Professor M. Och Art History 460: Women and Western Art Fall 2007 Bibliography

Borzello, Frances. A World of Our Own: Women as Artists Since the Renaissance. New York: Watson-Guptill, 2000. N 8354 .B67 2000X

Gouma-Peterson, Thelma, and Patricia Mathews. “The Feminist Critique of Art History.” Art Bulletin 69 (1987): 326-57.

• Norma Broude and Mary D. Garrard, “An Exchange on the Feminist Critique of Art History.” Art Bulletin 71 (1989): 124-26.

•Thelma Gouma-Peterson and Patricia Mathews, “Reply.” Art Bulletin 71 (1989): 126-27.

Grosenick, Uta, ed. Women Artists in the 20^th and 21^st Century. Cologne: Taschen, 2003.

Heller, Nancy G. Women Artists: An Illustrated History. New York: Abbeville Press, 1987.

Langer, C. Feminist Art Criticism, An Annotated Bibliography. New York: G. K. Hall, 1993. N 72 F45 L36 1993

Och, Marjorie. “Fine Arts: Overview.” In Routledge International Encyclopedia of Women’s Studies, eds. Cheris Kramarae and Dale Spender. New York: Routledge, 2000.

Pettys, Chris. Dictionary of Women Artists: An International Dictionary of Women Artists Born Before 1900. Boston: G. K. Hall, 1985. N 3 P47 1985

Piland, Sherry. Women Artists: An Historical, Contemporary and Feminist Bibliography. 2nd ed. Metuchen, N.J. and London: The Scarecrow Press, Inc. N 8354 .B32x 1994

Slatkin, Wendy. Women Artists in History, From Antiquity to the Twentieth Century. 3rd ed. Englewood Cliffs: Prentice Hall, 1996.

______. The Voices of Women Artists. Englewood Cliffs: Prentice Hall, 1993. NX 164 .W65 S5 1993

Witzling, Mara R., editor. Voicing Our Visions: Writings by Women Artists. New York: Universe, 1991.

Borzello, Frances. Seeing Ourselves: Women’s Self-Portraits. New York: Harry N. Abrams, 1998.

Cheney, Liana De Girolami, et al. Self-Portraits by Women Painters. Brookfield, VT: Ashgate, 2000. ND 1329.3 .A77 S45 2000

Frederickson, Kristen, Sarah E. Webb, editors. Singular Women: Writing the Artist. Berkeley: University of California Press, 2002. N 72 .F45 S55 2003

Lawrence, Cynthia, ed. Women and Art and in Early Modern Europe: Patrons, Collectors, and Connoisseurs. University Park: Pennsylvania State University Press, 1997. N5240 .W64 1997
Taylor, Jane H. M. and Lesley Smith, eds. Women and the Book: Assessing the Visual Evidence. London and Toronto, 1997.
General: theory and review articles

Alloway, Lawrence. “Women’s Art in the 1970s.” Art in America (1976)

Berman, Avis. “A Decade of Progress, But Could a Female Chardin Make a Living?” Artnews (October 1980): 73-79.

Broude, Norma, and Mary D. Garrard, et al. The Expanding Discourse: Feminism and Art History. New York: Harper-Collins, 1992.

______. Feminism and Art History: Questioning the Litany. New York: Harper and Row, 1982.

______. “Feminist Art History and the Academy: Where Are We Now?” Women’s Studies Quarterly 15/1 and 2 (1987): 10-16.

Chadwick, Whitney. Women, Art, and Society, rev. ed. London: Thames and Hudson, 1996.

Davis, Whitney, ed. Gay and Lesbian Studies in Art History. New York: Harrington Park Press, 1994.

Deepwell, Katy, ed. New Feminist Art Criticism: Critical Strategies. Manchester: Manchester University Press, 1995.

Fine, Elsa Honig. Women and Art: A History of Women Painters and Sculptors from the Renaissance to the Twentieth Century. Montclair: Allanheld and Schram, 1978. N 43 .F56 1978

Fowlkes, Diane L., and Charlotte S. McClure. Feminist Visions: Toward a Transformation of the Visual Arts Curriculum.

Greer, Germaine. The Obstacle Race: The Fortunes of Women Painters and their Work. New York: Farrar Straus Giroux, 1979.

Meskimmon, Marsha. Women Making Art: History, Subjectivity, Aesthetics. London: Routledge, 2003.

Nemser, Cindy. “Stereotypes and Women Artists.” Feminist Art Journal (April 1972).

Nochlin, Linda. “Why Have There Been No Great Women Artists?” [1971] In Art and Sexual Politics: Women’s Liberation, Women Artists, and Art History, edited by Thomas Ness and Elizabeth Baker, pp. 1-43. New York: Macmillan, 1973.

______. Women, Art, and Power, and Other Essays. New York: Harper and Row, 1980. [Includes “Why Have There Been No Great Women Artists?”] N 72 .F45 N64 1988

Orenstein, Gloria Feman. “Review Essay: Art History.” Signs 1 (1975): 505-25. M’form HQ 1101 S5

Parker, Rozsika and Griselda Pollock. Framing Feminism: Art and the Women’s Movement, 1970-85. London: Pandora, 1987.

______. Old Mistresses: Women, Art and Ideology. New York: Pantheon Books, 1981, 1986.

Pollock, Griselda. Vision and Difference: Femininity, Feminism and the Histories of Art. London: Routledge, 1988. N 72 .F45 P64 1988

______. “Vision, Voice and Power: Feminist Art History and Marxism.” Block 6 (1982):

______. “Women, Art, and Ideology: Questions for Feminist Art Historians.” Women’s Art Journal 4 (1983): 39-47.

Rom, Christine C. “One View: The Feminist Art Journal.” Woman’s Art Journal 2/2 (1981-82): 20-24.

