Feminae: Medieval Women and Gender Index

26 Record(s) Found in our database

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1. Record Number: 40973
Author(s): Beach, Alison I., Anita Radini, and Monica Tromp
Contributor(s):
Title : Medieval Women’s Early Involvement in Manuscript Production Suggested by Lapis Lazuli Identification in Dental Calculus

Source: Science Advances , 5., 1 ( 2019): Pages 1 - 8. Available online open access: http://advances.sciencemag.org/content/5/1/eaau7126 through the terms of the Creative Commons Attribution-NonCommercial license.
Year of Publication: 2019.

2. Record Number: 27565
Author(s): Garver, Valerie L.
Contributor(s):
Title : Weaving Words in Silk: Women and Inscribed Bands in the Carolingian World [The author analyzes three silk woven bands surviving from Carolingian Germany: Witgar’s belt, Ailbecunda band, and the Speyer band. Witgar’s belt was a gift from Emma, wife of King Louis the German, to Witgar, the future bishop of Augsburg. In these three cases women not only donated high-status silk inscribed bands, but evidence also points to women as weavers of the tablet bands. Title note supplied by Feminae.]

Source: Medieval Clothing and Textiles , 6., ( 2010): Pages 33 - 56.
Year of Publication: 2010.

3. Record Number: 20730
Author(s): Mecham, June L
Contributor(s):
Title : Breaking Old Habits: Recent Research on Women, Spirituality, and the Arts in the Middle Ages

Source: History Compass , 4., 3 ( 2006): Pages 448 - 480.
Year of Publication: 2006.

4. Record Number: 10883
Author(s): Ziegler, Joanna E.
Contributor(s):
Title : On the Artistic Nature of Elisabeth of Spalbeek's Ecstasy: The Southern Low Countries Do Matter [The author argues that Elisabeth von Spalbeek should be considered an artist and that her reenactments of the passion can best be understood in visual terms as akin to theatrical performances. Title note supplied by Feminae.].

Source: The Texture of Society: Medieval Women in the Southern Low Countries. Edited by Ellen E. Kittell and Mary A. Suydam . Palgrave Macmillan, 2004. History Compass , 4., 3 ( 2006): Pages 181 - 202.
Year of Publication: 2004.

5. Record Number: 10748
Author(s): Carroll, Jane L.
Contributor(s):
Title : Woven Devotions: Reform and Piety in Tapestries by Dominican Nuns [The author examines two tapestries that were produced by Dominican nuns in Germany. Both have small depictions of nuns working at looms in the margins. Carroll suggests that these images are part self-portraits, part devotional images, while also serving as exemplars of the Dominican reform for a "vita activa" that avoided luxury and sloth. Title note supplied by Feminae.].

Source: Saints, Sinners, and Sisters: Gender and Northern Art in Medieval and Early Modern Europe. Edited by Jane L. Carroll and Alison G. Stewart . Ashgate, 2003. History Compass , 4., 3 ( 2006): Pages 182 - 201.
Year of Publication: 2003.

6. Record Number: 5587
Author(s): Rouse, Richard H. and Mary A. Rouse
Contributor(s):
Title : A "Rose" by Any Other Name: Richard and Jeanne de Montbaston as Illuminators of Vernacular Texts [Appendix 9A in Volume 2 presents a list of manuscripts including some for the king and nobility thought to be illustrated by Richard and Jeanne de Montbaston (fl. 1325- 1353); Appendix 9B Interpreting the "Gluures" in Manuscripts Illuminated by the Montbastons and Their Contemporaries explores possible meanings for the term "gluures" as recorded in various manuscripts counting initials or illuminations done with gold leaf].

Source: Manuscripts and Their Makers: Commercial Book Producers in Medieval Paris, 1200- 1500. By Richard H. and Mary A. Rouse. Harvey Miller Publishers, 1999. Volume One, pages 235-260.
Year of Publication: 1999.

7. Record Number: 3775
Author(s): Havice, Christine.
Contributor(s):
Title : Approaching Medieval Women Through Medieval Art [the author provides an introductory overview touching on the images of medieval women (legendary and historical figures) in art and the roles that women played in the production of art, including recipients, sponsors, authors, and artists].

Source: Women in Medieval Western European Culture. Edited by Linda E. Mitchell . Garland Publishing, 1999. Pages 345 - 389.
Year of Publication: 1999.

8. Record Number: 4434
Author(s): Kwakkelstein, Michael W.
Contributor(s):
Title : The Use of Sculptural Models by Italian Renaissance Painters: Leonardo da Vinci's "Madonna of the Rocks" Reconsidered in Light of His Working Procedures

Source: Gazette des Beaux-Arts , 133., 1563 (avril 1999): Pages 181 - 198.
Year of Publication: 1999.

