Seeing ourselves : women's self-portraits

Resource Information

The work Seeing ourselves : women's self-portraits represents a distinct intellectual or artistic creation found in Waubonsee Community College. This resource is a combination of several types including: Work, Language Material, Books.

Label

Seeing ourselves : women's self-portraits

Title remainder

women's self-portraits

Statement of responsibility

Frances Borzello

Creator

• Borzello, Frances

Subject

• Self-perception in women
• Women artists
• Zelfportretten
• Women artists -- Psychology
• Femmes artistes -- Psychologie
• Women artists -- Portraits
• Self-perception
• Autoportraits
• Women artists -- Psychology
• Perception de soi chez la femme
• Vrouwelijke kunstenaars
• Vrouwen
• Self-perception in women
• Women artists -- Portraits
• Femmes artistes -- Portraits
• Portraits
• Beeldende kunsten
• Women artists -- Psychology

Genre

• Portraits

Language

eng

Summary

This fresh, richly illustrated book is the first in-depth presentation of how women artists have chosen to picture themselves. Beginning with the self-portraits of nuns in medieval illuminated manuscripts, Borzello reconstructs an overlooked genre and provides essential contextual information. She moves on to sixteenth-century Italy, where Sofonisba Anguissola painted one of the longest known series of self-portraits, recording her features from adolescence to old age. In 1630, Artemisia Gentileschi depicted herself as the personification of painting, and at the same time in the Netherlands Judith Leyster portrayed herself at her easel, as a relaxed, self-assured professional. In the 1700s, women from Elisabeth Vigee-Lebrun to Angelica Kauffman conveyed, each in her own way, ideas of femininity and the artist's passion for her chosen field. And in the nineteenth century, as the doors to art schools began to open to women, self-portraits by the likes of Berthe Morisot, Marie Bashkirtseff, and photographers such as Alice Austen resonated with a newfound self-confidence. Seeing Ourselves concludes with the breaking of taboos in the twentieth century. Paula Modersohn-Becker imagines herself pregnant in her fantasy nude of 1906; Alice Neel paints herself naked at the age of eighty; and Frida Kahlo explicitly renders her own physical pain in a self-portrait complete with nails piercing her skin. And in recent decades, Cindy Sherman explores identity by transforming herself over and over into a cast of different characters, posing the questions that all the women in this enthralling book have faced when "seeing" themselves

Cataloging source

DLC

Dewey number

704/.042

Illustrations

illustrations

Index

index present

LC call number

N71

LC item number

.B673 1998

Literary form

non fiction

Nature of contents

bibliography