Russell, H. Diane. “Review Essay.” Signs 5 (1980): 468-81.

Tickner, Lisa. “Feminism, Art History, and Sexual Difference.” Genders 3 (1988): 93-128.

Warner, Marina. Monuments and Maidens: The Allegory of the Female Form. New York: Atheneum, 1985.

Wittkower, Rudolf and Margot. Born Under Saturn: The Character and Conduct of Artists, A Documented History from Antiquity to the French Revolution. New York: W. W. Norton, 1963.
Museum catalogues (see also periods and media below)

Harris, Anne Sutherland, and Linda Nochlin. Women Artists, 1550-1950. New York: Knopf, 1976.

Heller, Nancy G., et al. Women Artists: Works from the National Museum of Women in the Arts. New York: Rizzoli, 2000. N 8354 .N38 2000

National Museum of Women in the Arts. Italian Women Artists from Renaissance to Baroque. Milan: Skira, 2007.

Pomeroy, Jordana, et al. An Imperial Collection: Women Artists from the State Hermitage Museum. National Museum of Women in the Arts/Merrell, 2003.
Religion

Bynum, Carolyn Walker, Steven Harrell, Paula Richman, eds. Gender and Religion: On the Complexity of Symbols. Boston: Beacon Press, 1986.

Clark, Elizabeth, and Herbert Richardson, eds. Women and Religion: A Feminist Sourcebook of Christian Thought. New York: Harper and Row, 1977. BT 704 .C53 1977

Nixon, Virginia. Mary’s Mother: Saint Anne in late Medieval Europe. University Park: Pennsylvania State University Press, 2004.

Parvey, Constance F. “The Theology and Leadership of Women in the New Testament.” In Religion and Sexism: Images of Woman in the Jewish and Christian Traditions, ed. Rosemary Radford Ruether. New York: Simon and Schuster, 1974.

Ruether, Rosemary Radford, ed. Religion and Sexism: Images of Woman in the Jewish and Christian Traditions. New York: Simon and Schuster, 1974. BV 639 .W7 R8

Stocker, Margarita. Judith: Sexual Warrior, Women, and Power in Western Culture. New Haven: Yale University Press, 1998.

Warner, Marina. Alone of All Her Sex: The Myth and the Cult of the Virgin Mary. London: Wiedenfeld and Nicolson, 1976.

Balsdon, J. Roman Women: Their History and Habits. London: The Bodley Head, 1962.

Blundell, Sue. Women in Ancient Greece. Cambridge: Cambridge University Press, 1995.

Clarke, John R. “ ‘Just Like Us’: Cultural Constructions of Sexuality and Race in Roman Art.” Art Bulletin 78 (1996): 599-603.

Cohen, Beth, ed. The Distaff Side: Representing the Female in Homer’s Odyssey. Oxford: Oxford University Press, 1995.

D’Ambra, Eve. “Representing Roman Women.” Journal of Roman Archaeology 14 (1998): 546-553.

Dixon, Suzanne. Reading Roman Women: Sources, Genres, and Real Life. London: Gerald Duckworth and Co., Ltd., 2001.

Ferrari, Gloria. Figures of Speech: Men and Maidens in Ancient Greece. Chicago: University of Chicago Press, 2002.

Hallett, Judith P. Fathers and Daughters in Roman Society. Princeton: Princeton University Press, 1984.

Havelock, C. M. “Mourners on Greek Vases: Remarks on the Social History of Women.” In Feminism and Art History: Questioning the Litany, Norma Broude and Mary D. Garrard, eds. New York: Harper and Row, 1982.

Kampen, Natalie Boymel, ed. Sexuality in Ancient Art. New York: Cambridge University Press, 1996.

Kleiner, Diana E. E. and Susan B, Matheson, eds. Claudia I: Women in Ancient Rome. Austin: University of Texas Press, 1996.

Kleiner, Diana E. E. and Susan B, Matheson, eds. Claudia II: Women in Roman Art and Society. Austin: University of Texas Press, 1996.

Luomala, Nancy. “Matrilineal Reinterpretation of Some Egyptian Sacred Cows.” In Feminism and Art History: Questioning the Litany, Norma Broude and Mary D. Garrard, eds. New York: Harper and Row, 1982.

McNally, Sheila. “The Maenad in Early Greek Art.” Arethusa 2 (1978): 101-35.

Ovid. The Loves, the Art of Beauty, the Remedies for Love, and the Art of Love. Translated by Rolfe Humphries. Bloomington: Indiana University Press, 1957.

Pomeroy, Sarah B. Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity. New York: Schocken Books, 1975.

Reed, Ellen D. Pandora: Women in Classical Greece. Princeton: Princeton University Press, 1995.

Scully, Vincent. “The Great Goddess and the Palace Architecture of Crete.” In Feminism and Art History: Questioning the Litany, Norma Broude and Mary D. Garrard, eds. New York: Harper and Row, 1982.
Medieval

Bell, Susan Groag. “Medieval Women Book Owners: Arbiters of Lay Piety and Ambassadors of Culture.” Signs 7 (1982): 742-68.

Brundage, James A. “Sumptuary Laws and Prostitution in Late Medieval Italy.” Journal of Medieval History 13 (1987): 343-55.

Bynum, Caroline Walker. Holy Feast and Holy Fast: The Religious Significance of Food to Medieval Religious Women. Berkeley: University of California Press, 1987.

Hamburger, Jeffrey F. Nuns as Artists: The Visual Culture of a Medieval Convent. Berkeley: University of California Press, 1997.

______. The Visual and the Visionary: Art and Female Spirituality in Late Medieval Germany. New York and Cambridge: Cambridge University Press, 1998.

