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03551aam a2200481 i 4500 001 899BF6EE72D911EDA0B05B7C49ECA4DB 003 SILO 005 20221203010154 008 220624s2022 enka b 001 0deng c 010 $a 2021947993 020 $a 1913107299 020 $a 9781913107291 035 $a (OCoLC)1329222383 040 $a ERASA $b eng $e rda $c ERASA $d IND $d NDD $d YDX $d OCLCF $d IAK $d DLC $d SILO 042 $a pcc 043 $a e-uk-en $a e-fr--- $a e-uk-en 050 4 $a NX164 W65 S695 2022 100 1 $a Spies-Gans, Paris A., $e author. 245 12 $a A revolution on canvas : $b the rise of women artists in London and Paris, 1760-1830 / $c Paris A. Spies-Gans. 246 30 $a Rise of women artists in London and Paris, 1760-1830 246 1 $i Subtitle on dust jacket: $a Rise of women artists in Britain and France, 1760-1830 264 1 $a London : $b Paul Mellon Centre for Studies in British Art, $c 2022 300 $a xi, 370 pages : $b illustrations (chiefly color) ; $c 28 cm 504 $a Includes bibliographical references (pages 346-354) and index. 520 8 $a A Revolution on Canvas' argues that women artists professionalized in unprecedented numbers during the Revolutionary era, engaging with the cultural and intellectual currents of their societies and earning substantial incomes from their work despite the obstacles they encountered. Through an interdisciplinary analysis of these artists' careers, this groundbreaking book argues that exactly as political citizenship was being defined as a male privilege, women entered the public sphere as professional artists in significant numbers for the first time. Its subjects include a number of increasingly well-known painters, such as Angelica Kauffman, Elisabeth Vigee Le Brun, and Adelaide Labille-Guiard, alongside copious other artists who were lauded in their own times but are little-known in ours. This book challenges several longstanding assumptions and myths about women's artistic activity during this period, ultimately presenting overwhelming evidence to contend that with their art, women engaged profoundly with the cultural, political, and economic currents of the Revolutionary era, navigating institutional inequalities that were often expressly designed to exclude members of their sex in order to forge profitable artistic identities. 505 0 $a Introduction: A way to independence -- The revolutionary rise of women artists in London and Paris -- Becoming an exhibiting artist -- Choosing a subject to exhibit in London -- Choosing a subject to exhibit in Paris -- Building commercial networks -- Conclusion: Brushes with greatness -- Coda. 650 0 $a Women artists $z Great Britain $x History $y 18th century. 650 0 $a Women artists $z Great Britain $x History $y 19th century. 650 0 $a Women artists $z France $x History $y 18th century. 650 0 $a Women artists $z France $x History $y 19th century. 650 0 $a Women artists $z London $z London $x History $y 18th century. 650 0 $a Women artists $z London $z London $x History $y 19th century. 650 0 $a Women artists $z Paris $z Paris $x History $y 18th century. 650 0 $a Women artists $z Paris $z Paris $x History $y 19th century. 650 0 $a Art, British $y 18th century. 650 0 $a Art, British $y 19th century. 650 0 $a Art, French $y 18th century. 650 0 $a Art, French $y 19th century. 941 $a 2 952 $l OVUX522 $d 20240417024327.0 952 $l USUX851 $d 20230302020440.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=899BF6EE72D911EDA0B05B7C49ECA4DB 994 $a C0 $b IWAInitiate Another SILO Locator Search