ATH 321.601/701–Writing Intensive Dr. Barbara Wisch Spring 2011 Wednesdays 6–8:30 pm Dowd Fine Arts 206 Office Hours: TR 1:10–2:40 pm and 4:10–4:40 pm; W 5–6 pm and by appointment Dowd Fine Arts Center 220, 753–4100 Email: [email protected]

Framing W0MEN in ART

“Did women have a ?” asked historian Joan Kelly in 1977. She questioned whether within the traditional periodization of history, the concept of “the Renaissance” had any meaning for the history of women. Kelly noted that in the fifteenth and sixteenth centuries, the material position of women weakened considerably despite their literary idealization. Moreover, scholarly understanding of the period was both focused and constructed upon the high culture of élite males. This seminar will explore answers to Kelly’s query from diverse perspectives and methodologies derived from art history, social history, women’s history, and gender studies. We will examine certain supposedly “natural” conditions and try to unravel their cultural constructions. We will look more broadly across history, from ancient Greece and Rome to the pre-Enlightenment.

The course will study a broad range of images—both famous and lesser known—from the ancient world through the early modern period as well as consider ramifications for the twenty-first century. We will also analyze the historical contexts that formed an integral part of the experience of these images. From birth to marriage to death, works of art as gifts and as memorials celebrated the most important passages through a woman’s life. We will enter the female sickroom, examining women’s disease—the so-called “uterine furies”—and contrast images of male melancholia, the disease of genius. From prostitutes to brides, from virtuous housewives to widows, from nuns to spinsters, from queens to witches, from biblical heroines to the femme fatale, images of women and works of art both made by women and commissioned by women represent significant arenas of study. In addition, we will be privileged to hear the “living” voice of a prominent female scholar, Mary D. Garrard, whose work you will be reading during the semester. And during our celebration of Women’s History Month, we will meet a contemporary artist, Denise Pelletier, whose work is deeply engaged with issues central to this course. Ultimately, Framing Women in Art will relate works of art to the continuing debate concerning women’s roles, expectations, and capabilities.

TEXTS Laurinda S. Dixon, Perilous Chastity: Women and Illness in Pre-Enlightenment Art and Medicine (Ithaca: Cornell University Press, 1995). Required.

Paola Tinagli, Women in Italian : Gender, Representation, Identity (Manchester and New York: Manchester University Press, 1997). Suggested. 2

PREPARATION and

CLASS ATTENDANCE

Each weekly meeting will focus on paradigmatic examples of art that necessitate the integration of these works into the vibrant tableau of the social, cultural and religious life of the historical periods under study. Each student will present several short, in-class reviews of specifically assigned readings and will lead the related discussion. However, all the assigned readings will be read by all the members of the class, unless otherwise specified, so informed and intelligent discussions can take place. In-class presentations and class participation will count for 60% of the course grade.

Therefore, class attendance is mandatory. Only documented incapacitating illness or family emergency will be an acceptable excuse, and then only once during the semester. Your final grade will be decreased incrementally per additional absence.

EXPECTATIONS for WEEKLY IN-CLASS PRESENTATIONS

 Password for the E-reserves: WISCH321  Cite the article or book you have read: author, title, source, date of publication.  Since the discussions tend to focus on specific works of art, you must “introduce” these works to the class: artist (if known), subject matter, date, medium, size, original location, patron.  You are to present the works of art in a powerpoint presentation. Digital images may be found on Artstor or other web sources, such as the Web Gallery of Art or Google Image. You may also use the ELMO. The Artstor database of digital images and the Jstor database of full text articles from scholarly journals in the arts and sciences are available from Memorial Library’s homepage. Click on “Find Articles,” then “Databases by Title.”  Summarize quickly the author’s intentions, i.e. the specific subject matter and how it relates to the main reading that everyone has done.  Then present the author’s conclusions about the specific works. You might want to pose questions to the seminar that have developed from your reading.  You will also want to consider the author’s methodology, such as the use of primary sources (original documents, contemporary descriptions, etc.) and secondary sources (later art historical analyses). You should also offer a critical appraisal of the author’s argument: Does it make sense? What seems to be missing? How might you improve it? You are not expected to have done all the research to provide new conclusions, but you are expected to think carefully about what the author has hypothesized.  Presentations are vastly improved by the use of accurate notes to which you should refer. Simply highlighting a photocopy does not provide the organization of the material in a concise and accurate fashion. 3

