Elsa honig fine biography examples
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With the recent release of Katy Hessel’s The Story of Art Without Men (2023), I add another survey of women in Western art history to my bookshelf. It joins titles by Wendy Slatkin (Women Artists in History, 2000), Whitney Chadwick (Women, Art, and Society, 1990), Elsa Honig Fine (Women and Art, 1978), and a crop of similar projects from the golden age of gender lens revisionist art history: the 1970s. Despite the continued proliferation of these texts — some revolutionary, others repetitive — the landscape of “women’s art history” (if such a category exists) is more varied than it ever has been.
The closest to a definitive survey text remains Chadwick’s, which was revised and republished in its sixth edition in 2020. Although both The Story of Art Without Men and Women, Art, and Society cover the same ground, Chadwick’s book is the more interesting and complex of the two, as it spends pages giving social and political context to the artists later discussed, in addition to including many minor characters that Hessel omits. A quick glance over the footnotes of The Story of Art Without Men makes it clear how closely Hessel relies on Chadwick’s scholarship (as well as on the work of essential feminist art historians like Linda Nochlin and Griselda Pollo
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Women & Art: A History of Women Painters and Sculptors from the Renaissance to the 20th Century
In this survey of the achievement of women artists, the author evaluates and presents examples of the painting and sculpture of nearly 100 artists and provides information on many others, delineating the social and cultural context in which their work has been produced. Each chapter opens with an introduction to a period, with particular reference to women's education, status and accepted roles at the time, as well as to the possibilities open - and closed - to the incipient woman artist. A section devoted to each important artist includes a biography and a discussion of the artist's work and its significance to the period.