The Union of Women Painters and Sculptors was founded in Paris in 1881 to represent the interests of women artists and to facilitate the exhibition of their work. This lively and informative book traces the history of the first fifteen years of the organisation and places it in the contexts of the Paris art world and the development of feminism in the late nineteenth century. Tamar Garb explores how the Union campaigned to have women artists written about in the press and admitted to the Salon jury and into the prestigious ...
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The Union of Women Painters and Sculptors was founded in Paris in 1881 to represent the interests of women artists and to facilitate the exhibition of their work. This lively and informative book traces the history of the first fifteen years of the organisation and places it in the contexts of the Paris art world and the development of feminism in the late nineteenth century. Tamar Garb explores how the Union campaigned to have women artists written about in the press and admitted to the Salon jury and into the prestigious Ecole des Beaux-Arts, and describes how the organisation's leaders took their campaigns into the French parliament itself. Although the women of the Union were often quite conservative politically, socially, and stylistically, says Garb, they believed that women had a special gift that would enhance France's cultural reputation and maintain the uplifting moral-cultural position that seemed in jeopardy at the turn of the century. Focusing on the developments that made the prominence of the organisation possible, Garb discusses the growth of the women's movement, educational reforms, institutional changes in the art world, and critical debates and contemporary scientific thought. She examines contemporary perceptions of both art and femininity, showing how the understanding of one affected the image of the other. This book reverses conventional accounts of late nineteenth-century French art, offering a new picture of the Paris art world from the point of view of a group of women who were marginalised by its dominant institutions. Tamar Garb is Lecturer in the History of Art at University College, London. She is the author of 'Women Impressionists' (1986), 'Berthe Morisot' (with K. Adler, 1987) and editor of 'The Correspondence of Berthe Morisot' (with K. Adler, 1986). Her most recent work includes 'Modernity and Modernism: French Painting in the Nineteenth Century' (with F. Frascina, N. Blacke, B. Fer and C. Harrison, 1993).
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Seller's Description:
This is an ex-library book and may have the usual library/used-book markings inside. This book has hardback covers. Book contains pen markings. In poor condition, suitable as a reading copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item, 900grams, ISBN: 0300059035.
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Seller's Description:
VG/VG. Black cloth over boards with silver lettering on spine, maroon & BW illus. dust jacket, viii, 207 pp.; 62 bw figures. "The Union of Women Painters and Sculptors was founded in Paris in 1881 to represent the interests of women artists and to facilitate the exhibition of their work. This lively and informative book traces the history of the first fifteen years of the organisation and places it in the contexts of the Paris art world and the development of feminism in the late nineteenth century. Tamar Garb explores how the Union campaigned to have women artists written about in the press and admitted to the Salon jury and into the prestigious Ecole des Beaux-Arts, and describes how the organisation's leaders took their campaigns into the French parliament itself. Although the women of the Union were often quite conservative politically, socially, and stylistically, says Garb, they believed that women had a special gift that would enhance France's cultural reputation and maintain the uplifting moral-cultural position that seemed in jeopardy at the turn of the century. Focusing on the developments that made the prominence of the organisation possible, Garb discusses the growth of the women's movement, educational reforms, institutional changes in the art world, and critical debates and contemporary scientific thought. She examines contemporary perceptions of both art and femininity, showing how the understanding of one affected the image of the other. This book reverses conventional accounts of late nineteenth-century French art, offering a new picture of the Paris art world from the point of view of a group of women who were marginalised by its dominant institutions."-dust jacket.
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Seller's Description:
HARDCOVER Good-Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name-GOOD Standard-sized.
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Seller's Description:
Near Fine in Near Fine jacket. 8vo., bw ill., 207 pp. Bright, sharp copy with no ownership markings. Sharp, unclipped DJ; Well packaged in a box, ships with tracking.
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Seller's Description:
Very Good in Very Good jacket. 8 x 10 1/2. 208 page hardcover with illustrations and large bibliography. Dust jacket is bright, complete and clean. Black board exterior with title in silver on spine. Interior has a prior owner gift inscription on front free endpaper, otherwise unmarked, tight and clean.
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Seller's Description:
Near Fine Plus in Near Fine Plus jacket. 4to-over 9¾"-12" tall. Cloth, hardcover in dust jacket., clean. no markings. no bumps, tears, chips, clips. strong binding.; viii-207pp., 62 b/w illustrations.
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Seller's Description:
PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
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Seller's Description:
PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