RESEARCH PAPER

The other 40% of the course grade will be based on a research paper and an illustrated presentation of that material to the class.

The paper is to be ten typed pages (double-spaced, Times New Roman, 12 point font, 1¼ inch margins, all pages numbered in the upper right corner). The paper must also include black/white illustrations (detailed captions are not necessary since the full identifying information will be in text) as well as proper endnotes and bibliography according to Art Bulletin form. Illustrations, endnotes, and bibliography are in addition to the ten pages of text. You must turn in a hard copy; an electronic copy is not acceptable. If you do not adhere to all of these basic specifications, your term paper grade will automatically be lowered one grade “level” (for example, from B+ to B).

Due at the latest on Monday, May 16, noon, in my office, Room 220, Dowd Fine Arts Center, or in my mailbox in the Art Dept. Office, Room 222. All borrowed books and materials must be returned by that date.

No late papers will be accepted! Failure to turn in the paper on time without an official university excuse in writing will result in a grade of “zero” averaged into the course grade. • Research paper topic approved by February 23

• Basic bibliography (typed) of three sources due by March 2. No more than one online source may be used in addition to scholarly books and articles. An article in Jstor is considered a scholarly source, not an “online” source. Wikipedia is not a scholarly source and may not be used as a reference in your paper. Interlibrary Loan is also an essential tool, but you must order books and articles well in advance. See a Research/Reference Librarian for help.

• In-class presentations April 20 and 27 and May 4.

• Paper due (at the latest) on May 16th, noon, in DFA 220 or 222.

ACADEMIC HONESTY Every student should be aware of the policies set out in Chapter 340 of the SUNY Cortland College Handbook (http://www.cortland.edu/president/handbook.pdf). Those rules will be enforced in this class. “Students are expected to submit and present work that is their own with proper documentation and acknowledgement when the work of others” (Chapter 340.02). As stated in the guidelines, plagiarism (intentional as well as inadvertent), cheating on examinations, or other forms of academic dishonesty will be punished. Any student thought to be cheating will be confronted, and college policies on academic dishonesty will be pursued. My policy is that the student will receive a grade of “zero” on the exam or paper, and most likely a failing grade in this course. 4

SUGGESTIONS for PAPER TOPIC (in addition to the topics discussed in class and listed on the syllabus)

• She’s a saint! Women who were canonized, or female saints as role models • St. Mary Magdalene, the penitent prostitute • Sumptuary laws and the art of dress • The education of women: depictions of women reading and/or female authors • The mistress at court • Black widow or merry widow? Images of mourning • “Matronage,” or women as patrons of art • Nuns as artists and patrons • Women rule! Exceptions to the patriarchy Matrilineage in ancient Egypt Cleopatra VII Semiramis, queen of Assyria and founder of Babylon Esther, queen of Persia I, Claudia: The empress in ancient Rome Depicting the queens of France (French and foreign-born) The Faerie Queen: Elizabeth I of England Margaret of York Margaret of Austria, regent of the Netherlands Depicting dynastic ambitions • Arachne’s progeny and the distaff: Images of spinning and/or the spinster • Women as printmakers • Depictions of women in the workplace

DISABILITIES If you are a student with a disability and wish to request accommodations, please contact the Office of Student Disability Services located in B–40 Van Hoesen Hall or call (607) 753–2066 for an appointment. Information regarding your disability will be treated in a confidential manner. Because many accommodations require early planning, requests for accommodations should be made as early as possible.

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ATH 321.601/701–Writing Intensive Dr. Barbara Wisch Spring 2011 Wednesdays 6–8:30 pm Dowd Fine Arts 206

Framing Women in Art

SCHEDULE

I. January 26: Introduction

II. February 2 (Lady’s Day, or Feast of the Purification): Is Biology Destiny? or “The things that you’re liable to read in the Bible…” (George and Ira Gershwin, “It Ain’t Necessarily So” from Porgy and Bess, 1935)

February 9: Ellen McCabe, senior assistant librarian and bibliographer for the humanities, Memorial Library, SUNY Cortland, will conduct an instructional session on research methods

III. February 16: “A hue and a cry:” Sexual Violence and the Patriarchal Body Politic

IV. February 23: “First comes love [?], then comes marriage…” (children’s rhyme) Dowering the Bride, Decorating the Bedroom

V. March 2: The Domestic Goddess, or “A woman’s place is in the home”

VI. March 9: Women Framed: Portraits and Self-Portraits

March 16: Spring Break

March 23, 7:00 pm: Special lecture by Denise Pelletier, associate professor of art, Connecticut College http://www.conncoll.edu/Academics/web_profiles/pelletier.html

VII. March 30: Let Us Now Praise Famous Women: Biblical Heroine or Femme Fatale?

April 6, 7 pm: Special public lecture at Syracuse University by Dr. Mary D. Garrard, professor emerita of art history, American University 6

VIII. April 13: Pimp My Painting, or the Art of Seduction OR “And your little dog, too!” Witchcraft on Trial

April 20: In-class presentations April 27: In-class presentations May 4: In-class presentations

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DISCUSSION TOPICS and ASSIGNED READINGS

I. Introduction

Paola Tinagli, “Introduction,” in Women in Italian Renaissance Art: Gender, Representation, Identity (Manchester and New York: Manchester University Press, 1997), 1–20. ND1640. W65 T56 1997; Closed Reserve

II. Is Biology Destiny? or “The things that you’re liable to read in the Bible…” (George and Ira Gershwin, “It Ain’t Necessarily So” from Porgy and Bess, 1935)

Genesis, Chapters 1–3.

Laurinda S. Dixon, “Hysteria as a Uterine Disorder: A Brief History,” in Perilous Chastity: Women and Illness in Pre-Enlightenment Art and Medicine (Ithaca: Cornell University Press, 1995), 11–58. N8223.D59 1995; Closed Reserve

______, “Melancholic Men and Hysterical Women: The Sexual Politics of Illness,” in Perilous Chastity, 197–220.

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III. “A hue and a cry”: Sexual Violence and the Patriarchal Body Politic

Sandra R. Joshel, “The Body Female and the Body Politic: Livy’s and Verginia,” in Pornography and Representation in Greece and Rome, Amy Richlin ed. (New York: Oxford University Press, 1992), 112–30. HQ472.G8P67 1992; Closed Reserve

Amy Richlin, “Reading Ovid’s Rapes,” in Pornography and Representation, 158–79. HQ472.G8P67 1992; Closed Reserve

Norman Bryson, “Two Narratives of Rape in the Visual Arts: Lucretia and the Sabine Women,” in Rape, Sylvana Tomaselli and Roy Porter eds. (New York: Oxford University Press, 1986), 152–73. HV6558.R3 1986; Closed Reserve

Diane Wolfthal, Images of Rape: The “Heroic” Tradition and its Alternatives (New York: Cambridge University Press, 1999), 1–35. N8237.8.R34 W66 1999; Closed Reserve

Michael Jaffé and K. Groen, “’s in the Fitzwilliam,” Burlington Magazine 129 (1987): 162–71. Jstor

