Find PDF » Peter Paul Rubens

Total Page:16

File Type:pdf, Size:1020Kb

Find PDF » Peter Paul Rubens R3K6B7N3KC2M ~ eBook « Peter Paul Rubens - Coloring Book for Senior Citizens Peter Paul Rubens - Coloring Book for Senior Citizens Filesize: 5.65 MB Reviews Extensive manual! Its such a great read. It really is loaded with knowledge and wisdom You wont really feel monotony at at any time of your time (that's what catalogs are for regarding if you ask me). (Myrl Hintz) DISCLAIMER | DMCA ZN3DYRJVX3PG « Book ^ Peter Paul Rubens - Coloring Book for Senior Citizens PETER PAUL RUBENS - COLORING BOOK FOR SENIOR CITIZENS Createspace, United States, 2015. Paperback. Book Condition: New. 279 x 216 mm. Language: English . Brand New Book ***** Print on Demand *****.Coloring book contains 40 ready-to-color pictures based on Peter Paul Rubens paintings: Self Portrait with Isabella Brant Hagar in the Desert David Slaying Goliath Fortuna Allegory Of Fortune And Virtue Two Sleeping Children Noli me tangere, Christ Appears to Mary Magdalene Emperor Charles V Old Woman The Lute Player Head of a Bearded Man The Dying Seneca The Death of Seneca Emperor Maximilian I (1459-1519) Portrait of Helene Fourment Self Portrait Isabella Brant. first wife Return from the Fields Satyr Two Satyrs Portrait of Susanna Lunden Still Life with Grapes, Watermelon, and Peaches Roman Charity Cimon and Pero Still Life Etude of Lion Etude of Horse Bull The Lion Tamed Nicolaas Rubens, Rubens s Second Son Saint James the Apostle The Duke of Buckingham Bacchus The Three Graces A Storm Landscape with Rainbow Landscape with Cows Ruins of Mount Palatine in Rome Cain Slaying Abel Equestrian Portrait of the Duke of Lema Also next to every ready-to-color picture there is the black-and-white version of original to help in coloring. Read Peter Paul Rubens - Coloring Book for Senior Citizens Online Download PDF Peter Paul Rubens - Coloring Book for Senior Citizens U1RMEU87C2WI # Kindle # Peter Paul Rubens - Coloring Book for Senior Citizens You May Also Like Do Monsters Wear Undies Coloring Book: A Rhyming Children s Coloring Book Createspace Independent Publishing Platform, United States, 2015. Paperback. Book Condition: New. Mark Smith (illustrator). 279 x 216 mm. Language: English . Brand New Book ***** Print on Demand *****.A #1 Best Selling Children s Book... Read ePub » I Learn, I Speak: Basic Skills for Preschool Learners of English and Chinese Paraxus International, Inc., United States, 2012. Paperback. Book Condition: New. 279 x 216 mm. Language: English . Brand New Book ***** Print on Demand *****.Please go to // and shapes for some high resolution sample... Read ePub » Odes Funebres, S.112: Study Score Petrucci Library Press, United States, 2015. Paperback. Book Condition: New. 279 x 216 mm. Language: English . Brand New Book ***** Print on Demand *****.Liszt composed three Odes funebres betwwen 1860 and 1866, shortly in... Read ePub » Halloween Stories: Spooky Short Stories for Children Createspace, United States, 2015. Paperback. Book Condition: New. 279 x 216 mm. Language: English . Brand New Book ***** Print on Demand *****.10 Halloween Stories for Kids!Happy Halloween! Your child will enjoy this Halloween book... Read ePub » Twitter Marketing Workbook: How to Market Your Business on Twitter Createspace Independent Publishing Platform, United States, 2016. Paperback. Book Condition: New. Workbook. 279 x 216 mm. Language: English . Brand New Book ***** Print on Demand *****.Twitter Marketing Workbook 2016 Learn how to market your... Read ePub » .
