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The Union of Women Painters and Sculptors was founded in Paris in 1881 to represent the interests of women artists and to facilitate the exhibition of their work. This lively and informative book traces the history of the first fifteen years of the organisation and places it in the contexts of the Paris art world and the development of feminism in the late nineteenth century. Tamar Garb explores how the Union campaigned to have women artists written about in the press and admitted to the Salon jury and into the prestigious Ecole des Beaux-Arts, and describes how the organisation's leaders took their campaigns into the French parliament itself. Although the women of the Union were often quite conservative politically, socially, and stylistically, says Garb, they believed that women had a special gift that would enhance France's cultural reputation and maintain the uplifting moral-cultural position that seemed in jeopardy at the turn of the century. Focusing on the developments that made the prominence of the organisation possible, Garb discusses the growth of the women's movement, educational reforms, institutional changes in the art world, and critical debates and contemporary scientific thought. She examines contemporary perceptions of both art and femininity, showing how the understanding of one affected the image of the other. This book reverses conventional accounts of late nineteenth-century French art, offering a new picture of the Paris art world from the point of view of a group of women who were marginalised by its dominant institutions. Tamar Garb is Lecturer in the History of Art at University College, London. She is the author of 'Women Impressionists' (1986), 'Berthe Morisot' (with K. Adler, 1987) and editor of 'The Correspondence of Berthe Morisot' (with K. Adler, 1986). Her most recent work includes 'Modernity and Modernism: French Painting in the Nineteenth Century' (with F. Frascina, N. Blacke, B. Fer and C. Harrison, 1993).
- Sales Rank: #3006363 in Books
- Published on: 1994-04-27
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x .56" w x 7.01" l, 1.90 pounds
- Binding: Hardcover
- 216 pages
From Library Journal
Garb here transforms her historically self-conscious feminist contextualizing dissertation "Soeurs de pinceaux": The Formation of a Separate Women's Art World in Paris, 1881-1897 (The Courtauld Institute of Art, London) into a more popular but still rigorous book for nonspecialist audiences. (Two chapters of the argument were published as journal articles in 1989.) Garb documents the surprising conservatism of the leadership, goals, and campaigns of the Union des Femmes Peintres et Sculpteurs, which successfully led women into the Ecole des Beaux-Arts in 1897. Much of her analysis necessarily centers on politics and the ideological engendering called l'art feminin. Despite her insights, Garb's contributions remain secondary to Charlotte Yeldham's towering study Woman Artists in Nineteenth-Century France and England: Their Art Education (Garland, 1984). Recommended for informed readers.
Mary Hamel-Schwulst, Towson State Univ., Md.
Copyright 1994 Reed Business Information, Inc.
From the Back Cover
The Union of Women Painters and Sculptors was founded in Paris in 1881 to represent the interests of women artists and to facilitate the exhibition of their work. This lively and informative book traces the history of the first fifteen years of the organisation and places it in the contexts of the Paris art world and the development of feminism in the late nineteenth century. Tamar Garb explores how the Union campaigned to have women artists written about in the press and admitted to the Salon jury and into the prestigious Ecole des Beaux-Arts, and describes how the organisation's leaders took their campaigns into the French parliament itself. Although the women of the Union were often quite conservative politically, socially, and stylistically, says Garb, they believed that women had a special gift that would enhance France's cultural reputation and maintain the uplifting moral-cultural position that seemed in jeopardy at the turn of the century. Focusing on the developments that made the prominence of the organisation possible, Garb discusses the growth of the women's movement, educational reforms, institutional changes in the art world, and critical debates and contemporary scientific thought. She examines contemporary perceptions of both art and femininity, showing how the understanding of one affected the image of the other. This book reverses conventional accounts of late nineteenth-century French art, offering a new picture of the Paris art world from the point of view of a group of women who were marginalised by its dominant institutions.
About the Author
Tamar Garb is Durning Lawrence Professor in the History of Art, and head of the History of Art History department at University College London. She has written widely on portraiture and the body in nineteenth century art and visual culture, on contemporary art and on issues of race and representation. Key publications include Bodies of Modernity: Figure and Flesh in Fin de Siecle France (1994) and The Painted Face: Portraits of Women in France 1814 - 1914 (2007). She was curator in 2008 of the exhibition Land Marks/ Home Lands: Contemporary Art from South Africa at the Haunch of Venison Gallery and of Gauguin: Maker of Myth at Tate Modern (2010) and The National Gallery of Art, Washington.
Most helpful customer reviews
4 of 4 people found the following review helpful.
excellent book on 19th century intitutional history
By Kristin N. Cooley
Garb does an excellent job of placing art produced by female artists within the context of the institutional history of the Union des Femmes Peintres et Sculpteurs. She explains how this organization relates to the work women artists produced and that the Union provided a much needed exhibition venue for women artists. Especially interesting is Garb's work on female nudes that women exhibited in the Salon des Femmes and the types of nudes that women artists produced for this specific context.
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