Mary D. Garrard, “Lucretia,” in : The Image of the Female Hero in Italian Art (Princeton: Princeton University Press, 1989), 210–44. Suggested: “Artemisia Gentileschi in Her Time: Life and Art,” 13–138 (esp. 13– 34) and “Testimony of the Rape Trial of 1612,” in Artemisia Gentileschi, 403–87. ND623.G364 G37 1988; Closed Reserve

Suggested: Elizabeth S. Cohen, “The Trials of Artemisia Gentileschi: A Rape as History,” Sixteenth Century Journal 31 (2000): 47–75. Jstor

Yael Even, “The Loggia dei Lanzi: A Showcase of Female Subjugation,” in The Expanding Discourse: Feminism and Art History, Norma Broude and Mary D. Garrard eds. (New York: HarperCollins, 1992), 124–37. N72.F45 E96 1992; Closed Reserve

Margaret Carroll, “The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence,” in The Expanding Discourse, 138–59. N72.F45 E96 1992; Closed Reserve

Suggested: Elaine Fatham, Helene Peet Foley, Natalie Boymel Kampen, Sarah B. Pomeroy, and H. Alan Shapiro, “Republican Rome I: From Marriage by Capture to Partnership in War—the Proud Women of Early Rome,” in Women in the Classical World (New York: Oxford University Press, 1994), 216–42. Ref. HQ1127.W652 1994 (non-circulating) 9

IV: “First comes love [?], then comes marriage”: Dowering the Bride, Decorating the Bedroom

Robert F. Sutton, Jr., “Pornography and Persuasion on Attic Pottery,” in Pornography and Representation, 3–35, esp. 14–35. HQ472.G8P67 1992; Closed Reserve

Christiane Klapisch-Zuber, “Zacharias, or the Ousted Father: Nuptial Rites in Tuscany between Giotto and the ,” in Women, Family, and Ritual in Renaissance , Lydia Cochrane trans. (Chicago: University of Chicago Press, 1985), 178–212. HQ1149.I8 K57 1985; Closed Reserve

Christiane Klapisch-Zuber, “The Griselda Complex: Dowry and Marriage Gifts in the ,” in Women, Family, and Ritual, 213–46. HQ1149.I8 K57 1985; Closed Reserve

Paola Tinagli, “Women, Men and Society: Painted Marriage Furniture,” in Women in Italian Renaissance Art, 21–46. ND1640. W65 T56 1997; Closed Reserve

Rona Goffen, “’s and Marriage,” in The Expanding Discourse, 111–26. N72.F45 E96 1992; Closed Reserve

Lilian Zirpolo, “Botticelli’s Primavera: A Lesson for the Bride,” in The Expanding Discourse, 101–9. N72.F45 E96 1992; Closed Reserve

Suggested: Anne B. Barriault, “Spalliera” Paintings of Renaissance Tuscany. Fables of Poets for Patrician Homes (University Park: Pennsylvania State University Press, 1994). ND2756.T9B37 1994

Suggested: Cristelle L. Baskins, “La Festa di Susanna: Virtue on Trial in Renaissance Sacred Drama and Painted Wedding Chests,” Art History 14 (1991): 329–44. Jstor

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V. The Domestic Goddess, or “A woman’s place is in the home” “Cleanliness is next to godliness” (traditional adage)

Wayne E. Franits, Paragons of Virtue: Women and Domesticity in Seventeenth-Century Dutch Art (Cambridge: Cambridge University Press, 1993), 1–9, 62–160, and 195–97. ND1452.3.N4 F73 1993; Closed Reserve

Laurinda S. Dixon, “The Womb Occupied, Restored, and Satiated: Corporeal Cures,” in Perilous Chastity, 131–67. N8223.D59 1995; Closed Reserve

Jacqueline Marie Musacchio, “Imaginative Conceptions in Renaissance Italy,” in Picturing Women in Renaissance and Baroque Italy, Geraldine A. Johnson and Sara F. Matthews Grieco eds. (Cambridge: Cambridge University Press, 1997), 42–60. N6915.P48 1997; E-Reserve