Kraus, Henry. “Eve and Mary: Conflicting Images of Medieval Woman.” In Feminism and Art History: Questioning the Litany, Norma Broude and Mary D. Garrard, eds. New York: Harper and Row, 1982.

Nixon, Virginia. Mary’s Mother: Saint Anne in Late Medieval Europe. University Park: Pennsylvania State University Press, 2004.

Policelli, Eugene F. “Medieval Women: A Preacher’s Point of View.” International Journal of Women’s Studies 1 (1978): 285-96. M’fiche MICR. HQ 1101 .I5

Miner, Dorothy. Anastaise and Her Sisters. Baltimore: Walters Art Gallery, 1974.

Sheingorn, Pamela. “‘The Wise Mother’: The Image of St. Anne Teaching the Virgin Mary.” Gesta 32 (1993): 69-80.

Wilkins, David. “Woman as Artist and Patron in the Middle Ages and the Renaissance.” In The Roles and Images of Women in the Middle Ages and the Renaissance, Douglas Radcliff-Unstead, ed. Pittsburgh: University of Pittsburgh Press, 1975.

ffolliott, Sheila. “Casting a Rival into the Shade: Catherine de’Medici and Diane de Poitiers.” Art Journal 48/2 (1989): 138-43.

______. “Catherine de’Medici as Artemisia: Figuring the Powerful Widow.” In Rewriting the Renaissance: The Discourses of Sexual Difference in Early Modern Europe, eds. Margaret W. Ferguson, Maureen Quilligan, and Nancy J. Vickers, pp. 227-41. Chicago and London: University of Chicago Press, 1986.

Pearson, Andrea. “Margaret of Austria’s Devotional Portrait Diptychs.” Woman’s Art Journal (fall 2001/winter 2002):

______. “Nuns, Images, and the Ideals of Women’s Monasticism: Two Paintings from the Cistercian Convent of Flines.” Renaissance Quarterly 54/4.2 (2001): 1356-1402.

Plogsterth, Ann Rose. “The Institution of the Royal Mistress and the Iconography of Nude Portraiture in Sixteenth-Century France.” Diss., Columbia University Press, 1991.

Wolfthal, Diane. Images of Rape: The “Heroic” Tradition and its Alternatives. Cambridge: Cambridge University Press, 1999.
Italian Renaissance

Baernstein, Renee. “In Widow’s Habit: Women Between Convent and Family in Sixteenth-Century Milan.” Sixteenth Century Journal 25 (1994): 787-807.

Brown, C. Malcolm. “ ‘Lo insaciabile desiderio nostro de cose antique’: New Documents on Isabella d’Este’s Collection of Antiquities.” In Cultural Aspects of the Italian Renaissance, Essays in Honor of Paul Oskar Kristeller, edited by Cecil H. Clough, pp. 324-53. Manchester: Manchester University Press, 1976.

Castiglione, Baldesar. The Book of the Courtier. Translated by George Bull. Harmondsworth: Penguin, 1976.

Dixon, Annette, editor. Women Who Ruled: Queens, Goddesses, Amazons in Renaissance and Baroque Art. London: Merrell/University of Michigan Museum of Art, 2002. ND 1460 .W65 W66 2002

Fonte, Moderata (Modesta Pozzo). The Wrath of Women. (written ca. 1592, first published 1600) Edited and translated by Virginia Cox. Chicago: University of Chicago Press, 1997.

Fletcher, J. M. “Isabella d’Este, Patron and Collector.” In Splendours of the Gonzaga, exh. cat., eds. David Chambers and Jane Martineau, pp. 50-63. London: Victoria and Albert Museum, 1981.

Frick, Carole Collier. Dressing Renaissance Florence: Families, Fortunes, and Fine Clothing. Baltimore: Johns Hopkins University Press, 2002. TT 496 .I82 F574 2002

Garrard, Mary D. “Here’s Looking at Me: Sofonisba Anguissiola and the Problem of the Woman Artist.” Renaissance Quarterly 47 (1994): 556-622.

Goffen, Rona, ed. Titian’s “Venus of Urbino”. Cambridge: Cambridge University Press, 1997.

Jacobs, Frederika H. “The Construction of a Life: Madonna Properzia de’Rossi ‘schultrice’ Bolognese.” Word and Image 9 (1993): 122-32.

Kelly, Joan. “Did Women Have a Renaissance?” In Becoming Visible: Women in European History, eds. R. Bridenthal, C. Koonz, and S. Stuard. Boston: Houghton, Mifflin, 1987.

Langdon, Gabrielle. Medici Women: Portraits of Power, Love, and Betrayal from the Court of Duke Cosimo I. Toronto: University of Toronto Press, 2006.

Lincoln, Evelyn. “Making a Good Impression: Diana Mantuana’s Printmaking Career.” Renaissance Quarterly 50/4 (1997): 1101-47.

Martindale, Andrew. “The Patronage of Isabella d’Este at Mantua.” Apollo 79 (1964): 183-91.

McIver, Katherine. Women, Art, and Architecture in Northern Italy, 1520-1580. Burlington, VT: Ashgate, 2006.

National Museum of Women in the Arts. Italian Women Artists from Renaissance to Baroque. Milan: Skira, 2007.

Nelson, Jonathan. Suor Plautilla Nelli (1523-1588): The First Woman Painter of Florence. Florence: Edizione Cadmo, 2000. N 6923 .N423 S86 2000X

Och, Marjorie. “Portrait Medals of Vittoria Colonna: Representing the Learned Woman.” In Women as Sites of Culture: Women’s Roles in Cultural Formation from the Renaissance to the 20th Century, ed. Susan Shifrin, pp. 153-66. Aldershot, Hampshire, England: Ashgate, 2002.

______. “Vittoria Colonna and the Commission for a ‘Mary Magdalen’ by Titian.” In Beyond Isabella: Secular Women Patrons in Renaissance Italy, eds. S. Reiss and D. Wilkins, pp. 193-223. Kirksville, MO: Truman State University Press, 2001.

