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First Published in 1997. This book is intended as a resource for anyone interested in the artistic contributions and activities of women in nineteenth-century Britain. It is an index as well as an annotated bibliography and provides sources for information about women well known in their own time and about women who were little known then and are forgotten now
This is an art book which highlights the possibility of using natural, organic materials as art supplies and inspiration.
A moving story of family and a life-long love affair in 1950s London, from the New York Times bestselling author of The House at Tyneford. London, 1958. It's the eve of the sexual revolution, but in Juliet Montague's conservative Jewish community where only men can divorce women, she ­finds herself a living widow, invisible. Ever since her husband disappeared seven years ago, Juliet has been a hardworking single mother of two and unnaturally practical. But on her thirtieth birthday, that's all about to change. A wealthy young artist asks to paint her portrait, and Juliet, moved by the powerful desire to be seen, enters into the burgeoning art world of 1960s London, which will bring her fame, fortune, and a life-long love affair.
"Haunting ... teems with raw emotion, and McCullough deftly captures the experience of learning to behave in a male-driven society and then breaking outside of it."—The New Yorker "I will be haunted and empowered by Artemisia Gentileschi's story for the rest of my life."—Amanda Lovelace, bestselling author of the princess saves herself in this one A William C. Morris Debut Award Finalist 2018 National Book Award Longlist Her mother died when she was twelve, and suddenly Artemisia Gentileschi had a stark choice: a life as a nun in a convent or a life grinding pigment for her father's paint. She chose paint. By the time she was seventeen, Artemisia did more than grind pigment. She was one of Rome's most talented painters, even if no one knew her name. But Rome in 1610 was a city where men took what they wanted from women, and in the aftermath of rape Artemisia faced another terrible choice: a life of silence or a life of truth, no matter the cost. He will not consume my every thought. I am a painter. I will paint. Joy McCullough's bold novel in verse is a portrait of an artist as a young woman, filled with the soaring highs of creative inspiration and the devastating setbacks of a system built to break her. McCullough weaves Artemisia's heartbreaking story with the stories of the ancient heroines, Susanna and Judith, who become not only the subjects of two of Artemisia's most famous paintings but sources of strength as she battles to paint a woman's timeless truth in the face of unspeakable and all-too-familiar violence. I will show you what a woman can do. ★"A captivating and impressive."—Booklist, starred review ★"Belongs on every YA shelf."—SLJ, starred review ★"Haunting."—Publishers Weekly, starred review ★"Luminous."—Shelf Awareness, starred review
One morning, Eddie wakes up and hears her little sister say these words: birthday--mama--present--fluffy--little--squishy. Worried that her sister will find one before she does, Eddie runs off on a hunt. But where should she begin? At the neighborhood shops, maybe? Eddie's search, magical and entirely her own, leads her just where she needs to go.
In 1929 New York City, twelve-year-old housemaid Martha O'Doyle suspects that a wealthy recluse may be trying to communicate with the outside world through the paintings on her gallery walls.
An openly lesbian, feminist writer, Vernon Lee—a pseudonym of Violet Paget—is the most important female aesthetician to come out of nineteenth century England. Though she was widely known for her supernatural fictions, Lee hasn’t gained the recognition she so clearly deserves for her contributions in the fields of aesthetics, philosophy of empathy, and art criticism. An early follower of Walter Pater, her work is characterized by extreme attention to her own responses to artworks, and a level of psychological sensitivity rarely seen in any aesthetic writing. Today, she is largely overlooked in curriculums, her aesthetic works long out of print. David Zwirner Books is reintroducing Lee’s writing through the first-ever English publication of "Psychology of an Art Writer" (1903) along with selections from her groundbreaking "Gallery Diaries" (1901–1904), breathtaking accounts of Lee’s own experiences with the great paintings and sculptures she traveled to see. Ranging from deeply felt assessments of the way mood affects our ability to appreciate art, to detailed descriptions of some of the most powerful personal experiences with artworks, these writings provide profound insights into the fields of psychology and aesthetics. Her philosophical inquiries in The Psychology of an Art Writer leave no stone unturned, combining fine-grained ekphrases with high fancy and dense abstraction. The diaries, in turn, establish Lee as one of the most sensitive writers about art in any language. With a foreword by Berkeley classicist Dylan Kenny, which guides the reader through these writings and contextualizes these texts within Lee’s other work, this is the quintessential introduction to her astonishing and complex oeuvre.