Suggested: Megan Holmes, “Disrobing the Virgin: The Madonna Lactans in Fifteenth- Century Florentine Art,” in Picturing Women, 167–95. N6915.P48 1997; E-Reserve

Suggested: Christiane Klapisch-Zuber, “Blood Parents and Milk Parents: Wet Nursing in , 1300–1530,” in Women, Family, and Ritual, 178–212. HQ1149.I8 K57 1985; Closed Reserve

Suggested: Alison McNeil Kettering, “Ter Borch’s Ladies in Satin,” in Looking at Seventeenth-Century Dutch Art: Art: Realism Reconsidered, Wayne E. Franits ed. (Cambridge and New York: Cambridge University Press, 1997), 98–115. ND646 .F7 1997; Closed Reserve

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VI. Let Us Now Praise Famous Women: Biblical Heroine or Femme Fatale?

H. Diane Russell, “The ,” in Eva / Ave: Woman in Renaissance and Baroque Prints, (Washington, DC: National Gallery of Art, 1990), 147–65. NE962.W65 R87 1990; Closed Reserve

Madlyn Millner Kahr, “Delilah,” in Norma Broude and Mary D. Garrard, eds., Feminism and Art History: Questioning the Litany, (New York: Harper & Row, 1982), 119–45. N72.F45 F44 1982; Closed Reserve

Mary D. Garrard, “Susanna,” in Artemisia Gentileschi, 183–209. ND623.G364 G37 1988; Closed Reserve

Mary D. Garrard, “Judith,” in Artemisia Gentileschi, 278–336. ND623.G364 G37 1988; Closed Reserve

Suggested: Elena Ciletti, “Patriarchal Ideology in the Renaissance Iconography of Judith,” in Marilyn Migiel and Juliana Schiesari, eds., Refiguring Woman: Perspectives on Gender and the Italian Renaissance (Ithaca: Cornell University Press 1991), 35–70. HQ1075.I8R44 1991

Suggested: Ann Jensen Adams, ed., Rembrandt’s “Bathsheba Reading King David’s Letter” (New York: Cambridge University Press, 1998) ND653.R4A63 1998

VII. Women Framed: Portraits and Self- Portraits

Portraits Paola Tinagli, “Introduction,” in Women in Italian Renaissance Art, 4–5. ND1640. W65 T56 1997; Closed Reserve

Paola Tinagli, “Profile Portraits in the Quattrocento: Virtue and Status,” in Women in Italian Renaissance Art, 47–83. ND1640. W65 T56 1997; Closed Reserve

Paola Tinagli, “Portraits 1480–1560: Beauty and Power,” in Women in Italian Renaissance Art, 84–120. ND1640. W65 T56 1997; Closed Reserve

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Anne Christine Junkerman, “The Lady and the Laurel: Gender and Meaning in ’s Laura,” Oxford Art Journal 16:1 (1993): 49–58. Jstor

Diane Owen Hughes, “Representing the Family: Portraits and Purposes in Early Modern Italy,” Journal of Interdisciplinary History 17 (1986): 7–38. Jstor

Suggested: Elizabeth Cropper, “The Beauty of Women: Problems in the Rhetoric of Renaissance Portraiture,” in Margaret W. Ferguson, Maureen Quilligan and Nancy J. Vickers, eds., Rewriting the Renaissance: The Discourses of Sexual Difference in Early Modern Europe (Chicago: University of Chicago Press, 1986), 175–90. (ILL)

Suggested: Mary Rogers, “The decorum of women’s beauty: Trissino, Firenzuola, Luigini and the representation of women in sixteenth-century painting,” Renaissance Studies 2.1(1988): 47–88. (ILL)

Self-Portraits Paola Tinagli, “The woman artist and self-portraits,” in Women in Italian Renaissance Art, 112–14. ND1640. W65 T56 1997; Closed Reserve

