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Lehrende: Marisa Mandabach
Veranstaltungsart:
Seminar
Anzeige im Stundenplan:
Semesterwochenstunden:
2
Credits:
2,0
Unterrichtssprache:
Deutsch
Min. | Max. Teilnehmerzahl:
- | -
Weitere Informationen:
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WICHTIGE Hinweise vom Studienbüro zum SoSe 21
- Leistungspunkte und An- und Abmeldung
Für Veranstaltungen mit unterschiedlichen LP-Varianten gilt:
1. Pro Lehrveranstaltung nur eine Anmeldung!
2. Ein Wechsel der LP-Variante einer Lehrveranstaltung kann NUR während der Anmeldephasen vorgenommen werden!
Abmeldungen von Veranstaltungen sind NUR bis zum Ende der Abmeldephase möglich!
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https://www.kulturwissenschaften.uni-hamburg.de/studium/stine-anleitungen.html
- Die Modulübersichten als Orientierung, damit Sie die richtigen Modulzuordnungen in STiNE vornehmen können, finden Sie in Ihrem Studienführer auf der Seite: https://www.kulturwissenschaften.uni-hamburg.de
Kommentare/ Inhalte:
This course will trace several cases of women artists in Europe ca. 1500-1800. Despite and because of their potential to bear children, early modern women were classified as inferior creators of works of art. The rare women who did achieve artistic success were seen as marvels of nature—oddities who, no matter how skilled, were always lacking in some important sense. Yet even as art theorists and biographers were constructing exclusively male notions of inspiration and ‘genius’, women’s creativity and technical skills were flourishing in a variety of media and techniques, including needlework, printmaking, and wax sculpture—and a number of women painters were producing bold, innovative works that called into question the supposed limitations of their makers.
How were perceptions of women as makers informed by natural philosophical ideas about creation in nature, by concepts of techne (for instance, the myth of Arachne), or by the allegorical gendering of painting as Pictura? How did women respond to the restrictions put on their creativity, for example by pursuing careers as portraitists or still life painters? How did women artists manipulate and exploit the expectations of both male and female viewers, and how did gender factor into how they marketed their works? What role did gender play in the differentiation of arts from crafts, and how were women’s crafts used as tools of communication or social networking? To what extent did women artists identify with one another? From Properzia de Rossi’s marvelous miniature sculptures carved in fruit stones, to Catherina van Hemessen’s creation of the earliest known self-portrait of any painter seated at the easel, to Artemisia Gentileschi’s bravura depictions of women in action, to the dazzling floral still lives of Rachel Ruysch, women artist shaped early modern art history in myriad ways. Rather than embracing essentialist notions of female creativity, the course’s aim will be to historicize such notions and to show a diverse spectrum of creative and professional strategies employed by women makers before modernity—paying attention to the complex interactions between gender, class, and other forms of identity.
Language: This course will be taught in English and requires a good understanding of both spoken and written English. However, all students are welcome to participate in the discussions, give presentations, and submit their written assignments in German.
Structure: Each weekly meeting will begin with a short lecture by the instructor, followed by a group discussion. Halfway through the semester, students will begin collaboratively preparing an online exhibition on the topic of women artists.
Leistungsanforderungen und Voraussetzungen
BA:
2 LP: in der Regel regelmäßige aktive Teilnahme
4 LP: in der Regel Referat
6 LP: in der Regel Referat und Hausarbeit
Art und Umfang von Prüfungs- bzw. Studienleistungen werden ggf. zu Beginn der Lehrveranstaltung bekannt gegeben.
MA:
2 LP: in der Regel regelmäßige aktive Teilnahme
5 LP: in der Regel Referat (ca. 20–40 Min).
10 LP: in der Regel Referat (ca. 20–40 Min) und in der Regel Hausarbeit (Umfang ca. 12–15 Seiten, Bearbeitungszeit: ca. 3–7 Wochen).
Art und Umfang von Prüfungs- bzw. Studienleistungen werden ggf. zu Beginn der Lehrveranstaltung bekannt gegeben.
Weitere Informationen
Sie erhalten von Ihren Dozierenden zum Beginn des Semesters eine Email oder eine Nachricht über STiNE mit allen Informationen zur Durchführung der Veranstaltung (Agora, Zoom etc.). Bitte prüfen Sie hierfür bitte unbedingt Ihre @studium.uni-hamburg.de Emailadresse.
Literatur:
Frederika H. Jacobs, “Women’s Capacity to Create: The Unusual Case of Sofonisba Anguissola,” Renaissance Quarterly 47/1 (Spring, 1994): 74-101.