Recommended publications
  • O FULLETÓ SALA PANTALLA.Indd
    Me hace especial ilusión presentar por primera vez en España la I am pleased to present the work of Mat Collishaw for the first time in obra de Mat Collishaw, uno de los artistas más significativos en el Spain. panorama internacional. One of the world’s most significant artists, he makes intelligent, Su mirada inteligente, crítica e incisiva nos habla de los temas critical work that addresses universal subject matter, drawing the universales de una manera muy personal que envuelve al visitor into a game of dualisms: beauty and cruelty, poetry and espectador en un juego de dualidades: belleza y crueldad, poética y provocation, light and darkness. provocación, luz y oscuridad. For this exhibition, we have carefully selected works that form a Las obras se han seleccionado cuidadosamente buscando un natural dialogue with the environment in which they are presented. diálogo natural con el entorno en el que se presentan. I would like to thank the Museo Nacional del Prado, Real Jardin Quiero agradecer la colaboración del Museo Nacional del Prado, Botánico and Blain|Southern gallery for their support. el Real Jardín Botánico y la galería Blain|Southern por su apoyo y I hope Dialogues will inspire in its audience the same admiration and aportación al enriquecimiento de nuestro proyecto. respect towards Collishaw’s work that I feel, as well as demonstrating Deseo que Dialogues despierte en el público la misma admiración our commitment to hosting future projects of this kind. y respeto que siento por la obra de Collishaw, y transmitir con ella Ana Vallés nuestra vocación de retorno.
    [Show full text]
  • Julius S. Held Papers, Ca
    http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Sculpture Galleries Object List
    NATIONAL GALLERY OF ART New West Building Sculpture Galleries Checklist *measurements are given in centimeters with inches in parentheses. G1A: Lost-Wax Bronze Casting Display 2002.58.1 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: plaster model (first of ten steps), 1990 plaster .295 x .170 x .140 (11 5/8 x 6 11/16 x 5 1/2); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.2 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: mold, front half (second of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .180 (14 9/16 x 12 3/8 x 7 1/16); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.3 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: clay model (third of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .290 (14 9/16 x 12 3/8 x 11 7/16); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.4 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: clay model reduced by thickness of final bronze (fourth of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .230 (14 9/16 x 12 3/8 x 9 1/16); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.5 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: wax model (fifth of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .290 (14 9/16 x 12 3/8 x 11 7/16); length of entire display: 3.962 (156) Gift of the Iris and B.
    [Show full text]
  • Breastfeeding Pero Sign of Desire, Transgression, and Dionysian Excess (1525–50)
    Chapter 1: Breastfeeding Pero Sign of Desire, Transgression, and Dionysian Excess (1525–50) It is hard to do justice to the bewildering complexity of representations of Pero and Cimon in the arts, which started to appear in the early sixteenth century in a wide range of media: bronze medals, frescoes, engravings, drawings, oil paintings, ceramics, inlaid wood decorations, and statues. Each medium was associated with diff erent viewing practices and generated its own framework of references. The signifi cance of the motif diff ered, depending on the stylistic choices and visual rhetoric employed by printmakers in Nürnberg, gallery painters in Venice, or palace artists at Fontainebleau. What these diff erent renderings have in common is a distinctly erotic presentation of the anecdote in response to Valerius Maximus’s ekphrastic challenge (see Chapter 4). The motif appeared in both its mother-daughter and father-daughter variety, although the cross-gendered version was more popular. The earliest depictions of the theme emerged independently of each other in Southern Germany and Northern Italy around 1525.1 They consist of a miniature pornographic print by Barthel Beham (1525) (Figure 1.1); a Venetian oil-painting of the “bella donna” type, now lost, reproduced in an auction catalog in Vienna from 1922 (Figure 1.2);2 a round monochrome ceiling fresco in the monastery of Sant’Abbondio in Cremona (Figure 1.3) inspired by a bronze medal preserved in the Victoria and Albert Museum (Figure 1.4);3 and a ceramic dish from Pesaro.4 Of the mother-daughter variety, we have fi fteenth-century French book illuminations (Figure 1.5) and a few prints and drawings in the sixteenth century until Poussin rendered the motif famous in his Gathering of the Manna of 1639 (Figure 3.3).
    [Show full text]
  • The Artist's Bookshelf of Ancient Poetry and History
    Am amy golahny y golahny r Rembrandt’s lthough rembrandt’s study of eading the Bible has long been recognized as intense, his A interest in secular literature has been relatively neglected. Yet Philips Angel (1641) praised Rembrandt for “diligently seeking out the knowledge of histo- ries from old musty books.” Amy Golahny elaborates on this observation, reconstructing Rembrandt's library on the evi- dence of the 1656 inventory and discerning anew how Rem- brandt’s reading of histories contributed to his creative pro- cess. Golahny places Rembrandt in the learned vernacular cul- ture of seventeenth-century Holland and shows the painter to have been a pragmatic reader whose attention to historical texts strengthened his early rivalry with Rubens for visual drama and narrative erudition. rembrandt’s Amy Golahny has written numerous articles on and around Rem- brandt, and edited a book on the reciprocity of poetry and painting, The Eye of the Poet (1996). She earned her doctorate at Columbia isbn 90 5356 609 0 reading University, and is professor of art history at Lycoming College, Williamsport, Pennsylvania. The Artist’s Bookshelf of www.aup.nl 9 789053 566091 Ancient Poetry and History a msterdam university press a msterdam university press rembrandt’s reading amy golahny rembrandt’s reading The Artist’s Bookshelf of Ancient Poetry and History amsterdam university press The publication of this book is made possible by a grant from the Prins Bernhard Cultuurfonds and the Historians of Netherlandish Art. Cover design and lay out Kok Korpershoek, Amsterdam Cover illustration Rembrandt, Artemisia,1634. isbn 90 5356 609 0 nur 640 © Amsterdam University Press, Amsterdam, 2003 All rights reserved.
    [Show full text]
  • Download Ebook ^ Peter Paul Rubens
    MAAQIPJHAM4A « eBook # Peter Paul Rubens - Coloring Book for Senior Citizens Peter Paul Rubens - Coloring Book for Senior Citizens Filesize: 6.92 MB Reviews Comprehensive guide for ebook fanatics. I have read and i am certain that i am going to planning to read through yet again once again in the future. Your lifestyle period will likely be change once you full looking over this ebook. (Jakob Davis) DISCLAIMER | DMCA XRTBH2T4MSAL < Doc » Peter Paul Rubens - Coloring Book for Senior Citizens PETER PAUL RUBENS - COLORING BOOK FOR SENIOR CITIZENS To get Peter Paul Rubens - Coloring Book for Senior Citizens eBook, remember to access the link under and download the document or have accessibility to other information that are related to PETER PAUL RUBENS - COLORING BOOK FOR SENIOR CITIZENS book. Createspace, United States, 2015. Paperback. Book Condition: New. 279 x 216 mm. Language: English . Brand New Book ***** Print on Demand *****.Coloring book contains 40 ready-to-color pictures based on Peter Paul Rubens paintings: Self Portrait with Isabella Brant Hagar in the Desert David Slaying Goliath Fortuna Allegory Of Fortune And Virtue Two Sleeping Children Noli me tangere, Christ Appears to Mary Magdalene Emperor Charles V Old Woman The Lute Player Head of a Bearded Man The Dying Seneca The Death of Seneca Emperor Maximilian I (1459-1519) Portrait of Helene Fourment Self Portrait Isabella Brant. first wife Return from the Fields Satyr Two Satyrs Portrait of Susanna Lunden Still Life with Grapes, Watermelon, and Peaches Roman Charity Cimon and Pero Still Life Etude of Lion Etude of Horse Bull The Lion Tamed Nicolaas Rubens, Rubens s Second Son Saint James the Apostle The Duke of Buckingham Bacchus The Three Graces A Storm Landscape with Rainbow Landscape with Cows Ruins of Mount Palatine in Rome Cain Slaying Abel Equestrian Portrait of the Duke of Lema Also next to every ready-to-color picture there is the black-and-white version of original to help in coloring.
    [Show full text]
  • The Revolutionary Career of François Gérard By
    ON SHIFTING GROUND: THE REVOLUTIONARY CAREER OF FRANÇOIS GÉRARD BY JENNIFER MARIE LANGWORTHY DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Associate Professor David O’Brien, Chair Associate Professor Lisa Rosenthal Associate Professor Oscar Vázquez Assistant Professor Jennifer Greenhill ii ii Abstract This dissertation examines the career of François-Pascal-Simon Gérard (1770- 1837) from its beginnings in the mid-1780s through the end of the French Revolution and provides a more complete understanding of Gérard as a key artist of the Revolutionary decade. A goal of this study is to set aside long-standing assumptions concerning Gérard’s political convictions and doubts about his artistic originality in order to shed light on Gérard’s critical contributions to Revolutionary art, and in particular, to the Davidian school. I demonstrate that, in the 1790s, Gérard moved away from the subjects and styles forged in Jacques-Louis David’s (1748-1825) studio. Most significantly, he reinvented classicism as a vehicle for moderate political themes, he reintroduced apolitical, sexualized imagery into classicism, and he established an artistic practice in which the serious business of the history painter was thoroughly integrated with that of the high-society portraitist. To do this, Gérard developed new modes of classicism, experimented with the emergent subject matter of Romanticism, and and explored issues of gender and sexuality in uncommon ways. During the tumultuous decade of the Revolution, when political consensus was at best fleeting and the traditional institutions of the French art world faltered, Gérard’s political and artistic flexibility allowed him not only to escape many of the consequences suffered by politically committed artists, but also eventually to thrive as a leading painter of the society of the late Directory.
    [Show full text]
  • The Rubenianum Quarterly
    2020 The Rubenianum Quarterly 2 The Rubenshuis receives a long-term loan from the Rijksmuseum Living in a ghost town A subject from the literature of classical antiquity that Rubens portrayed more than once Who would ever have imagined that a vibrant is that of Cimon and Pero, or Caritas Romana (Roman Charity). He treated this theme, city like Antwerp could suddenly come to a halt which he painted at least five times, more than any other subject from ancient history. and become a haunted town? Fortunately, we Rubens kept a version in his own collection, possibly even the painting now in the Ri- are better off today than our fellow citizens some jksmuseum, although this is not entirely certain. At the end of September, this work will 400 years ago, when the Black Death ravaged be sent from Amsterdam to the Rubenshuis as a long-term loan. Europe. The people of Antwerp knew about its The story of Cimon and Pero goes back to the Roman historian Valerius Maximus (c. 20 high mortality but had no means to contain the bce–c. 50 ce). In his Dicta et facta, V.iv.7: De pietate in parentes (On piety towards parents), disease. Some religious orders built pesthouses a volume of historical anecdotes arranged according to the virtues and vices they are for the sick and their contaminated dwellings thought to illustrate, the author tells of a certain Cimon, who has been sentenced to death were sealed or burned. Our Lady of Antwerp led by starvation. Cimon’s daughter, Pero, who is allowed to visit him, keeps her father alive an army of saints that the desperate population by secretly giving him her breast.
    [Show full text]
  • Annual Report 1998
    1998 ANNUAL REPORT NATIONAL GALLERY OF ART 1998 Annual Report Copyright © 1999 Board of Trustees, Cover: Detail from Henri de Toulouse-Lautrec, Details illustrated at section openings: Marcelle Lender Dancing the Bolero in "Chilperic," National Gallery of Art, Washington. p. 5: Frans Hals, Portrait of a Member of the Haarlem 1895-1896, oil on canvas, 145 x 149.8 cm, Civic Guard, c. 1636/1638, oil on canvas, Andrew All rights reserved. Collection of Mr. and Mrs. John Hay Whitney, W. Mellon Collection, 1937.1.68 1990.127.1 This publication was produced by the p. 9: Alexander Archipenko, Woman Combing Her Title Page: Detail from Johannes Cornelisz. Hair, 1915, bronze, Ailsa Mellon Bruce Fund, Editors Office, National Gallery of Art Verspronck, Andries Stilte as a Standard Bearer, 1640, 1971.66.10 Editor-in-chief, Frances P. Smyth oil on canvas, 101.6 x 76.2 cm, Patrons' Permanent p. 11: Paul Cezanne, Antony Valabregue, 1866, oil on Fund, 1998.13.1 Editor, Tam Curry Bryfogle canvas, Collection of Mr. and Mrs. Paul Mellon, Editorial assistance, Mariah Shay 1970.35.1 Page 6: Detail from John Frederick Peto, Production Manager, Chris Vogel For the Track, 1895, oil on canvas, 110.5 x 75.9 cm, p. 13: Gilbert Stuart, The Skater (Portrait of William Gift (Partial and Promised) of Jo Ann and Julian Grant), 1782, oil on canvas, Andrew W. Mellon Designed by Susan Lehmann, Ganz Jr., 1997.131.1 Collection, 1950.18.1 Washington, D.C. Inside back cover: The installation of the Alexander p. 19: Jean-Auguste-Dominique Ingres, Mrs.