Fredrika Jacobs, “Woman’s Capacity to Create: The Unusual Case of Sofonisba Anguissola,” Renaissance Quarterly 47.1 (1994): 74–101. Jstor

Mary D. Garrard, “Here’s Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist,” Renaissance Quarterly 47.3 (1994): 556–622. Jstor

Patricia Simons, “(Check) Mating the Grand Masters: The Gendered, Sexualized Politics of Chess in Renaissance Italy,” Oxford Art Journal 16.1 (1993): 59–74. Jstor

Mary D. Garrard, “The Allegory of Painting,” in Artemisia Gentileschi, 337–70. ND623.G364 G37 1988; Closed Reserve

Suggested: Linda Nochlin, “Why Have There Been No Great Women Artists? (1971),” in Women, Art, and Power and Other Essays (New York: 1988), 145–78. N72.F45 N64 1988

Suggested: Liana De Girolami Cheney, “Self-Portraits in antiquity,” “: the self- portrait of the nobil donna,” and “The Baroque: power, vision, and the self,” in Liana De Girolami Cheney, Alicia Craig Faxon, and Kathleen Russo, Self-Portraits by Women Painters (Aldershot: Ashgate, 2000), 1–14 and 41–95. ND1329.3.A77545 2000

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VIII. Pimp My Painting, or the Art of Seduction

Richard C. Trexler, “Florentine Prostitution in the Fifteenth Century: Patrons and Clients,” in The Women of Florence (Power and Dependence in Renaissance Florence), vol. 2), Binghamton, NY: Center for Medieval and Early Renaissance Studies, 1993), 31– 65. E–Reserve

Deanna Shemek, “Circular Definitions: Configuring Gender in Italian Renaissance Festival,” Renaissance Quarterly 48 (1995): 1–40. Jstor

Paola Tinagli, “Female Nudes in Renaissance Art,” in Women in Italian Renaissance Art, 121–54. ND1640. W65 T56 1997; Closed Reserve

Paola Tinagli, “Titian, his patrons and Mary Magdalene,” in Women in Italian Renaissance Art, 176–81. ND1640. W65 T56 1997; Closed Reserve

David Rosand, “So-And-So Reclining on Her Couch,” in Titian’s ‘ of , Rona Goffen ed. (New York: Cambridge University Press, 1997), 37–62. ND623.T7 A7885 1997; Closed Reserve

Carlo Ginzburg, “Titian, Ovid, and Sixteenth-Century Codes for Erotic Illustration,” in Titian’s ‘’, 23–36. ND623.T7 A7885 1997; Closed Reserve

Suggested: Lynne Lawner, Lives of the Courtesans. Portraits of the Renaissance (New York: Rizzoli, 1987. DG445.L38 1987

Suggested: Guido Ruggiero, “Marriage, love, sex and Renaissance civic morality,” in James Grantham Turner, ed., Sexuality and Gender in Early Modern Europe: Institutions, texts, images (Cambridge: Cambridge University Press, 1993), 10–30. NX180.F4 S488 1993

Suggested: Mary Pardo, “Artifice as Seduction in Titian,” in James Grantham Turner, ed., Sexuality and Gender in Early Modern Europe, 55–89. NX180.F4 S488 1993

Suggested: Bette Talvacchia, Taking Positions: On the Erotic in Renaissance Culture (Princeton: Princeton University Press, 1999). NE962.E6T35 1999

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0r VIII. “And your little dog, too!” Witchcraft on Trial

Linda Hults, “Baldung and the Witches of Freiburg: The Evidence of Images,” Journal of Interdisciplinary History 18:3 (1987): 249–76. Jstor

Dale Hoak, “Art, Culture, and Mentality in Renaissance Society: The Meaning of Hans Baldung’s Grien’s Bewitched Groom (1544),” Renaissance Quarterly 38 (1985): 488– 510. Jstor

