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Zusatztext 'Kirstin Ringelberg combines critical theory! artist biography! and close analysis in an intellectually engaging manner to bring an understudied topic to art-historical attention. In this important book! she asks us to rethink the standard view of Gilded Age art and consider that male as well as female professional artists of the period were compelled to navigate slippery gender boundaries in their search for critical and popular esteem.' David Lubin! Wake Forest University! USA Informationen zum Autor Kirstin Ringelberg is an Associate Professor of Art History at Elon University! USA! where she also contributes to the Women's and Gender Studies! American Studies! and Asian Studies programs. Zusammenfassung Focusing on studio paintings by American artists William Merritt Chase and Mary Fairchild MacMonnies Low, this title explores how the home-based painting studio existed outside of entrenched gendered divisions of public and private space. Inhaltsverzeichnis Contents: Introduction: the studio! the domestic interior and the ideology of separate spheres; Working men and leisurely ladies: tropes of gender and the artist's studio in the late 19th century; 'The prince of the atelier': negotiating effeminacy in A Friendly Call by William Merritt Chase; 'The painter will not sink into the mother': Mary Fairchild's nursery/studio; Rendering invisible by display: representations of late 19th-century American women; Epilogue; Bibliography; Index.