9. Record Number: 3989
Author(s): Caviness, Madeline.
Contributor(s):
Title : Artist: "To See, Hear, and Know All at Once" [Hildegard of Bingen as a creative artist].

Source: Voice of the Living Light: Hildegard of Bingen and Her World. Edited by Barbara Newman . University of California Press, 1998. Gazette des Beaux-Arts , 133., 1563 (avril 1999): Pages 110 - 124.
Year of Publication: 1998.

10. Record Number: 1593
Author(s): McGuire, Thérèse.
Contributor(s):
Title : Two Twelfth-Century Women and their Books [Herrad, abbess of Hohenbourg, and Hildegard of Bingen].

Source: Women and the Book: Assessing the Visual Evidence. Edited by Lesley Smith and Jane H.M. Taylor . British Library and University of Toronto Press, 1997. Gazette des Beaux-Arts , 133., 1563 (avril 1999): Pages 96 - 105.
Year of Publication: 1997.

11. Record Number: 1594
Author(s): Oliver, Judith.
Contributor(s):
Title : Worship of the Word: Some Gothic "NonnenbŸcher" in Their Devotional Context [choirbooks, antiphonals, psalters, homilaries and other books necessary for the monastic life; discusses the importance placed on individual words and the influence of needlework on the aesthetics of the manuscripts].

12. Record Number: 2094
Author(s):
Contributor(s):
Title : Le Roman de la Dame a la Lycorne et du Biau Chevalier au Lion: Text, Image, Rubric [argues that marginal instructions and illustrations prove a workshop collaboration between the "chef d'atelier" and the artist ; they both had read the romance and planned and executed illustrations to help readers understand the narrative's details and interpret the characters].

Source: French Studies , 51., 1 (January 1997): Pages 1 - 18.
Year of Publication: 1997.

13. Record Number: 515
Author(s): Havice, Christine.
Contributor(s):
Title : Women and the Production of Art in the Middle Ages: The Significance of Context [women as artists, sponsors, and authors].

Source: Double Vision: Perspectives on Gender and the Visual Arts. Edited by Natalie Harris Bluestone . Associated University Presses, 1995. French Studies , 51., 1 (January 1997): Pages 67 - 94.
Year of Publication: 1995.

14. Record Number: 10365
Author(s): Bull, David.
Contributor(s):
Title : Two Portraits by Leonardo: "Ginevra de’ Benci" and the "Lady with an Ermine."

Source: Artibus et Historiae , 13., 25 ( 1992): Pages 67 - 83.
Year of Publication: 1992.

15. Record Number: 12699
Author(s): Brown, David Alan.
Contributor(s):
Title : Leonardo and the Ladies with the Ermine and the Book [Although Isabella d'Este and Cecilia Gallerani were both active, fashionable, and learned patrons of letters, Leonardo da Vinci (who was patronized by both) depicts the women very differently in his paintings. Cecilia appears in Leonardo's "Lady with the Ermine" as a lively woman whose gaze faces the viewer, but Isabella d'Este appears in Leonardo's drawings as more stately and reserved, sometimes pointing at a book. Isabella likely played a large role in shaping her own image in her portraits, preferring more formal and Classical motifs including the profile pose. Title note supplied by Feminae.].

Source: Artibus et Historiae , 11., 21 ( 1990): Pages 47 - 61.
Year of Publication: 1990.

16. Record Number: 12700
Author(s): Fabianski, Marcin.
Contributor(s):
Title : Federigo da Montefeltro's "Studiolo" in Gubbio Reconsidered. Its Decoration and Its Iconographic Program: An Interpretation [The series of painted panels in a duke's study, attributed to fifteenth century painter Joos van Gent (also known as Justus of Ghent or Giusto da Guanto), depict men kneeling before female personifications of the Liberal Arts. Although the exact attribution, purpose, or arrangement of the panels is unknown, the author suggests a team of artists was instructed to follow a program of iconography of the Arts and Virtues, with revisions to the program (including the inclusion of a duke's likeness and an oration scene) made at the request of the patron. Title note supplied by Feminae.].

Source: Artibus et Historiae , 11., 22 ( 1990): Pages 199 - 214.
Year of Publication: 1990.

17. 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.

18. Record Number: 28813
Author(s):
Contributor(s):
Title : Thamyris

Source: http://upload.wikimedia.org/wikipedia/commons/thumb/d/d6/De_mulieribus_claris_painter.jpg/250px-De_mulieribus_claris_painter.jpg
Year of Publication: