Nuns are often viewed as cloistered, religious women who are set apart from the rest of society. As a result, their work is often marginalized. However, after studying these manuscripts, Moreton discovered that history should paint a much different picture of these religious women. Moreton says secular and religious life was intertwined during the Renaissance, and high dowry fees prevented a father from negotiating marriage agreements for all his daughters.
For example, if a father had six daughters, he might be able to pay the dowry for only two, and the remaining four daughters would enter into convent life.
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Many of these religious women came from elite families. This, says Moreton, dispels the notion that all nuns were too poor to do anything but enter the convent. To produce these books, they had to know Italian, Latin, and Greek. They also had to have a range of scribal and artistic abilities. These were educated women. Moreton found most of these manuscripts in good condition. Jonathan Wilcox agrees. In , Moreton earned a graduate certificate from the internationally-known Center for the Book after producing an analysis and transcription of a late-medieval convent record book from Venice, which is housed in Special Collections at the UI Main Library.
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Her work—first at the Center for the Book and later as a doctoral student in history in the College of Liberal Arts and Sciences—contributed to the scholarship found in her award-winning dissertation. Her work combines expertise on book production, manuscript studies, and the history of 15th- and 16th-century Italy. About Us Contact Us Search.
Toggle navigation Menu Graduate College. The sources in this research guide form connections between art and history to provide arguments for or against the idea of a factual representation of women in art.
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The guide consists of a General Overview section with sources that cover a broad sense of the representation of women in art in several art periods but focusing on Victorian Art, Renaissance Art, and Art of the Enlightenment. Manet, Olympia , ; Wikipedia.
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Through several essays, the authors show how the social, political, and religious circumstances of different art periods affect the way women were represented. The authors spread the content of the essays among different regions in Europe which I feel is essential to a study on the representation of women in art as it lends itself as an enciclopediac-like source for all of Europe, rather than just one country or region. I feel this source is critical in doing research on the representation of women in art as it offers variety in content relative to the thesis, extensive evidence to support its arguments, and a generally unbiased presentation of information as it seeks to create a new art history rather than simply working with the modern version.
Broude, N. Feminism and Art History: Questioning the Litany. Although this sequel is heavily shaped by feminist theories, creating a somewhat biased presentation of information, I believe the authors were more effective in setting the sociopolitical context. Without inserting gender theories, ones relevant to the time when the art was created, their thesis would have become out of context and their arguments would have lessened in relevance and influence. Although the majority of this book focuses on post-Renaissance art, I feel it is important in conducting research on the representation of women in art as it touches upon subjects that were not discussed in the prequel including sexual violence, lesbianism, and early feminism all during or before the Renaissance.
Bourde, N. Boulder, CO: Westview Press, Paola Tinagli gives a general overview of women as subject-matter in Italian Renaissance painting. I believe this is an essential source of information as the author places a heavy focus on one of the key concepts in studying art history; the relationship between the patron and the artist.
Most subject-matter in Renaissance Art is a direct product of this relationship and no art history critique is complete without consideration of it. Tinagli, P. Manchester, England: Manchester University Press, Nead, L.
Gender Equality During the Renaissance Essay
London: Routledge, In this short essay, Saylor Academy offers a compact look at the effects of 15thth century European society on the representation of women in art. Their most important job was to be a mother and wife, before being a woman. Women and the Enlightenment explores women and their involvement in salon culture and literature. January 1, Accessed November 13, This source, although in an informal format, provides numerous links that represent the most common trends in Victorian Art late 19th century. These categories include Female Power e.
Some of the links in this source lead to essays digressing into each of the topics while other links provide a wide array of paintings, symbols, and illustrations that fall under each category Female Power, Woman as Victim , etc. July 13, Poussin, Rape of the Sabine Women, ; Wikipedia. From Victim to Victor is the fourth part of a seven-part essay series written by Roger Denson covering topics in art history ranging from gender performance to gender divides.
The writer aims to develop a discourse concerning the representation of rape in art. I believe the most interesting part of this essay is the fact that he addresses the time differences in the art he critiques. He is well aware that most historical rape scenes are a product of male artists while the pivotal, modern rape scenes are a product of female artists. Although Denson places a heavy focus on modern art made by female artists, he does provide substantial evidence to support his comparison; thereby lending itself effectively to a research paper on the representation of women in historical rape scenes.
SparkNotes: Italian Renaissance (): Women in the Renaissance
November 11, Accessed November 12, Botticelli, Primavera , ; Wikipedia. Wolfthal, D. Cambridge: Cambridge University Press,