bloemschilderkunst ; stillevens --- Schilderkunst ; portretten --- kunstenaressen --- 7.071 --- Iconografie ; verschillende onderwerpen --- 7.049 --- kunst --- kunstgeschiedenis --- schilderkunst --- vrouwen --- 7.03 --- kunstenaars --- Painting --- Kunst --- Geschiedenis --- Philosophy and psychology of culture --- Sociology of the family. Sociology of sexuality --- gender issues --- women [female humans] --- #breakthecanon --- 700 --- geschiedenis van de vrouw --- kunst algemeen --- art généralités --- schilderes --- Artists --- Visual arts --- Book
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In the 1970s, Lucy R. Lippard, author of the highly original and popular Mixed Blessings, merged her art-world concerns with those of the then-fledgling women’s movement. In a career that spans sixteen books and scores of articles, catalogs, and essays on art, political activism, feminism, and multiculturalism, her engaging and provocative writings have heralded a new way of thinking about art and its role in the feminist movement. This new collection of previously published essays covers more than two decades of Lippard’s thinking on the ever-evolving definitions of feminist art, the convergence of high and low art, political and activist art, and the contributions of feminist theory to the politics of identity that infuses the production and exhibition of much of today’s fine and popular art. With a new introduction from the author, The Pink Glass Swan brings together selections from two of Lippard’s leading works, From the Center: Feminist Essays on Art and Get the Message?: A Decade of Art for Social Change, and numerous other articles written for newspapers, magazines, and art catalogs across the country.
Feminism and art --- Feminist art criticism --- 7.01 --- Beeldende kunst ; 20ste eeuw ; in relatie tot de prehistorie --- Art criticism --- Feminist criticism --- Art and feminism --- Art --- Kunst ; theorie, filosofie, esthetica --- social issues --- feminism --- gender issues --- gender [sociological concept] --- vrouw in de kunst --- United States --- United States of America --- Feminism --- Feminist art --- Photography --- Artists --- Body --- Drawing --- Exhibitions --- Theory --- Book --- Activism --- Discrimination
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What do we see when we look at our collective Dutch colonial legacies from a gender perspective? How are these colonial legacies reflected in our museum collections and archives? Do her stories remain hidden and are there unknown biographies to unravel? Or do we reinterpret existing master narratives? Using an intersectional perspective, this book looks at the current growing Dutch interest in its own colonial legacy from a more critical and self-reflexive stance. The authors bring historical and current examples in the Dutch metropole and colonies together. Collectively they share archival silences, biographical counternarratives and a museum world grappling with its own colonial legacy, all the while wondering: what has gender got to do with it.
Sociology of the family. Sociology of sexuality --- History of the Netherlands --- postcolonialism --- Postcolonialisme --- Women --- Colonies --- Slavery --- Esclavage --- Impérialisme --- Racisme --- Imperialism --- Museums --- Islamophobia --- koloniale geschiedenis. --- gender. --- vrouwen. --- History. --- Aspect social. --- Histoire. --- Social aspects --- Indonésie --- Netherlands --- Curaçao --- Curaçao. --- Indonesia. --- Netherlands. --- Colonies. --- History --- gender issues --- Colonies néerlandaises
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Sociology of the family. Sociology of sexuality --- Social psychology --- sex role --- gender issues --- fine arts --- Art --- anno 1800-1999 --- gender --- femme fatale --- seksualiteit --- film --- menselijk lichaam --- Salomé --- Stuck, Franz von --- Rops, Félicien --- Mammen, Jeanne --- Munch, Edvard --- Miller, Lee --- Adam --- Eva --- 19de eeuw --- 20ste eeuw --- fine arts [discipline] --- gender. --- femme fatale. --- seksualiteit. --- film. --- menselijk lichaam. --- Salomé. --- Stuck, Franz von. --- Rops, Félicien. --- Mammen, Jeanne. --- Munch, Edvard. --- Miller, Lee. --- Adam. --- Eva. --- 19de eeuw. --- 20ste eeuw.
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