Feminae: Medieval Women and Gender Index


15 Record(s) Found in our database

Search Results

1. Record Number: 19219
Author(s): Leone, Stephanie C.
Contributor(s):
Title : In Vogue in Fifteenth-Century Florence: The Material Culture of Marriage [In this short, introductory essay for an art exhibit, the author surveys the meaning of the sumptuously painted wedding chest ("cassone") given by the groom and used to transport the bride's trousseau. The rich iconography of specific "cassoni" is discussed including the Meeting of Esther. Title Note Supplied by Feminae].
Source: Secular Sacred: 11th-16th Century Works from the Boston Public Library and the Museum of Fine Arts, Boston.   Edited by Nancy Netzer .   McMullen Museum of Art, 2006.  Pages 81 - 87.
Year of Publication: 2006.
2. Record Number: 14140
Author(s): Baskins, Cristelle L.
Contributor(s):
Title : Scenes from a Marriage : Hospitality and Commerce in Boccaccio's "Tale of Saladin and Torello" [The author reads the panel paintings of a story from Boccaccio in terms of both gender and economics. Adalieta, the wife of Torello, gives him gifts (rather than vice versa as was customary). The Saracen figures in the story need to be domesticated, with
Source: The Medieval Marriage Scene: Prudence, Passion, Policy.   Edited by Sherry Roush and Cristelle L. Baskins .   Arizona Center for Medieval and Renaissance Studies, 2005.  Pages 81 - 99.
Year of Publication: 2005.
3. Record Number: 8852
Author(s): Baskins, Cristelle L.
Contributor(s):
Title : (In)Famous Men: The Continence of Scipio and Formations of Masculinity in Fifteenth-Century Tuscan Domestic Painting [The author explores the representation of Scipio Africanus in Florentine "cassoni" paintings on wedding furniture and argues for a range of masculinities. Some paintings celebrate his sexual restraint with Scipio returning the captured princess to her betrothed. However, other paintings present him as a conqueror with booty, an exemplar of masculine financial and political success for the bridegroom viewer. Title note supplied by Feminae.].
Source: Studies in Iconography , 23., ( 2002):  Pages 109 - 136.
Year of Publication: 2002.
4. Record Number: 5450
Author(s): Tinagli, Paola
Contributor(s):
Title : Womanly Virtues in Quattrocento Florentine Marriage Furnishings [the author examines how behavioral ideals for both new husbands and wives, as represented on cassoni, spalliere, and other furnishings given to the bridal couple, emphasized chastity, restraint, and other virtues that contributed to a well-ordered civic society].
Source: Women in Italian Renaissance Culture and Society.   Edited by Letizia Panizza .   European Humanities Research Centre, University of Oxford, 2000. Studies in Iconography , 23., ( 2002):  Pages 265 - 284.
Year of Publication: 2000.
5. Record Number: 5408
Author(s): Collier, Jo-Kate.
Contributor(s):
Title : Cassoni: The Inside Story [The author argues that the nude paintings of men and women inside the cassoni lids were intended to arouse sexually the newly married husband and wife so that they would quickly produce a male heir].
Source: Renaissance Papers , ( 2000):  Pages 1 - 11.
Year of Publication: 2000.
6. Record Number: 3660
Author(s):
Contributor(s):
Title : The Rape of the Sabine Women on Quattrocento Marriage-Panels [the author argues that the theme of the rape of the Sabine women urged women to observe their duties of childbearing in a society seriously depopulated by multiple plague outbreaks].
Source: Marriage in Italy, 1300-1650.   Edited by Trevor Dean and K. J. P. Lowe .   Cambridge University Press, 1998. Renaissance Papers , ( 2000):  Pages 66 - 82.
Year of Publication: 1998.
7. Record Number: 5558
Author(s): Klapisch-Zuber, Christiane.
Contributor(s):
Title : Les Noces feintes: sur quelques lectures de deux thèmes iconographiques dans les "cassoni" florentins [The author analyzes the scenes painted on a wedding cassone, formerly from the Rose Art Museum; scholars had believed that the scenes illustrated the story of lovers who reconciled their warring families from the "Istorietta Amorosa," but the author argu