In 1889, Annie Nathan Meyer, still in her early twenties, led the effort to start Barnard College after Columbia College refused to admit women. Named after a former Columbia president, Frederick Barnard, who had advocated for Columbia to become coeducational, Barnard, despite many ups and downs, became one of the leading women’s colleges in the United States. A College of Her Own offers a comprehensive and lively narrative of Barnard from its beginnings to the present day. Through the stories of presidents and leading figures as well as students and faculty, Robert McCaughey recounts Barnard’s history and how its development was shaped by its complicated relationship to Columbia University and its New York City location. McCaughey considers how the student composition of Barnard and its urban setting distinguished it from other Seven Sisters colleges, tracing debates around class, ethnicity, and admissions policies. Turning to the postwar era, A College of Her Own discusses how Barnard benefited from the boom in higher education after years of a precarious economic situation. Beyond the decisions made at the top, McCaughey examines the experience of Barnard students, including the tumult and aftereffects of 1968 and the impact of the feminist movement. The concluding section looks at present-day Barnard, the shifts in its student body, and its efforts to be a global institution. Informed by McCaughey’s five decades as a Barnard faculty member and administrator, A College of Her Own is a compelling history of a remarkable institution.
INSTANT NEW YORK TIMES BESTSELLER "My Body offers a lucid examination of the mirrors in which its author has seen herself, and her indoctrination into the cult of beauty as defined by powerful men. In its more transcendent passages . . . the author steps beyond the reach of any 'Pygmalion' and becomes a more dangerous kind of beautiful. She becomes a kind of god in her own right: an artist." —Melissa Febos, The New York Times Book Review A "MOST ANTICIPATED" AND "BEST OF FALL 2021" BOOK FOR * VOGUE * TIME * ESQUIRE * PEOPLE * USA TODAY * CHICAGO TRIBUNE * LOS ANGELES TIMES * SHONDALAND * ALMA * THRILLEST * NYLON * FORTUNE A deeply honest investigation of what it means to be a woman and a commodity from Emily Ratajkowski, the archetypal, multi-hyphenate celebrity of our time Emily Ratajkowski is an acclaimed model and actress, an engaged political progressive, a formidable entrepreneur, a global social media phenomenon, and now, a writer. Rocketing to world fame at age twenty-one, Ratajkowski sparked both praise and furor with the provocative display of her body as an unapologetic statement of feminist empowerment. The subsequent evolution in her thinking about our culture’s commodification of women is the subject of this book. My Body is a profoundly personal exploration of feminism, sexuality, and power, of men's treatment of women and women's rationalizations for accepting that treatment. These essays chronicle moments from Ratajkowski’s life while investigating the culture’s fetishization of girls and female beauty, its obsession with and contempt for women’s sexuality, the perverse dynamics of the fashion and film industries, and the gray area between consent and abuse. Nuanced, fierce, and incisive, My Body marks the debut of a writer brimming with courage and intelligence.
A personal and critical work that celebrates the pleasure of books and reading. Largely unknown to readers today, Sir Philip Sidney’s sixteenth-century pastoral romance Arcadia was long considered one of the finest works of prose fiction in the English language. Shakespeare borrowed an episode from it for King Lear; Virginia Woolf saw it as “some luminous globe” wherein “all the seeds of English fiction lie latent.” In Gallery of Clouds, the Renaissance scholar Rachel Eisendrath has written an extraordinary homage to Arcadia in the form of a book-length essay divided into passing clouds: “The clouds in my Arcadia, the one I found and the one I made, hold light and color. They take on the forms of other things: a cat, the sea, my grandmother, the gesture of a teacher I loved, a friend, a girlfriend, a ship at sail, my mother. These clouds stay still only as long as I look at them, and then they change.” Gallery of Clouds opens in New York City with a dream, or a vision, of meeting Virginia Woolf in the afterlife. Eisendrath holds out her manuscript—an infinite moment passes—and Woolf takes it and begins to read. From here, in this act of magical reading, the book scrolls out in a series of reflective pieces linked through metaphors and ideas. Golden threadlines tie each part to the next: a rupture of time in a Pisanello painting; Montaigne’s practice of revision in his essays; a segue through Vivian Gordon Harsh, the first African American head librarian in the Chicago public library system; a brief history of prose style; a meditation on the active versus the contemplative life; the story of Sarapion, a fifth-century monk; the persistence of the pastoral; image-making and thought; reading Willa Cather to her grandmother in her Chicago apartment; the deviations of Walter Benjamin’s “scholarly romance,” The Arcades Project. Eisendrath’s wondrously woven hybrid work extols the materiality of reading, its pleasures and delights, with wild leaps and abounding grace.