Margaret A. Sullivan, “The Witches of Dürer and Hans Baldun Grien,” Renaissance Quarterly 53 (2000): 332–401. Jstor

Suggested: Malleus Maleficarum of Heinrich Kramer and James Sprenger, Montague Summers trans., intro., notes, and bibliography (New York: Dover, 1971). BF 1569.A2 I5 1971 15

ATH 321.601/701–Writing Intensive Dr. Barbara Wisch Spring 2011 Wednesdays 6–8:30 pm Dowd Fine Arts 206 Office: Dowd Fine Arts 220; 753–4100 [email protected]

Framing Women in Art

TWO-HOUR CLOSED RESERVE

HQ472.G8P67 1992 / #1863 Pornography and Representation in Greece and Rome, Amy Richlin ed. (New York: Oxford University Press, 1992).

HQ1149.I8 K57 1985 / #1864 Christiane Klapisch-Zuber, Women, Family, and Ritual in Renaissance Italy, Lydia Cochrane trans. (Chicago: Chicago University Press, 1985).

HV6558.R3 1986 / #1865 Rape, Sylvana Tomaselli and Roy Porter eds. (New York: Oxford University Press, 1986).

N72.F45 E96 1992 / #1866 The Expanding Discourse: Feminism and Art History, Norma Broude and Mary D. Garrard eds. (New York: HarperCollins, 1992).

N72.F45 F44 1982 / #1867 Feminism and Art History: Questioning the Litany, Norma Broude and Mary D. Garrard eds. (New York: Harper & Row, 1982).

N8223.D59 1995 / #1868 Laurinda S. Dixon, Perilous Chastity: Women and Illness in Pre- Enlightenment Art and Medicine (Ithaca: Cornell University Press, 1995).

N8237.8.R34 W66 1999 / #1869 Diane Wolfthal, Images of Rape: The “Heroic” Tradition and its Alternatives (New York: Cambridge University Press, 1999).

ND623.G364 G37 1988 / #1870 Mary D. Garrard, Artemisia Gentileschi: The Image of the Female Hero in Art (Princeton: Princeton University Press, 1989).

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ND623.T7 A7885 1997 / #1871 Titian’s ‘Venus of Urbino,’ Rona Goffen ed. (New York: Cambridge University Press, 1997.

ND646 .F7 1997 / #1872 Looking at seventeenth-Century Dutch Art: Realism Reconsidered, Wayne E. Franits ed. (Cambridge and New York: Cambridge University Press, 1997)

ND1452.3.N4 F73 1993 / #1873 Wayne E. Franits, Paragons of Virtue: Women and Domesticity in Seventeenth-Century Dutch Art (New York: Cambridge University Press, 1993).

ND1640. W65 T56 1997 / #1874 Paola Tinagli, Women in Italian Renaissance Art: Gender, Representation, Identity (Manchester and New York: Manchester University Press, 1997).

E–RESERVES

Richard C. Trexler, “Florentine Prostitution in the Fifteenth Century: Patrons and Clients,” in The Women of Florence (Power and Dependence in Renaissance Florence), vol. 2, (Binghamton, NY: Center for Medieval and Early Renaissance Studies, 1993), 31–65.

H. Diane Russell, Eva / Ave: Woman in Renaissance and Baroque Prints (Washington, DC: National Gallery of Art, 1990), 147–65.

Jacqueline Marie Musacchio, “Imaginative Conceptions in Renaissance Italy,” in Picturing Women in Renaissance and Baroque Italy, Geraldine A. Johnson and Sara F. Matthews Grieco eds. (Cambridge: Cambridge University Press, 1997), 42–60.

Megan Holmes, “Disrobing the Virgin: The Madonna Lactans in Fifteenth-Century Florentine Art,” in Picturing Women in Renaissance and Baroque Italy, Geraldine A. Johnson and Sara F. Matthews Grieco eds. (Cambridge and New York: Cambridge University Press, 1997), 167–95.