The Cult of Artistry in Zelda Fitzgerald's Save Me the Waltz

The Cult of Artistry in Zelda Fitzgerald's <i>Save Me the Waltz</i>

Music in the Works of F. Scott Fitzgerald: Unheard Melodies

Music in the Works of F. Scott Fitzgerald: Unheard Melodies

Reviewed by: Portraits of the Artist as a Young Woman: Painting and the Novel in France and Britain, 1800–1860 by Alexandra K. Wettlaufer Melissa Percival (bio) Alexandra K. Wettlaufer, Portraits of the Artist as a Young Woman: Painting and the Novel in France and Britain, 1800–1860. Columbus: Ohio State University Press, 2011, 338 pp. $59.95 (cloth). Alexandra Wettlaufer’s book explores the figure of the female artist in France and Britain in the first half of the nineteenth century, juxtaposing the careers of actual women with representations of female artists in portraiture and the novel. This task requires an awareness of the different working conditions of artists on both sides of the Channel, and also a sensitivity to the varied inflections of artistic representation in different cultural milieux and artistic genres. To her credit, the author mainly keeps this vast, complex territory well under control. In her Introduction, exceedingly well grounded in previous scholarship, she describes how female artists and writers contended with two distinct issues: firstly the patriarchy of the artistic profession, and secondly the masculinist discourse of Romanticism—so anxious about the male artist’s survival that it ruthlessly quelled any notion of female creativity. Against these obstacles, Wettlaufer tells a largely positive story of the struggle by women artists to forge a creative identity in the public sphere. Their achievements, she argues, are not least down to their collective endeavors in affirming a sisterhood of artists. Moreover, she suggests, through the realism and pragmatism with which they approached their task, nineteenth-century women artists provided a compelling counter-model to the self-aggrandizing, dislocated Romantic male artist. Three thematic sections follow on, each neatly comprising three chapters. Part I examines the artist’s studio (actual and represented) as a charged physical space where women forged their careers and negotiated their entry to the sphere of cultural production. Wettlaufer contrasts an eighteenth-century discourse of exceptionality (foregrounded in Mary Sheriff’s work on Louise Elisabeth Vigée Lebrun) where female artists’ endeavors were constructed in terms of isolation and rivalry, with a collective ideal that emerged in the early nineteenth century where female artists’ groups were formed as alternatives to the homosocial cliques of, for example, Jacques-Louis David or the pre-Raphaelite brotherhood. More organized French studio practice is contrasted with the informal support networks of the female art scene in Britain. Also stressed is the sisterhood of the arts themselves—the paragone is here gendered as masculine—where female writers and artists mutually supported one another. With reference to paintings [End Page 164] of the studio by artists such as Amélie Cogniet and Mary Ellen Best, Wettlaufer shows how gendered notions of space, objectification and viewing practice were challenged. Two novels are discussed in subsequent chapters. Firstly Marceline Desbordes-Valmore’s studio novel, L’atelier d’un peintre, which questions and subverts many gendered tropes of the artist, is read as a “corrective” to the “misognynistic fantasies” of Balzac. Then Anna Mary Howitt’s utopian vision of female solidarity, Sisters in Art, is analyzed with reference to campaigns in Britain for women’s education and professional rights. In Part II, “Cosmopolitan Visions,” links between the female artist and the Other are explored. Chapter 4 includes a comparative reading of Germaine de Stael’s Corinne, ou l’Italie and Sydney Owenson’s The Wild Irish Girl: A National Tale, both novels where hierarchies of cultural difference are mapped onto gender hierarchies. The placing so close together of Stael and Owenson throws up some unexpected complexities—which may be more obvious to this English reviewer than to readers from other shores. Namely, it would have been worth exploring Oswald’s “Scottishness.” As a land-owner of English descent, Oswald represents the colonizer of his native Scotland, a land with an unfettered indigenous culture as compelling as that of Ireland or Italy. Class issues subtend this discussion, and one wants to know more about class in relation to other parts of the book. To what extent did the “sisterhood” of artists enable women of all backgrounds, not just those from artistic or privileged milieux, to participate in the sphere of cultural production? “Cosmopolitan Visions” is...

The Arrival of New Women

Revolutionary Violence and the Rise of the Art Novel

As a conceptual approach in art practice, the female body has represented both a cultural barrier and a source of inspiration throughout art history. The adoption of the female body as an art theme is prevalent across many different artistic movements, using varying conceptual approaches. Women struggle against paradigms of inferiority to this day, though their individual cultural identity varies according to their society’s beliefs and customs – for example, many contemporary Middle Eastern cultures and customs are based on a patriarchal past, when men wielded power over women. Women all over the world experience subjugation to varying degrees in the fields of employment, education, sexuality and reproductive choice. The female body in Middle Eastern societies is a red line that artists are not allowed to cross. Though many Middle Eastern civilizations have dealt freely with the female body, as can be seen in the paintings and sculptures of ancient Egypt, many social and religious factors made the female body taboo in most Middle Eastern cultures. However, on close scrutiny of modern art history in Middle Eastern and Islamic countries, we can identify outstandingly courageous female artists who succeeded in breaking the rules. They chose to express themselves through their own own form of art as an expression of freedom. They chose to use their own bodies as an art medium, which made them pioneers in their countries, and many female artists followed their example. Media art has flourished in Arab countries since the 1990s, especially in Egypt. Many of these female artists distinguished themselves as pioneers, aligning themselves with new art forms and challenging the prevailing stereotypical notion of the female artist at that time. This new mode of female self-expression and identity has developed over time and remains an ongoing process in the twenty-first century. This article considers how Middle Eastern female media artists have struggled to transform stereotypes of women by using their own bodies as an artistic element, and how they have expressed the concept of freedom through their self-body image.

