Feminae: Medieval Women and Gender Index


9 Record(s) Found in our database

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1. Record Number: 8427
Author(s): Alexander, Jonathan.
Contributor(s):
Title : Obituary: Michael Camille (1958-2002) [Career and life of the art historian is memorialized. Title note supplied by Feminae.].
Source: Burlington Magazine , 144., 1196 (November 2002):  Pages 695
Year of Publication: 2002.

2. Record Number: 8499
Author(s): Garsoïan, Nina G.
Contributor(s):
Title : Sirarpie Der Nersessian (1896-1989) [The author presents a biographical sketch of Der Nersessian, a founder of the study of Armenian art. The sketch focuses on her scholarly research and publications. Title note supplied by Feminae.].
Source: Medieval Scholarship: Biographical Studies on the Formation of a Discipline. Volume 3: Philosophy and the Arts.   Edited by Helen Damico with Donald Fennema and Karmen Lenz Garland Reference Library of the Humanities, 2110.   Garland Publishing, 2000. Burlington Magazine , 144., 1196 (November 2002):  Pages 287 - 305.
Year of Publication: 2000.

3. Record Number: 4963
Author(s):
Contributor(s):
Title : Obituaries [Jane Welch Williams, historian of medieval art and architecture, is remembered].
Source: Medieval Feminist Newsletter , 25., (Spring 1998):  Pages 8
Year of Publication: 1998.

4. Record Number: 1096
Author(s): DuFrenne, Suzy.
Contributor(s):
Title : Jacqueline Lafontaine-Dosogne (1928-1994)
Source: Cahiers de Civilization Médiévale , 39., (janvier-juin 1996):  Pages 178 - 179.
Year of Publication: 1996.

5. Record Number: 1017
Author(s): Caviness, Madeline H.
Contributor(s):
Title : Medieval Art as Nostalgia for the Future
Source: Medieval Feminist Newsletter , 22., (Fall 1996):  Pages 19 - 21.
Year of Publication: 1996.

6. Record Number: 3345
Author(s): Deshman, Robert.
Contributor(s):
Title : In Memoriam: Kathleen M.J. Openshaw
Source: Old English Newsletter , 28., 1 (Fall 1994):  Pages 11
Year of Publication: 1994.

7. Record Number: 11662
Author(s): Kauffmann, C. M.
Contributor(s):
Title : Obituaries: Adelheid Heimann
Source: Burlington Magazine (Full Text via JSTOR) 135, 1087 (October 1993): 694. Link Info
Year of Publication: 1993.

8. Record Number: 12729
Author(s): Baskins, Cristelle L.
Contributor(s):
Title : Donatello's Bronze 'David': Grillanda, Goliath, Groom? [Art historians have explored many perspectives on Donatello's youthful and androgynous representation of the nude David including psychoanalytic and homoerotic perspectives, but these male centered approaches overlook the possibility of a female audience for the statue. Paintings on contemporary Florentine cassoni (wedding chests), including scenes from the life of David (like his battle with Goliath or his subsequent wedding to a royal bride) or seemingly unrelated depictions of scantily clad males (often painted underneath the lids), establish the possibility of a wedding context for Donatello's sensuous nude. In the context of nuptial imagery, this representation of David might appeal to a prospective bride as well as the narcissistic or homoerotic desire of an imagined male audience. Title note supplied by Feminae.].
Source: Studies in Iconography , 15., ( 1993):  Pages 113 - 134.
Year of Publication: 1993.

9. Record Number: 12747
Author(s): Emison, Patricia.
Contributor(s):
Title : The Word Made Naked in Pollaiuolo's "Battle of the Nudes" [It is unknown whether Antonio Pollaiuolo's late fifteenth century engraving of nude men engaged in battle refers to a text or not. While previous depictions of nude males (such as figures of David) often relied upon an explicit or implicit textual reference and depicted the youthful male as the ideal of masculine beauty, Pollaiulo's engraving does not clearly invoke any text and offers a virile, adult ideal for the male nude. Interpretations of the engraving have varied, as some of the items throughout the image (such as weapons and chains) could have allegorical significance if they are interpreted as iconography. The author suggests that works of art produced during Pollaiuolo's time that feature nudes, which some have tried to interpret as depicting certain classical myths, epics, or moments in history, may communicate as images without reference to any text. Artists may produce works of art for purely formal or aesthetic reasons with no subject or text in mind. Title note supplied by Feminae.].
Source: Art History , 13., 3 ( 1990):  Pages 261 - 275.
Year of Publication: 1990.