Pagani, Valeria. “A Lunario for the Years 1584-1586 by Francesco Volterra and Diana Mantovana.” Print Quarterly 8 (1991): 140-45.

______. “Adamo Scultori and Diana Mantovana.” Print Quarterly 9 (1992): 72-87.

Reiss, Sheryl and David Wilkins, eds. Beyond Isabella: Secular Women Patrons in Renaissance Italy. Kirksville, MO: Truman State University Press, 2001.

Rogers, Mary, ed. Fashioning Identities in Renaissance Art, introduction by Joanna Woods-Marsden. Aldershot: Ashgate, 2000.

San Juan, Rose Marie. “The Court Lady’s Dilemma: Isabella d’Este and Art Collecting in the Renaissance.” The Oxford Art Journal 14 (1991): 67-78.

Simons, Patricia. “Homosociality and Erotics in Italian Renaissance Portraiture.” Portraiture: Facing the Subject, ed. Joanna Woodall, pp. 29-51. Manchester and New York: Manchester University Press, 1997.

_______. “Lesbian (In)visibility in Italian Renaissance Culture: Diana and Other Cases of donna con donna.” In Gay and Lesbian Studies in Art History, ed. W. Davis. New York: Harrington Park Press, 1994.

______. “Women in Frames: the Eye, the Gaze, the Profile in Renaissance Portraiture.” History Workshop: A Journal of Socialist and Feminist Historians 25 (1988): 4-30.

Tinagli, Paola. Women in Italian Renaissance Art: Gender, Representation, Identity. Manchester: Manchester University Press, 1997.

Verheyen, Egon. The Paintings in the Studiolo of Isabella d’Este at Mantua. New York: New York University Press, 1971.

Wood, Jeryldene. Women, Art, and Spirituality: The Poor Clares of Early Modern Italy. Cambridge: Cambridge University Press, 1996.
Baroque

Bissell, R. Ward. Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonné. University Park: Pennsylvania State University Press, 1999.

Brusati, Celeste. “Stilled Lives: Self-Portraiture and Self-Reflection in Seventeenth-Century Netherlandish Still Life Painting.” Simiolus 20 (1990-91): 168-82.

Davis, Natalie Zemon. Women on the Margins: Three Seventeenth-Century Lives. Cambridge: Harvard University Press, 1995.

Maria Sybilla Merian, German botanical illustrator

Dixon, Annette, ed. Women Who Ruled: Queens, Goddesses, Amazons in Renaissance and Baroque Art. London: Merrell/University of Michigan Museum of Art, 2002. ND 1460 .W65 W66 2002

Garrard, Mary D. Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity. Berkeley: University of California Press, 2001. ND 623 .G364 G368 2001

______. Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art. Princeton: Princeton University Press, 1989.

______. “Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting.” Art Bulletin 62 (1980): 97-112.

Hofrichter, Frima Fox. “Judith Leyster’s ‘Self-Portrait’: ‘Ut Pictura Poseis.’” Essays in Northern European Art Presented to Egbert Haverkamp-Begemann on His Sixtieth Birthday. Davaco.

Russell, Margarita. “The Women Painters in Houbraken’s Groote Schouburgh.” Woman’s Art Journal 2/1 (1981): 7-11).

Schama, Simon. “Wives and Wantons: Versions of Womanhood in Seventeenth-Century Dutch Art.” The Oxford Art Journal 3 (1980): 5-13.

Tomasi, Lucia, et al. The Flowering of Florence: Botanical Art for the Medici. Washington, D.C.: National Gallery of Art/Lund Humphries, 2002. N 7680 .T66 2002

Woodall, Joanna. “Sovereign Bodies: The Reality of Status in Seventeenth-Century Dutch Portraiture.” In Portraiture: Facing the Subject, ed. Joanna Woodall, pp. 75-100. Manchester and New York: Manchester University Press, 1997.
Rococo and Neoclassicism
Auricchio, Laura. “Self-Promotion in Adélaïde Labille-Guiard’s 1785 Self-Portrait with Two Students.” Art Bulletin 89/1 (March 2007): 45-62.
Chew, Elizabeth. “The Countess of Arundel and Tart Hall.” In The Evolution of English Collecting: The Reception of Italian Art in the Tudor and Stuart Periods, ed. by Edward Chaney. New Haven: Yale University Press, 2003.
______. “Inhabiting the Great Man’s House: Women and Space at Monticello.” In Attending to Early Modern Women: Structures and Subjectivities, ed. By Joan Hartman and Adele Seeff. Newark, DE: University of Delaware Press, 2007.

Duncan, Carol. “Fallen Fathers: Images of Authority in Pre-Revolutionary French Art.” Art History 4 (1981): 186-203.

Friedman, Alice T. “Wife in the English Country House: Gender and the Meaning of Style in Early Modern England.” In Women and Art and in Early Modern Europe: Patrons, Collectors, and Connoisseurs, ed. by Cynthia Lawrence. University Park: Pennsylvania State University Press, 1997. N 5240 .W64 1997

Kahng, Eik, and Marianne Roland Michel, eds. Anne Vallayer-Coster: Painter to the Court of Marie-Antoinette. New Haven: Yale University Press, 2002.

Nicholson, Kathleen. “The Ideology of Feminine ‘virtue’: The Vestal Virgin in French Eighteenth-Century Allegorical Portraiture.” Portraiture: Facing the Subject, ed. Joanna Woodall, pp. 52-72. Manchester and New York: Manchester University Press, 1997.

