书名：Now You See Us: Women Artists in Britain 1520-1920 (Hardback) / 如今你看到我们：1520-1920年英国的女性艺术家（精装版）
定价：368.0
ISBN：9781849769259
作者：Tabitha Barber
版次：1
出版时间：2024-05

内容提要：

题 目：Now You See Us: Women Artists in Britain 1520-1920 (Hardback) / 如今你看到我们：1520-1920年英国的女性艺术家（精装版）

作 者：Tabitha Barber

出 版：Tate ，2024

装 帧：精装，224页

尺 寸：21*26.5 cm

 

 

从都铎时代到第一次世界大战，这本装帧精美的精装展览图书《如今你看到我们：1520-1920年英国的女性艺术家》记录了女性艺术家成为职业艺术家的历程。

从伊丽莎白一世宫廷的细密画家莱维娜·蒂尔林克，到劳拉·奈特——150多年来首位被选为皇家学院院士的女性，女性一直在艺术界占据着一席之地，她们拥有成功的商业生涯，并在公共展览中展出作品。她们敢于打破社会对妻子、母亲和女儿仅限于私人家庭领域的期望，追求公共事业，绘制历史画、战争场景和裸体画，而这些通常被认为是男性的专属领域。

对包括玛丽·比尔、安杰丽卡·考夫曼、伊丽莎白·巴特勒夫人等众多艺术家的考察显示，她们的职业生涯远非刻板印象中的女性业余水彩画家，将艺术视为一种淑女的成就。相反，在这本展览目录中，她们被揭示为尽管被排除在学院培训和艺术机构会员之外，但仍能在艺术界中摸索前行的专业人士；她们是决心克服一切障碍、追求成功的女性。

在1876年的《英国女性艺术家》一书中，埃伦·克雷斯索恩·克莱顿写道，女性艺术家“在时间的沙滩上留下的脚印只是淡淡的印记”。通过审视女性画家的作品、展览评论家对她们作品的评价、女性自己对于她们在艺术界地位的看法，包括她们与争取女性权利运动的联系，《英国女性艺术家》一书揭示了她们在艺术史上的真正遗产和地位。

 

From Tudor times to the First World War, this stunningly bound hardback exhibition book for Now You See Us: Women Artists in Britain 1520–1920 charts the journeys women artists took to become professional artists.

 

From Levina Teerlinc, a miniaturist at the court of Elizabeth I, to Laura Knight, the first woman to be elected a member of the Royal Academy after a gap of more than 150 years, women have been a constant presence in the art world, conducting commercially successful careers and exhibiting in public exhibitions. Against society’s expectations of wives, mothers and daughters, limited to the private domestic sphere, they dared to pursue public careers, and to paint history pieces, battle scenes and the nude, usually regarded as the preserve of men.

 

An examination of artists including Mary Beale, Angelica Kauffman, Elizabeth, Lady Butler and many more reveals careers very far from the stereotypical view of women as amateur watercolourists, pursuing art as a ladylike accomplishment. Instead, in this exhibition catalogue, they are revealed as professionals who navigated the art world despite being excluded from academy training and art institution membership; women who were determined to succeed despite all the obstacles they faced.

 

In English Female Artists, 1876, Ellen Creathorne Clayton wrote that women artists had ‘left only but faintly impressed footprints on the sands of time’. By looking at what women painted, how their work was received by exhibition critics, what women said themselves about their status in the art world, including their links to campaigns for women’s rights, Women Artists in Britain shines a spotlight on their true legacy and place in art history.