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"Judith Leyster"
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A light of her own
Holland, 1633. Judith Leyster is a painter, dodging the law and whispers of murder in hopes of becoming the first woman admitted to the prestigious Haarlem artist's guild. Maria is a Catholic in a country where the faith is banned, hoping to absolve her sins by recovering a lost saint's relic. Both women's destinies will be shaped by their ambitions, running counter to the city's most powerful men, whose own plans spell disaster.
Book
Judith Leyster’s A Boy and a Girl with a Cat and an Eel: An Intersectional Approach
In A Boy and a Girl with a Cat and an Eel, concerns about class, decorum, and civility intersected with contemporary dialogue about the distinction between humans and animals, specifically, how human children needed to be educated to be distinguished from the wild, uncivilized state of animals and peasants. Both animals held significance surrounding behaviors that separated the moral from the immoral; cats and eels were pets and food, and they were used in baiting pastimes: cat clubbing and eel pulling. Paired with the children, Leyster’s choice of animals raised multiple moral questions and allowed for multiple interpretations, making the work widely appealing and setting Leyster apart in a tight market for genre paintings. These layers of possible meanings continue to make the work compelling today and shed light on how visual culture reflected and reinforced human–animal and social class distinctions.
Journal Article
The Philosopher, the Priest, and the Painter
In the Louvre museum hangs a portrait of a middle-aged man with long dark hair, a mustache, and heavy-lidded eyes, and he is dressed in the starched white collar and black coat of the typical Dutch burgher. The painting is now the iconic image of René Descartes, the great seventeenth-century French philosopher. And the painter of the work? The Dutch master Frans Hals--or so it was long believed, until the work was downgraded to a copy of an original. But where, then, is the authentic version located, and who painted it? Is the man in the painting--and in its original--really Descartes?
A unique combination of philosophy, biography, and art history,The Philosopher, the Priest, and the Painterinvestigates the remarkable individuals and circumstances behind a small portrait. Through this image--and the intersecting lives of a brilliant philosopher, a Catholic priest, and a gifted painter--Steven Nadler opens up a fascinating portal into Descartes's life and times, skillfully presenting an accessible introduction to Descartes's philosophical and scientific ideas, and an illuminating tour of the volatile political and religious environment of the Dutch Golden Age. As Nadler shows, Descartes's innovative ideas about the world, about human nature and knowledge, and about philosophy itself, stirred great controversy. Philosophical and theological critics vigorously opposed his views, and civil and ecclesiastic authorities condemned his writings. Nevertheless, Descartes's thought came to dominate the philosophical world of the period, and can rightly be called the philosophy of the seventeenth century.
Shedding light on a well-known image,The Philosopher, the Priest, and the Painteroffers an engaging exploration of a celebrated philosopher's world and work.
eBook
G2: Arts: Culture Flash! This week's news in the arts: cats
In books, cats tend to be more homely, from Ian McEwan's The Daydreamer (in which a boy imagines entering the being of the family cat) to Judith Kerr's classic Mog picture books for kids (although in Goodbye Mog, the cat dies - grateful perhaps to be free of all that 1970s furniture). Pop goes straight for the glamorous, nocturnal side of cats, an approach best summed up by the words of Tom Jones: \"What's new, pussycat? Wooah woh woh whoah.\" And cartoons, especially Tom and Jerry, like to make cats look murderously violent, which may be how you feel after seeing the Lloyd Webber musical Cats, inspired by TS Eliot's poems in Old Possum's Book of Practical Cats
Newspaper Article
Singular women : writing the artist
In this groundbreaking volume, contemporary art historians--all of them women--probe the dilemmas and complexities of writing about the woman artist, past and present. Singular Women proposes a new feminist investigation of the history of art by considering how a historian's theoretical approach affects the way in which research progresses and stories are told. These thirteen essays on specific artists, from the Renaissance to the present day, address their work and history to examine how each has been inserted into or left out of the history of art. The authors go beyond an analysis of the past to propose new strategies for considering the contributions of women to the visual arts, strategies that take into account the idiosyncratic, personal, and limited rhetoric that confines all writers. Many titles in the Voices Revived program are also newly available as ebooks, offered at a discounted price to support wider access to scholarly work.
eBook
\Rubens' exhibit a must ; First survey of Flemish Baroque
Both exhibitions are also \"firsts\" of significant magnitude - the [Judith Leyster] show being the first retrospective of the artist's work anywhere and the Rubens show being the first survey of Flemish Baroque painting in the United States. Both are magnificent demonstrations of how economic and social conditions influenced art and how art, in turn, reflects its times. And they are, literally, as different as north and south, with Leyster's more sedate art flourishing in the Netherlands northern provinces at nearly the same time that Rubens and his circle churned out their turbulent, impassioned work in the Spanish-controlled South.
Newspaper Article
Riveting exhibit of Leyster's works
[Judith Leyster] painted herself with a gracious, confident countenance, unlike the way any male artist of the period painted women - unlike even the way Leyster painted other women. Her head is swung back. Her eyes gaze directly into the viewer's. Her lips are parted as if she was about to speak. Part of the pleasure and importance of this exhibition is, of course, rediscovering Leyster. She was a professional anomaly in her time whose art had been virtually lost to us since her death in 1661. Another part, however, is the way the exhibition seeks to cast Dutch painting in a somewhat different light. It includes many more paintings by Leyster's contemporaries like her husband, Jan Miense Molenaer; Frans Hals and his brother, Dirck; and the de Grebber family, to demonstrate the close similarities in style and subject matter. In the end, the exhibition's obvious sympathy for Leyster needs no rationalization. She clearly was an unusual and inspired artist who carved out a niche in a world dominated by men. Add the allure sparked by all the mystery that surrounds her, and Judith Leyster becomes the stuff of legend.
Newspaper Article
Review: Agenda: The List: The 10 best: Flower paintings: AS CHOSEN BY LAURA CUMMING OBSERVER ART CRITIC
\"If I could paint the flower exactly as I see it no one would see what I see because I would paint it small like the flower is small. So I said to myself - I'll paint it big. . . and they will be surprised.\" O'[Keeffe]'s poppies are among her most famous works, the glossy red and orange flowers exploding on a canvas almost four feet wide. There is no background to distract from their sheer force of personality. Made in 1928, the painting is a vast close-up, pulling the eye into the dark heart of these flowers through the power of scale and colour. [Andy Warhol] often turned to flowers for inspiration, from the blotted-line daisies of the 1950s to the Japanese ikebana prints of the 70s. But his most famous series of flower paintings, begun in 1964, was based on a photograph of hibiscus blossoms (the photographer attempted to sue). Warhol would drench the flower's floppy shape with brilliant colour and set a quartet of blossoms against a background of undergrowth. They came in multiple colour schemes for the next 20 years, more or less detailed or abstracted: floating flowers transformed into psychedelic decor. Which way up? Hokusai's marvellous image of spring cherry blossom with blue sky behind it is frequently reproduced upside down. You can see why: the pink and white flowers blossom in space, there is no sense of gravity and the bullfinch doesn't help with orientation. There is a giddy sense of floating among the bright petals, and no middle distance so that the eye travels all over the image. And though we speak of flatness and abstraction in Japanese prints, in this case the picture has it right: our eyes really do get lost in the floating world of cherry blossom.
Newspaper Article