Royalists to Romantics: Women Artists from the Louvre, Versailles, and Other French National Collections. Exhibition organized and on view at the National Museum of Women in the Arts, Washington, D.C., 24 February 2012—29 July 2012. Jordana Pomeroy, Laura Auricchio, Melissa Lee Hyde, Mary D. Sheriff.

2013 ◽  
Vol 8 ◽  
pp. 329-339
Author(s):  
Norma Broude
Keyword(s):  
Women Artists ◽  
National Museum ◽  
The Arts

The National Museum of Women in the Arts Library and Research Center

1988 ◽  
Vol 13 (3) ◽  
pp. 10-13
Author(s):  
Krystyna Wasserman
Keyword(s):  
Visual Arts ◽  
Women Artists ◽  
Research Center ◽  
National Museum ◽  
Special Collections ◽  
Women's Art ◽  
Works Of Art ◽  
The Arts ◽  
Private And Public

The National Museum of Women in the Arts was established in Washington in 1981 to make known the achievements of women in the visual arts. Its Library and Research Center plays a central part in the Museum’s essentially educative role, providing information on art by women primarily by means of one of the largest specialised collections of materials on women’s art. This includes extensive archival files and a number of special collections. Ongoing projects include the compilation of a database on women artists, an inventory of works of art by women in private and public collections, and an index to women artists documented in group exhibition catalogues. The activities of the Library and Research Center demonstrate how this and other art libraries can counteract the neglect of women in the arts.

Novel Approaches for Assessing the Preservation of Historic Silks: A Case Study of the First Ladies' Gowns

MRS Bulletin ◽  
1992 ◽  
Vol 17 (1) ◽  
pp. 39-44 ◽  
Author(s):  
Mary Becker ◽  
Noreen Tuross
Keyword(s):  
American History ◽  
The United States ◽  
National Museum ◽  
First Ladies ◽  
Current Conservation ◽  
Unique Challenge ◽  
Conservation Project ◽  
The Arts ◽  
History Of ◽  
Analytical Approaches

Friable natural products are often used in articles of personal adornment, and the perishable nature of these materials presents a unique challenge to museums. At the Smithsonian's National Museum of American History, a collection of gowns worn by the First Ladies of the United States is a popular display of historical and sentimental import. Opened to the public on February 1, 1914, fifteen gowns were displayed as part of a “Period Costumes“ exhibit in the U.S. National Museum (now known as the Arts and Industries Building). Within just a few years, the exhibit was recognized as “one of the most interesting and popular in the Museum.” A First Ladies' Hall was created in the mid-1950s to exhibit the gown collection in period room settings. This design theme continued when the Hall moved to the Museum of American History and Technology (now the National Museum of American History) in 1964. The First Ladies' Hall was closed for renovation in 1987, allowing the curatorial staff to reassess the collection's use and conservators to perform long overdue examinations and treatments. Reinstallation of the exhibit is scheduled for spring 1992.The First Ladies' conservation project includes a history of each gown's use and exhibition as related to its physical condition and also includes stabilization treatments to meet the demands of future display. The current conservation project provided an unusual opportunity for extensive research into fabric deterioration of a popular and important collection. The goals of the research are twofold: first, to determine each object's state of preservation by studying the effectivenss of several analytical approaches with minimal destructive sampling and, second, to begin investigating the mechanisms involved in the degradation of silk, the material predominant in this collection.

Women Artists of the Arts and Crafts Movement 1870-1914

Leonardo ◽  
1982 ◽  
Vol 15 (2) ◽  
pp. 164
Author(s):  
Naomi Boretz ◽  
Anthea Callen
Keyword(s):  
Women Artists ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
The Arts

Images of Botany: Celebrating the Contribution of Women to the History of Botanical Illustration

Collections ◽  
2018 ◽  
Vol 14 (4) ◽  
pp. 547-567
Author(s):  
Heather Pardoe ◽  
Maureen Lazarus
Keyword(s):  
Women Artists ◽  
18Th Century ◽  
National Museum ◽  
Scientific Curiosity ◽  
The Social ◽  
History Of ◽  
Botanical Illustration ◽  
Contemporary Artists

The superb botanical illustration collection of Amgueddfa Cymru– National Museum Wales in Cardiff, Wales, has developed through bequests, donations, and selective purchases. Numbering more than 7,000 works, 15% of these are by women, including the work of well-known Victorian artists and leading contemporary artists such as Gillian Griffiths, Pauline Dean, and Dale Evans. In particular, the Cymmrodorion Collection is the most prestigious collection, containing illustrations dating from the 18th century and featuring works by Elizabeth Blackwell, Jane Loudon, and Sarah Drake. Using this and other collections from the museum, this article examines the contribution that women artists have made to the field of botanical illustration by referring to the lives of these women and considering their motives, whether they pursued botanical illustration out of financial necessity, out of scientific curiosity, or to allay boredom. The article further examines the social restrictions and prejudice that many of these women had to overcome.

Socialism, Sex, and the Culture of Aestheticism in Britain, 1880-1914

2007 ◽  
Author(s):  
Ruth Livesey
Keyword(s):  
Virginia Woolf ◽  
Women Artists ◽  
Extensive Study ◽  
Late Nineteenth Century ◽  
Revolutionary Change ◽  
Victorian Era ◽  
The Arts ◽  
Critical Tension ◽  
Socialist Movement ◽  
Bernard Shaw

This book brings to life the growth of the socialist movement among men and women artists and writers in late nineteenth-century Britain. For these campaigners, socialism was inseparable from a desire for a new beauty of life; beauty that also, for many, required them to reject the sexual conventions of the Victorian era. From the early 1880s and well into the twentieth century, the efforts of these writers and activists existed in critical tension with other contemporary developments in literary culture. This book maps the ongoing dialogue between socialist writers like William Morris, decadent aesthetes such as Oscar Wilde and defining figures of early modernism including Virginia Woolf and Roger Fry. The book concludes that socialist writers developed a distinct political aesthetic in which the love of beauty was to act as a force for revolutionary change. The book draws on archival research and extensive study of socialist periodicals, together with readings of works by writers including Morris, Wilde, Schreiner, George Bernard Shaw, Isabella Ford, Carpenter, Alfred Orage, Woolf and Fry. The book uncovers the lasting influence of socialist writers of the 1880s on the emergence of British literary modernism and by tracing the lives of neglected writers and activists such as Clementina Black and Dollie Radford, it provides a vivid evocation of an era in which revolution seemed imminent and the arts were a vital route to that future.

Sign in / Sign up

Export Citation Format

Share Document