Pitt-Rivers, Françoise. Madame Vigée-Lebrun. Paris: Gallimard, 2002

Pointon, Marcia. Strategies for Showing: Women, Possession, and Representation in English Visual Culture, 1665-1800. Oxford: Oxford University Press, 1997. N 6766 .P65 1997

Ribeivo, Aileen. Ingres in Fashion; Representations of Dress and Appearance in Ingres’s Images of Women. New Haven: Yale University Press, 1999.

Rosenthal, Angela. “She’s got the look! Eighteenth-Century Female Portrait Painters and the Psychology of a Potentially ‘Dangerous Employment’.” Portraiture: Facing the Subject, ed. Joann Woodall, pp. 147-66. Manchester and New York: Manchester University Press, 1997.

Sheriff, Mary D. The Exceptional Woman: Elizabeth Vigée Lebrun and the Cultural Politics of Art. Chicago and London: University of Chicago Press, 1996.

Sterling, Charles. “A Fine David Reattributed.” Metropolitan Museum of Art Bulletin 9 (1951): 132 ff.

Tomlinson, Janis A., ed. Goya: Images of Women. New Haven: National Gallery of Art and Yale University Press, 2002.

Waller, Susan. “Realist Quandaries: Posing Professional and Proprietary Models in the 1860s.” Art Bulletin 89/2 (June 2007): 239-65.
Nineteenth Century

Ashton, Dore. Rosa Bonheur: A Life and a Legend. New York: The Viking Press, 1981.

Ayral-Clause, Odile. Camille Claudel: A Life. New York: Abrams, 2002.

Bergman-Carton, Janis. The Woman of Ideas in French Art, 1830-1848. 1995

Boime, Albert. The Art of Exclusion: Representing Blacks in the Nineteenth Century. Washington, D.C.: Smithsonian Press, 1990.

Broude, Norma. Impressionism, A Feminist Reading: The Gendering of Art, Science, and Nature in the Nineteenth Century. New York: Rizzoli, 1991.

Callen, Anthea. Women Artists of the Arts and Crafts Movements, 1870-1914. New York: Pantheon Books, 1979. NK 1149.5 .C34 1979

Caranfa, Angelo. Camille Claudel: A Sculpture of Interior Solitude. Lewisburg: Bucknell, 1999.

Casteras, Susan P., and Alicia Craig Faxon, eds. Pre-Raphaelite Art in its European Context. Fairleigh Dickinson/Associated University Presses, 1995.

Cherry, Deborah. Painting Women: Victorian Women Artists. London and New York: Routledge, 1993.

Clement, Russell T. Women Impressionists: A Sourcebook. Westport: Greenwood, 2000.

Dwyer, Britta C. Anna Klumpke: A Turn-of-the-century Painter and Her World. Boston: Northeastern University, 1999.

Frederickson, Kristen. “Carving out a place: gendered critical descriptions of Camille Claudel and her sculpture.” Word and Image 12/2 (1996): 161-74.

Garb, Tamar. Sisters of the Brush: Women’s Artistic Culture in Late Nineteenth-Century Paris. New Haven: Yale University Press, 1994. N 72 .F45 G37 1994

Havice, Christine. “In a Class by Herself: Nineteenth-Century Images of the Woman Artist as Student.” Woman’s Art Journal 2 (1981): 35-40.

Higonnet, Anne. Berthe Morisot: Images of Women. New York: Harper and Row, 1990. ND 553 .M88 H5 1990

Klumpke, Anna. Rosa Bonheur: The Artist’s (Auto)biography. Ann Arbor: University of Michigan Press, 1997.

Lipton, Eunice. Alias Olympia: A Woman’s Search for Manet’s Notorious Model and Her Own Desire. New York: Meridian / Penguin, 1994.

Manchester City Art Galleries. Pre-Raphaelite Women Artists. London: Thames and Hudson, 1999.

Mancoff, Debra N. Mary Cassatt: Reflections of Women’s Lives. New York: Stewart, Tabori, and Chang, 1998.

Matlock, Joan. “Seeing Women in the July Monarchy Salon: Rhetorics of Visibility and the Women’s Press.” Art Journal 55/2 (1996): 73-84.

McCarthy, Kathleen D. Women’s Culture: American Philanthropy and Art, 1830-1930. Chicago: University of Chicago Press, 1991. N 72 .F45 M34 1991

Ockman, Carol. Ingres’ Eroticized Bodies. New Haven: Yale University Press, 1995.

Orr, Clarissa Campbell, ed. Women in the Victorian Art World. Manchester: Manchester University Press, 1995.

Pollock, Griselda. Avant-Garde Gambits, 1888-1893: Gender and the Color of Art History. New York: Thames and Hudson, 1993. N 7629 .P64 1993

Radycki, J. Diane. “The Life of Lady Art Students: Changing Art Education at the Turn of the Century.” Art Journal 42 (1982): 9-13.

Sherman, Claire Richter, ed. Women as Interpreters of the Visual Arts, 1820-1979. Westport, Conn.: Greenwood, 1981. N 7476 .W65

Smith, Alison. Exposed: The Victorian Nude. New York: Watson-Guptill Publishers, 2001. N 7573 .E96 2002

Stanton, Theodore. Reminiscences of Rosa Bonheur. New York: D. Appleton and Co., 1910.

Tufts, Eleanor, et al. American Women Artists, 1830-1930. Washington, D.C.: National Museum of Women in the Arts, 1987. ND 210 .T75 1987

Wein, JoAnn. “The Parisian Training of American Women Artists.” Woman’s Art Journal 2 (1981): 40-44.

Weisberg, Gabriel P., and Jane R, Becker, editors. Overcoming All Obstacles: The Women of the Académie Julian. New Brunswick: Rutgers University Press, 1999. N 6447 .O84 1999

Witzling, Mara R. Mary Cassatt, A Private World. New York: Universe, 1991. ND 237 .C3 A4 1991
Early Twentieth Century

Campbell, Mary Schmidt, et al. Harlem Renaissance: Art of Black America. New York: Abrams, 1987.

Caws, Mary Ann, Rudolf E. Kuenzli, and Gwen Raaberg, eds. Surrealism and Women. Cambridge, Ma.: MIT Press, 1991; London: MIT Press, 1993.

______. Women Artists of the Surrealist Movement. New York: Thames and Hudson, 1985, 1992. NX 600 .S9 C48 1992

Chadwick, Whitney. “The Muse as Artist: Women in the Surrealist Movement.” Art in America (July 1985): 121-28.

Collins, Lisa Gail. The Art of History: African-American Women Artists Engage the Past. New Brunswick: Rutgers University, 2002. N 6538 .N5 C65 2002

Dortch, Virginia M. Peggy Guggenheim and her Friends. Milan: Berenice Art Books, 1994.

Duncan, Carol. “The MoMA’s Hot Mamas.” Art Journal 48 (1989): 171-78.

______. “When Greatness is a Box of Wheaties.” Artforum 14/2 (October 1975): 60-64.

Fryd, Vivien Green. Art and the Crisis of Marriage: Edward Hoper and Georgia O’Keeffe. Chicago: University of Chicago Press, 2003.

Greenberg, Clement. “ ‘American-Type’ Painting.” Partisan Review 22/2 (Spring 1955): 179-96. [Also published in Art and Culture, 1961.]

Griffin, Leonard. Clarice Cliff: The Art of Bizarre, A Definitive Centenary Celebration. London: Pavilion, 1999.

Guggenheim, Peggy. Art of this Century. New York: Art Aid Corporation, 1942.

______. Out of this Century: Confessions of an Art Addict. New York: Universe Books, 1979.

Jones, Amelia. Postmodernism and the En-Gendering of Marcel Duchamp. Cambridge: Cambridge University Press, 1994.

Kahlo, Frida. The Diary of Frida Kahlo: An Intimate Self-Portrait. Edited by Phyllis Freeman. New York: Harry N. Abrams, 1995.

______. The Letters of Frida Kahlo: Cartas Apasionadas. Translated by Martha Zamora. Vancouver: Chronicle Books, 1995.

Kahn, Elizabeth Louise. Marie Laurencin: une femme inadaptée in Feminist Histories of Art. Brookfield: Ashgate, 2003.

Kallir, Jane. Paula Modersohn-Becker. New York: Galerie St. Etienne, 1983.

Lauter, Estella. Women as Mythmakers: Poetry and Visual Arts by Twentieth-Century Women. Bloomington: Indiana University Press, 1984.

Lindauer, Margaret A. Devouring Frida: The Art History and Popular Celebrity of Frida Kahlo. Hanover: University Press of New England, 1999.

Livingston, Jane, et al. The Paintings of Joan Mitchell. Berkeley: University of California Press, 2002. ND 237 .M58 A4 2002

Lukach, Joan M. Hilla Rebay: In Search of the Spirit in Art. New York: George Braziller, Inc., 1983.

Meskimmon, Marsha, and Shearer West, eds. Visions of the ‘neue Frau’: Women and the Visual Arts in Weimar Germany. Scolar, 1995.

Modersohn-Becker, Paula. The Letters and Journals. Edited by Günter Busch and Liselotte von Reinken, translated by Arthur S. Wensinger and Carole Clew Hoey. New York: Taplinger Publishing Co., 1983.

______. The Letters and Journals. Translated by Diane Radycki, introduction by Alessandra Comini. London: Scarecrow Press, Inc., 1980.

Moore, Sylvia, ed. Yesterday and Tomorrow: California Women Artists. New York: Midmarch Arts Press, 1989. N 6539 .C2 Y47 1989

Perry, Gillian. Paula Modersohn-Becker: Her Life and Work. New York: Harper and Row, 1979.

______. Women Artists and the Parisian Avant-Garde: Modernism and “Feminine” Art, 1900 to the late 1920s. Manchester and New York: Manchester University Press, 1995.

Raven, Arlene, Cassandra Langer, and Joanne Frueh. Feminist Art Criticism: An Anthology. Ann Arbor: UMI Research Press, 1988. N 72 .F45 F445 1988

Robinson, Roxana. Georgia O’Keeffe: A Life. Hanover: University Press of New England, 1999.

Rosenberg, Harold. “The American Action Painters.” (1952) The Tradition of the New. New York: Horizon Press, Inc., 1959.

Salomon, Charlotte. Charlotte Salomon. Life? or Theater? London: Royal Academy of Arts, 1998.

Sawin, Martica. Nell Blaine: Her Art and Life. New York: Hudson Hills, 1998.

Suther, Judith D. A House of Her Own: Kay Sage, Solitary Surrealist. Lincoln: University of Nebraska Press, 1997.

Tacou-Rumney, Laurence. Peggy Guggenheim: A Collector’s Album. New York: Guggenheim Museum Publications, 1996.

Todd, Ellen Wiley. The ‘New Woman’ Revised: Painting and Gender Politics on Fourteenth Street. Berkeley: University of California Press, 1994. N 72 .F45 T6 1993

Turner, Elizabeth Hutton, and Marjorie P. Balge-Crozier. Georgia O’Keeffe: The Poetry of Things. New Haven: Yale University Press, 1999.

Vail, Karole P. B. Peggy Guggenheim: A Celebration. New York: Guggenheim Museum Publications, 1998.

Wheeler, Kenneth W., Virginia Lee Lussier. Women, the Arts, and the 1920s in Paris and New York. New Brunswick: Transaction Books, 1982. NX 180 .F4 W658 1982.

Alarcon, Norma, et al. Chicana Critical Issues. Berkeley: Third Woman Press, 1993.

Armstrong, Carol. Exhibition review of “Global Feminisms:” (Brooklyn Museum of Art, New York) and “Wack” (Museum of Contemporary Art, Los Angeles). Artforum (May 2007): 360-62.

Barrette, Bill. Eva Hesse Sculpture. New York: Timken Publishers, 1989.

Bernadac, Marie-Laure, and Hans-Ulrich Obrist, editors. Louise Bourgeois: Destruction of the Father, Reconstruction of the Father, Writings and Interviews, 1923-1997. MIT/Violetter Editions, 1998.

Broude, Norma. “Miriam Schapiro and ‘Femmage’: Reflections on the Conflict between Decoration and Abstraction in Twentieth-Century Art.” Arts Magazine (Feb. 1980): 83-87. [Also in FAH.]

Broude, Norma, and Mary D. Garrard. The Power of Feminist Art: The American Movement of the 1970s, History and Impact. New York: Harry N. Abrams, 1994. N 72 .F45 P68 1994

Chadwick, Whitney. Confessions of the Guerilla Girls. 1995.

Chicago, Judy. Beyond the Flower: The Autobiography of a Famous Artist. New York: Penguin Books, 1996.

______. “The Birth Project”. New York: Doubleday and Company, Inc., 1985.

______. “The Dinner Party”: A Symbol of Our Heritage. Garden City: Anchor Press, 1979.

______. Embroidering our Heritage: “The Dinner Party” Needlework. Garden City: Anchor Books, 1980.

______. Through the Flower. New York: Doubleday and Company, Inc., 1973.

Collins, Lisa Gail. The Art of History: African-American Women Artists Engage the Past. New Brunswick: Rutgers University, 2002. N 6538 .N5 C65 2002

Cooper, Elen, ed. Eva Hesse: A Retrospective. New Haven: Yale University Press, 1992.

Deepwell, Katy, ed. New Feminist Art Criticism: Critical Strategies. Manchester: Manchester University Press, 1995.

Fuller, Diana Burgess, and Daniela Salvioni, editors. Art/Women/California, 1950-2000: Parallels and Intersections. Berkeley: San Jose Museum of Art/University of California Press, 2002. N 8354 .A73 2002

Goldman, Shifra. “ ‘Portraying Ourselves’: Contemporary Chicana Artists.” In Feminism and Art History: Questioning the Litany, Norma Broude and Mary D. Garrard, eds. New York: Harper and Row, 1982.

Gouma-Peterson, Thalia. Miriam Schapiro: Shaping the Fragments of Art and Life. New York: Harry N. Abrams, 1999.

Gubar, Susan. Racechanges: White Face, Black Face in American Culture. New York: Oxford University Press, 1997.

Jones, Amelia, ed. Sexual Politics: Judy Chicago’s “Dinner Party” in Feminist Art History. Los Angeles: University of California Press, 1996.

Christopher Knight. “More Famine than Feast.” Los Angeles Times, 2 May, 1996, F1 and F2.

David Joselit. “Exhibiting Gender.” Art in America 85 (1997): 36-39.

Sue Malvern. “Virtuous and Vulgar Feminisms.” Art History 20 (1997): 483-89.

Donald Preziosi. “ ‘Sexual Politics’ an Important Show.” Los Angeles Times, 15 May, 1996, F5.

Lippard, Lucy. Eva Hesse. New York: New York University Press, 1976.

______. Mixed Blessings: Multicultural Art in America. New York: Pantheon Books, 1990.

______. The Pink Glass: Selected Feminist Essays on Art. New York: The New Press, 1995.

Lippard, Lucy, Edward Lucie-Smith, and Viki D. Thompson Wylder, ed. Elizabeth A. Sackler. Judy Chicago. New York: Watson-Guptill, 2002. N 6537 .C48 A4 2002

Lucie-Smith, Edward. Judy Chicago: An American Vision. New York: Watson-Guptill, 2000.

Munro, Eleanor C. Originals: American Women Artists. rev. ed. New York: Da Capo, 2000.

Nochlin, Linda. “Venice Biennale: what befits a woman?” Art in America (September 2005): 120-26.

* Orenstein, Gloria Feman. “The Reemergence of the Archetype of the Great Goddess in Art by Contemporary Women.” Heresies (1978); and Feminism and Art History: Questioning the Litany, Norma Broude and Mary Garrard, eds. New York: Harper and Row, 1982.

Parker, Rozsika, and Griselda Pollock, eds. Framing Feminism: Art and the Women’s Movements, 1970-1985. London, 1987.

Robinson, Jontyle Theresa, et al. Bearing Witness: Contemporary Works by African American Women Artists. New York: Rizzoli, 1996. N 6538 .N5 B43 1996

Saar, Betye, James Christen Steward, et al. Betye Saar: Extending the Frozen Moment. Michigan, 2005.

Schapiro, Miriam. “The Education of Women as Artists: Project Womanhouse.” Art Journal (Spring 1972):

Serota, Nicholas, ed. Eva Hesse: Sculpture. London: Trustees of the Whitechapel Art Gallery, 1979.

Sims, Lowery Stokes. “Aspects of Performance in the Work of Black American Women Artists.” In Feminism and Art History: Questioning the Litany, Norma Broude and Mary D. Garrard, eds. New York: Harper and Row, 1982.

Sussman, Elizabeth, ed. Eva Hesse. San Francisco: San Francisco Museum of Modern Art, 2002.

Toobin, Jeffrey. “Girls Behaving Badly.” The New Yorker (May 30, 2005).

Wagner, Anne Middleton. Three Artists (Three Women): Modernism and the Art of Hesse, Krasner, and O’Keeffe. Berkeley: University of California, 1996.

“The Women’s Movement in Art, 1986: Ten leaders discuss the women’s art movement today.” Arts Magazine 61/1 (Sept. 1986): 54-57.
Architecture and urbanism

Berkeley, Ellen Perry, Matilda McQuaid, eds. Architecture: A Place for Women. Washington, D.C.: Smithsonian Press, 1989. NA 1997 .A74 1989

Cromley, Elizabeth, and Carter L. Hudgins. Gender, Class, and Shelter: Perspectives in Vernacular Architecture. Memphis: University of Tennessee Press, 1995.

Flanagan, Maureen, ed. “Women and the City.” Journal of Urban History 23/3 (March 1997): entire issue.

Torre, Susana, ed. Women in American Architecture: A History and Contemporary Perspective. New York: Whitney Library of Design, 1977. NA 1997 .W65

Walker, Lynn, ed. Women Architects: Their Work. London: Sorella Press, 1984.

______. “The Entry of Women into the Architectural Profession in Britain.” Women’s Art Journal, 7 (1986): 13-18.

Williams, Val. The Other Observers: Women Photographers in Britain, 1900 to the Present. Virago, 1986 and 1994.

Anscombe, Isabelle. A Woman’s Touch: Women in Design from 1860 to the Present Day. Harmondsworth: Penguin Books, 1985. NK 1174 .A57 1985

Attfield, Judy, and Pat Kirkham, eds. A View from the Interior: Feminism, Women and Design. London: Women's Press, 1989.

Breward, Christopher. The Culture of Fashion: A New History of Fashionable Dress. Manchester: Manchester University Press, 1994.

Elliott, Bridget, and Janice Helland, eds. Women Artists and the Decorative Arts, 1880-1935: The Gender of Ornament. Brookfield: Ashgate, 2002.

Morano, Elizabeth, and Diana Vreeland. Sonia Delaunay: Art into Fashion. New York: George Braziller, Inc., 1986.

Spivey, Richard L. The Legacy of Maria Poveka Martinez. Museum of New Mexico Press, 2003.
Photography, film, computer media

Albers, Patricia. Shadows, Fire, Snow: The Life of Tina Modotti. New York: Clarkson Potter, 1999.

Davidov, Judith Fryer. Women’s Camera Work: Self/Body/Other in American Visual Culture. Durham: Duke University, 1998.

Doane, M. A. “Film and the Masquerade: Theorising the Female Spectator.” Screen 23 (1982).

French, Brandon. On the Verge of Revolt: Women in American Films in the 1950s. Boston: Twayne Publishing 1984.

Goldberg, Roselee. Laurie Anderson. New York: Harry N. Abrams, 2000.

Gover, Jane. The Positive Image: Women Photographers at the Turn of the Century. Albany: State University of New York, 1988.

Krauss, Rosalind. Cindy Sherman, 1975-1993. New York: Rizzoli, 1993.

Kuhn, A. Women’s Pictures: Feminism and the Cinema. London: Routledge and Kegan Paul, 1982.

Melville, Stephen W. “The Time of Exposure: Allegorical Self-Portraiture in Cindy Sherman.” Arts magazine 60 (1986): 17-21.

Morris, Catherine. The Essential Cindy Sherman. New York: Harry N. Abrams, Inc., 1999.

Mulvey, Laura. “Afterthoughts on Visual Pleasure and Narrative Cinema.” Framework (1981).

______. “Visual Pleasure and Narrative Cinema.” Screen 16 (1975).

Neumaier, Diane. Reframings: New American Feminist Photographies. Philadelphia: Temple University, 1996.

New York City, Museum of Modern Art. The Complete “Untitled Film Stills”: Cindy Sherman: New York, D. A. P., 2003.

Partridge, Elizabeth, ed. Dorothea Lange: A Visual Life. Washington, D.C.: Smithsonian Institution Press, 1994.

Philips, Stephen Bennett. Margaret Bourke-White: The Photography of Design, 1927-1936. New York: Rizzoli, 2003.

Rosen, Marjorie. Popcorn Venus: Women, Movies, and the American Dream. New York: Coward, McCann, and Geoghegan, 1973.

Rosenblum, Naomi. A History of Women Photographers. New York: Abbeville, 1994. TR 139 .R67 1994

Rubin, Susan Goldman. Margaret Bourke-White: Her Pictures Were Her Life. New York: Harry N. Abrams, 1999.

Thumin, Janet. Celluloid Sisters: Women and Popular Cinema. New York: St. Martin’s Press, 1992. PN 1995.9 .W6 T48 1992
Pornography

Gibson, Pamela Church, and Roma Gibson. Dirty Looks: Women / Pornography / Power. London: BFI, 1993. HQ 471 .D57 1993

Crow, Nancy, with Jean Robertson. Nancy Crow: Quilts and Influences. Paducah, KY: American Quilter’s Society, 1990.

Perry, Regina. Harriet Powers’s Bible Quilts. New York: Rizzoli, 1994.

Robinson, Charlotte. The Artist and the Quilt. New York: Knopf, 1983.

Studebaker, Sue. Ohio is my Dwelling Place: Schoolgirl Embroideries, 1803-1850. Ohio University, 2002.
Other resources of interest

ART Documentation 1, no. 5 (October 1982): A, 9-14; for information regarding exhibitions of women artists.

Baker, Rob. The Art of AIDS: From Stigma to Conscience. Continuun, 1994.

Stern, William, and William Hood, eds. “How Men Look: On the Masculine Ideal and the Body Beautiful.” Art Journal 56/2 (1997): entire issue.

International Archive of Women in Architecture, University Libraries Special Collections Department, Virginia Polytechnic Institute and State University, P. O. Box 90001, Blacksburg, VA 24061-0434

Women’s Art Library, Fulham Palace, Bishops Avenue, London, SW6 8EA; tel. 071-731-7618.

The Varo Registry of Women Artists, http://www.netdreams.com/registry/