    [Show full text]
  • Index I: Collections
    INDEX I: COLLECTIONS This index lifts ail the book illustrations and title-pages designed by Rubens and the preparatory works by him or by the engravers or their assistants (drawings, oil sketches, proofs, copper plates). Copies after these have also been included. The works are lifted alphabetically according to place. AMSTERDAM, PROF, J.Q. VAN REGTEREN 260, 333, fig. 204 ALTENA Title-page for M.C. Sarbievski, Lyri- Rubens, drawing: corum Libri IV, Cat. 62a, 290, 55, Title-page for Gelresche Rechten des i5on, 218, 259, 267, 268, 448, Ruremundtschen Quartiers, Cat. 47a, 44 9 . fig- 213 27, 214, 215, 401, figs. 159, 160 Rubens, drawings: AMSTERDAM, RIJKSPRENTENKABINET Title-page for B. Bauhuis and B. Ca- J. Collaert, engraving, proof: billiau, Epigrammata, C. Malapert, Title-page for H, Rosweyde, ’t Vaders Poëmata, Cat. 63a, 269-271, 449, Boeck, Cat. 42, 200, fig. 147 fig. 214 C. Galle, engraving: Title-page for J. Bidermann, Heroum The Death of Seneca, Cat. 31, 162 EpiStolae, Epigrammata et Herodias, C. Galle, engravings, proofs: Cat. 67a, 282, 283, 449, fig. 226 Portrait of Philip Rubens, Cat. 29, Title-page for J. Lipsius, Opera 1 53, fig. roi Omnia, I, Cat. 73a, 3m , 304, 305, Title-page for L. Lessius, De Juftitia 448, 449, fig. 247 et Jure, Cat. 38,186 Vignette for J. Lipsius, Opera Omnia, Title-page for F. Tristan, La Peinture II-IV, Cat. 74a, 286, 307-309, fig. de la Sérénissime Princesse Isabelle 255 Claire Eugénie, Cat. 66, 28on, ? Rubens, drawing: fig. 223 Title-page for M. Barberini, Poëmata, Title-page for O.
    [Show full text]
  • Representations and Contexts of Infanticide in Tudor and Stuart Literature of Stage and Street
    Piteous Performances: Representations and Contexts of Infanticide in Tudor and Stuart Literature of Stage and Street Massacre of the Innocents (c.1310) Wallpainting, Croughton, Northants A thesis submitted for the degree of Ph.D. of University College London by Josephine Elaine Billingham February 2015 1 Statement I, Josephine Elaine Billingham confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. _________________________________________________ 3 Abstract This research derives from analysis of cases of suspicious infant death recorded in Sussex Coroners’ inquests between 1485 and 1688. It examines both infanticides and child murders, following the early modern practice of defining “infant” as up to age seven. The historical records, which are summarised in several theme-based tables, are combined with close readings of imaginative texts, including plays by Shakespeare, Middleton and Webster, broadside ballads, and pamphlets. Archival and literary accounts are examined in the context of early modern works concerning law, religion, and the body, alongside recent studies of women’s history, and childbirth. Anthropological theories concerning rites of passage, liminality, waste and abjection invite new ways of thinking about early modern attitudes toward infant life. They reveal the range and complexity of child murder and infanticide, and its motives. This analysis includes the involvement of men and married women and discusses the structuring of dangerous motherhood by the linguistic similarities of crime pamphlets and breastfeeding literature. It suggests that, far from being unthinkable, infanticide might have been encouraged (by mothers, friends, masters), and could be facilitated by communities’ ambivalent attitude toward young life.
    [Show full text]