Source: I Tatti Studies: Essays in the Renaissance , 6., ( 1995):  Pages 11 - 30.
Year of Publication: 1995.
8. Record Number: 16623
Author(s): Klapisch-Zuber, Christiane
Contributor(s):
Title : Les femmes dans les rituels de l'alliance et de la naissance à Florence [Christiane Klapisch-Zuber explores Florentine women's roles in rituals celebrating marriage and childbirth. She looks in particular at the meanings of "cassoni" (wedding chests) and "deschi da parto" (painted plates associated with the birth of children). She frequently finds situations in which the needs of the patrilineage and family honor trump the concerns of wives, mothers, and their natal families. Title note supplied by Feminae.]
Source: Riti e rituali nelle società medievali.   Edited by Jacques Chiffoleau, Lauro Martines, and Agostino Paravicini Bagliani .   Centro Italiano di Studi sull'Alto Medioevo, 1994. I Tatti Studies: Essays in the Renaissance , 6., ( 1995):  Pages 3 - 22.
Year of Publication: 1994.
9. 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.
10. Record Number: 10269
Author(s): Leja, Meg
Contributor(s):
Title : Mythology, Women and Renaissance Private Life: the Myth of Eurydice in Italian Furniture Painting [The author considers the increasing focus on Eurydice's suffering and death, as well as on her feminine desirability, in Renaissance Italian furniture painting featuring the Orpheus myth. Title note supplied by Feminae.].
Source: Art History , 15., 2 ( 1992):  Pages 127 - 145.
Year of Publication: 1992.
11. Record Number: 10270
Author(s): Olsen, Christina.
Contributor(s):
Title : Gross expenditure: Botticelli's Nastagio degli Onesti Panels [The article traces the themes of consumption and extravagance in four Botticellan panels. Title note supplied by Feminae.].
Source: Art History , 15., 2 ( 1992):  Pages 146 - 170.
Year of Publication: 1992.
12. Record Number: 11046
Author(s): Baskins, Cristelle L.
Contributor(s):
Title : Griselda, or the Renaissance Bride Stripped Bare by Her Bachelor in Tuscan "Cassone Painting" [The author discusses key scenes of Griselda's bridal nudity in Renaissance cassone painting, and argues that these depictions resist simple interpretations either as allegorical icons or reflections of social history. Title note supplied by Feminae.].
Source: Stanford Italian Review , 10., 2 ( 1991):  Pages 153 - 175.
Year of Publication: 1991.
13. Record Number: 9541
Author(s): Baskins, Cristelle L.
Contributor(s):
Title : “La Festa di Susanna”: Virtue on Trial in Renaissance Sacred Drama and Painted Wedding Chests [The author examines paintings of Susanna that appear on many fifteenth-century cassoni (wedding chests given to brides upon marriage and also used to transport dowry goods). In fifteenth-century Florence, cassoni paintings and sacred theatrical performances (“sacre rappresentazioni”) engaged in a problematic display of feminine virtue. Domenico di Michelino’s “Susanna and the Elders” panel, originally a cassone painting, depicts scenes from “La Festa di Susanna” (a fifteenth-century “sacra rappresentazione”) along with events from the Biblical narrative. The painting thus invites the viewer to consider not only the example of the Biblical heroine Susanna but also a larger host of contemporary legal, economic, and social issues. Title note supplied by Feminae.].
Source: Art History , 14., 3 (September 1991):  Pages 329 - 344.
Year of Publication: 1991.
14. Record Number: 28952
Author(s):
Contributor(s):
Title : Cassone [Marriage Chest]
Source: http://upload.wikimedia.org/wikipedia/commons/thumb/d/d0/BLW_Marriage_Chest_%28%27Cassone%27%29.jpg/250px-BLW_Marriage_Chest_%28%27Cassone%27%29.jpg
Year of Publication:
15. Record Number: 30953
Author(s):
Contributor(s):
Title : The Story of Paris
Source:
Year of Publication: