WAH #2

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  1. __________ assumed control of artistic education, controlling style. It also established a hierarchy of genres with history painting at the top, determining prestige.
    Academie Royale de Peinture et de Sculpture
  2. _______ was the first artist of the 1700s to fully explore the possibilities of pastel as a medium suited for an art of surface elegance and sensation
    Rosalba Carriera
  3. ___________ Portrait of Gabrielle-Emili le Tonnelier de Breteuil, Marquise du Chatelet
    is one of a number of paintings by women artists of salonieres and other women
    intellectuals, evidence of a tradition in which women often represented women.
    Marie Loirʼs
  4. ____________ viewed the saloniere as a threat to the “natural” dominance of men, the salon as a “prison” in which men were subjected to the rule of women.
    Jean-Jacques Rousseau
  5. ________ was a professional woman in the age of the amateur, and the first woman painter to challenge the masculine monopoly over history painting exercised by the Academicians.

    ___________ determination to execute large-scale historical works, despite no access to training from the nude model on which the conventions of history painting were based, is a mark of her ambition.
    Angelica Kauffmann
  6. submitted several pastels and drew the first
    unsubstantiated charges that her teacher had touched up her works. In response she invited prominent academicians to sit for her, stilling her critics and gaining access to politically powerful male painters.
    Adelaide Labille-Guiard
  7. ___________ was industrious, beautiful, socially in demand, and the Queenʼs favorite painter.
    Elizabeth-Louise Vigee-Lebrun
  8. Paintings in the later 1800s do not express a single “feminine” point of view. For
    example, Bowkettʼs An Afternoon in the Nursery suggests that chaos results when
    women are absorbed in their own pleasures rather than attending to the needs of
    children, ______________ Feeding the Swans emphasizes the symmetry and order of
    the well-run household.
    Edith Hayllarʼs
  9. The plight of middle-class women who were unmarried or otherwise forced to
    support themselves is the subject of __________ Nameless and Friendless which depicts a young woman accompanied by a boy entering an art dealerʼs shop with a painting and a portfolio of prints or drawings.
    Emily Mary Osbornʼs
  10. _________ Horse Fair became one of the best known and loved of all nineteenth-century paintings. Her fame coincided with impassioned public debate about animal rights and animal abuse around the issue of vivisection.
    Rosa Bonheurʼs
  11. _________ refused to be restricted to “feminine” subjects. She painted the world of war and soldiersʼ lives, a world which was understood to belong to men.
    Elizabeth Thompson
  12. The most fully documented examples of early African-American story quilts are
    those of ___________, a woman born into slavery in Georgia whose narratives
    have sources in three types of stories drawn from oral tradition: local legends,
    Biblical tales, and accounts of astronomical occurrences.
    Harriet Powers
  13. ___________ is an exception among nineteenth-century American artists: a
    married women from Ohio who depended on her art to support her thirteen children
    and her husband.
    Lilly Martin Spencer
  14. ____________ was one of the many Neoclassical sculptors who went to Rome in
    search of good marble and skilled carvers, historical collections of classical
    sculpture, and an inexpensive and congenial environment.
    Harriet Hosmer
  15. ________________ modeled a portrait of Virginia Dare, from Richard Kakluytʼs writing
    about Virginia Dare, the first white woman born in the New World.
    Louisa Lander
  16. ___________ and ___________ had work that was powerfully connected with the human rights issues of their day, which often demanded a less allegorical and more naturalistic sculptural treatment.
    Anne Whitney, Edmonia Lewis
  17. __________________ imposing figure of Abraham Lincoln, unveiled in Statuary Hall
    in the Capital in 1871, was enthusiastically received and the young sculptor became
    an instant celebrity, though that praise was short-lived.
    Vinnie Ream Hoxieʼs
  18. ________ of 1876 represented a milestone in
    womenʼs struggles to achieve public visibility in American cultural life, and one tenth of the works of art in the United States section were by women.
    The Philadelphia Centennial Exposition
  19. _______ had been exhibiting for more than ten years when she joined the Impressionist group, her subjects evolved within the boundaries of her sex and class.
    Mary Cassatt
  20. ______, supported by husband Eugene and familyʼs wealth, painted subjects drawn from everyday life, using casual immediacy, straightforward, and feathery brushstrokes.
    Berthe Morisot
  21. ____________, not from a prosperous, cultured family, married an engraver who was jealous of her work an inhibited her development, and today is the least known of the women Impressionists.
    Marie Bracquemond
  22. ________ organized the Society of Decorative Art of New York City, where she was in charge of textiles, embroidery, tapestry, and needlework.
    Candace Wheeler
  23. ___________ founded Rookwood School of Pottery Decoration, then hired William Watts Taylor to take over the administration and organization of the pottery.
    Maria Longworth Nichols
  24. Ladies Home Journal serialized six illustrations by ___________ which collectively outlined the facets of new womanhood.
    Alice Barber Stephens
Card Set
WAH #2
Women Art History test 2
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