Michael Cole, Sofonisba’s Lesson: A Renaissance Artist and her Work (Princeton, 2019) [selected pages]
Sheila Barker, “The First Biography of Artemisia Gentileschi: Self-Fashioning and Proto-Feminist Art History inCristofano Bronzini’s Notes on Women Artists,” Mitteilungen des Kunsthistorischen Institutes 60 no. 3 (2018): 404-35.
Sheila Barker, ed., Artemisia Gentileschi in a Changing Light (London, 2017) [selected pages]
Marilyn Dunn, “Convent Creativity,” in The Ashgate Research Companion to Women and Gender in Early
Modern Europe (Ashgate, 2013): 53-74.
Linda Nochlin, “Why Have There Been No Great Women Artists?” Art News 69 (1971): 22-39, 67-71.
Babette Bohn, “Female Self-Portraiture in Early Modern Bologna,” Renaissance Studies 18 (June 2004): 239-86.
Joanna Woods-Marsden, Renaissance Self-Portraiture. The Visual Construction of Identity and the Social Status of the Artist (New Haven: Yale University Press, 1998). Part IV: “The Self as Pictrix Celebris”: 183-222.
Lia Markey, "The Female Printmaker and the Culture of the Reproductive Print Workshop," in the Paper
Museums catalogue (including prints as designs for textiles)
Elizabeth Honig, "The Art of Being 'Artistic': Dutch Women's Creative Practices in the 17th Century," Women's Art Journal 22/2 (2001): 31-39.
Roszika Parker, The Subversive Stitch: Embroidery and the Making of the Feminine (London, 1984).
Katlijne van der Stighelen, “Amateur Artists. Amateur art as a social skill and a female preserve. 16th and 17th centuries,” in Delia Gaze (ed, Dictionary of Women Artists. vol. I (Chicago: 1997): 66-70.
Celeste Brusati, “Stilled Lives: Self-portraiture and self-reflection in seventeenth-century Netherlandish
still-life painting,” Simiolus 20 no 2/3 (1990-91): 168-82.
Frima Fox Hofrichter, “Judith Leyster’s Self-Portrait: ‘Ut Pictura Poesis’,” in Essays in Northern European Art Presented to Egbert Haverkamp-Begemann on His Sixtieth Birthday (Doornspijk, 1983): 106-9.
Susan Frye, “Sewing Connections: Narratives of Agency in Women’s Domestic Needlework,” ch. 3 of Pens and Needles: Women’s Textualities in Early Modern England (Philadelphia, 2010), 116-59.
Evelyn Lincoln, “Models for Science and Craft: Isabella Parasole’s Botanical and Lace Illustrations.” Visual Resources 17 no 1 (2001): 1-35
Philip Sohm, “Gendered Style in Italian Art Criticism from Michelangelo to Malvasia,” Renaissance Quarterly 48 no. 4 (Winter 1995): 759-808.
Mary Garrard, “Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting,” Art Bulletin 62 (1980): 97-112.
Elena Ciletti, “Gran macchina e` bellezza?: looking at the Gentileschi Judiths” in Mieke Bal (ed), The Artemisia Files: Artemisia Gentileschi for feminists and other thinking people (Chicago: 2005): 63-105.
Modulkürzel:
56-647 (2 LP)
BA ab WiSe 12/13 (HF/NF): EM2, EM3, VM1, FWB-intern/WB-KULTUR, FWB-uniweit
BA ab WiSe 16/17 (HF/NF): EM2, EM3, VM1, WB1-FV, WB-KULTUR, SG
56-647(4 LP)
BA ab WiSe 12/13 (HF/NF): AM2, AM4, FWB-intern/WB-KULTUR, FWB-uniweit
BA ab WiSe 16/17 (HF/NF): AM2, AM4, WB1-FV, WB-KULTUR, SG
56-647 (6 LP) BA ab WiSe 12/13 (HF/NF): AM2, AM4, FWB-intern/WB-KULTUR, FWB-uniweit
BA ab WiSe 16/17 (HF/NF): AM2, AM4, WB1-FV, WB-KULTUR, SG
56-647 (2 LP) MA (alle): WM (fachliche Vertiefung), WM (MA-WB-KULTUR), WM (SG)
56-647 (5 LP) MA (alle): PM1, PM3, PM4, PM5, WM (fachliche Vertiefung)
56-647 (10 LP) MA (alle): PM1, PM3, PM4, PM5, WM (fachliche Vertiefung)
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