Alba, T., Mercader, L. (2024). Yo madre. Autoría y autoridad materna en los autorretratos de Giovanna Fratellini, Élisabeth-Louise Vigée- Lebrun y Marie-Nicole Dumont. E. Marco, A., Faus (coords.), Cuerpos en tránsito: explorando intersecciones emergentes y raíces culturales (330-352). Dykinson, ..., 2024
En este capítulo reflexionamos en torno a tres autorretratos en los que las pintoras del siglo XV... more En este capítulo reflexionamos en torno a tres autorretratos en los que las pintoras del siglo XVIII Giovanna Fratellini, Elizabeth-Louise Vigée-Lebrun y Marie-Nicole Dumont se pintan como madres cuando madre no es función biológica, sin entidad y estatus público, como dictan los textos patriarcales del pensamiento occidental, sino el nombre de la subjetivación relacional, corporalidad amorosa y lugar de enseñanza, como muestran estos cuadros junto a textos de muchas mujeres europeas de la primera modernidad.
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professional support. By considering this Sisterhood of artists as a utopia – a good place for living and creating – we will be able to assess the extent to which their innovations in interpersonal relations elucidate the political dimension of feminine friendships in the nineteenth century.
Lewis deployed the neoclassical sculptural language, which had universalist, idealistic and timeless pretensions, to address political and cultural key issues of her time. With this strategy, Lewis managed to stand out among the abolitionist and suffragist Euro-American artistic circles.
This work aims to show and analyze the terms in which historiography has interpreted this apparent paradox, which is key to understand the configuration of a feminine and mestizo artistic subjectivity at the time of the Women’s Rights Convention of Akron (Ohio), Thirteenth Amendment and the Dawes Act of 1887.
professional support. By considering this Sisterhood of artists as a utopia – a good place for living and creating – we will be able to assess the extent to which their innovations in interpersonal relations elucidate the political dimension of feminine friendships in the nineteenth century.
Lewis deployed the neoclassical sculptural language, which had universalist, idealistic and timeless pretensions, to address political and cultural key issues of her time. With this strategy, Lewis managed to stand out among the abolitionist and suffragist Euro-American artistic circles.
This work aims to show and analyze the terms in which historiography has interpreted this apparent paradox, which is key to understand the configuration of a feminine and mestizo artistic subjectivity at the time of the Women’s Rights Convention of Akron (Ohio), Thirteenth Amendment and the Dawes Act of 1887.