Historical Fiction about Women Painters
1. For instance, Lutz and Collins claim that photographers for National Geographic magazine, along with the magazine’s diverse readership, look upon the beauty of the non-Western world with awe (190).
2. In order to avoid essentializing, it should be noted that references to women and men in this discussion refer to women and men as they are socially constructed along a gender binary. Another problem of essentializing is suggested by Wendy Leeks in “Ingres Other-Wise,” who uses Lacanian theory to critique aspects of representation in J.A.D. Ingres’ Odalisques. Leeks distinguishes between an historically female imperialist gaze and a male gaze by noting that Lady Mary Whortley Montagu’s writings were among Ingres’s sources for his bather paintings. Whortley, who was actually allowed in the baths, wrote about her observations. As a female, her experiences were neither secretive nor non-reciprocal; the women looked back at her as she looked at them, making her gaze nothing like the male voyeuristic gaze.
3. John Ashbery adopts the tradition of the heroic male artist ironically in “Self-Portrait in a Convex Mirror.”
4. Wagner became the leading edge of a feminist rehabilitation of biography as gendered when Three Artists (Three Women) was published in 1996.
5. Wagner is more Foucauldian than Barthian; that is, she critiques the “author function” in relation to the biographies of Hesse, Krasner, and O’Keeffe. In fact, in this respect, art history as a discipline is more Foucauldian...
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