Review of Gendered Bodies: Toward a Women's Visual Art in Contemporary China, Reviewed July 2016 by Annie Kasner, Independent Scholar, annie.kroshus@gmail.com.

Women (Re)Writing Milton

Hilma af Klint and the Need for Historical Revision

Modernist Art in Ethiopia

Ancient and Medieval: <b><i>Crown, Household and Parliament in Fifteenth‐Century England</i>. By A.R. Myers</b>

"In The New Woman International, editors Elizabeth Otto and Vanessa Rocco have gathered a group of intellectually stimulating and provocative essays that present the emergence, both tentative and triumphant, of this new global icon and her increasingly multicultural image. Written largely by historians of art and film, these essays emphasize visual analysis of the photographic and film media that carried the new woman's influential message." ---Norma Broude, American University "The New Woman International focuses on the New Woman not simply as an image to be analyzed but also as a producer of images and text. This groundbreaking anthology represents a theoretically sophisticated set of essays that thoroughly examine the phenomenon of the New Woman in previously unexplored ways." ---Sarah E. Chinn, Hunter College, CUNY Images of flappers, garçonnes, Modern Girls, neue Frauen, and trampky---all embodiments of the dashing New Woman---symbolized an expanded public role for women from the suffragist era through the dawn of 1960s feminism. Chronicling nearly a century of global challenges to gender norms, The New Woman International: Representations in Photography and Film from the 1870s through the 1960s is the first book to examine modern femininity's ongoing relationship with the nineteenth and twentieth centuries' most influential new media: photography and film. This volume examines the ways in which novel ideas about women's roles in society and politics were disseminated through these technological media, and it probes the significance of radical changes in female fashion, appearance, and sexual identity. Additionally, these original essays explore the manner in which New Women artists used photography and film to respond creatively to gendered stereotypes and to reconceive of ways of being a woman in a rapidly modernizing world. The New Woman International brings together different generations of scholars and curators who are experts in gender, photography, literature, mass media, and film to analyze the New Woman from her inception in the later nineteenth century through her full development in the interwar period, and the expansion of her forms in subsequent decades. Arranged both chronologically and thematically, these essays show how controversial female ideals figured in discourses including those on gender norms, race, technology, sexuality, female agency, science, media representation, modernism, commercial culture, internationalism, colonialism, and transnational modernity. In exploring these topics through images that range from montages to newspapers' halftone prints to film stills, this book investigates the terms of gendered representation as a process in which women were as much agents as allegories. Inaugurating a new chapter in the scholarship of representation and New Womanhood and spanning North America, Western and Eastern Europe, Asia, and the colonial contexts of Africa and the Pacific, this volume reveals the ways in which a feminine ideal circled the globe to be translated into numerous visual languages. With a foreword from the eminent feminist art historian Linda Nochlin, this collection includes contributions by Jan Bardsley, Matthew Biro, Gianna Carotenuto, Melody Davis, Kristine Harris, Karla Huebner, Kristen Lubben, Maria Makela, Elizabeth Otto, Martha H. Patterson, Vanessa Rocco, Clare I. Rogan, Despina Stratigakos, Brett M. Van Hoesen, Kathleen M. Vernon, and Lisa Jaye Young. DIGITALCULTUREBOOKS: a collaborative imprint of the University of Michigan Press and the University of Michigan Library

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Reviewed by: Women and Death: Linkages in Western Thought and Literature, and: A Portrait of the Artist as a Young Woman: The Writer as Heroine in American Literature, and: Insatiable Appetites: Twentieth-Century American Women's Bestsellers, and: Fantasy and Reconciliation: Contemporary Formulas of Women's Romance Fiction, and: Reading the Romance: Women, Patriarchy, and Popular Literature Sharon O'Brien Beth Ann Bassein . Women and Death: Linkages in Western Thought and Literature. Westport: Greenwood, 1984. 207 pp. $27.95. Linda Huf . A Portrait of the Artist as a Young Woman: The Writer as Heroine in American Literature. NY: Unger, 1983. 159 pp. $13.50. Madonne M. Miner . Insatiable Appetites: Twentieth-Century American Women's Bestsellers. Westport: Greenwood, 1984. 142 pp. $27.95. Kay Mussell . Fantasy and Reconciliation: Contemporary Formulas of Women's Romance Fiction. Westport: Greenwood, 1984. 192 pp. $27.95. Janice A. Radway . Reading the Romance: Women, Patriarchy, and Popular Literature. Chapel Hill: U of North Carolina P, 1984. 222 pp. No price given. Beth Ann Bassein takes on a major project in Women and Death: Linkages in Western Thought and Literature: to examine the "image, aura, and actuality of death as they relate to women's lives both in literature and, insofar as art represents life, in reality as people know or define it." In exploring what she sees as the "almost universal" associations among women, death, and sexuality in patriarchal Western culture, Bassein ranges widely throughout history and literature, devoting chapters to gender and language, Christianity, Renaissance poetry, adultery in fiction, the "death aura" in modern poetry, and twentieth-century British and American fiction. She ends with a chapter on Adrienne Rich, whose subversion and revision of the traditional identification of women and death allows Bassein to end the book on an optimistic note. An engaged feminist critic, Bassein is disturbed by [End Page 353] the links she senses between the negative attitudes expressed toward women in literature and male violence toward women in life; she concludes with an Appendix that provides a brutal list of social crimes against women (including female infanticide, foot-binding, rape, suttee, and murder), arguing that literary and symbolic associations of women with death help to legitimate such acts. The book's ambitious scope—Bassein's attempt to synthesize attitudes toward women and death across cultures and historical periods—is also its major weakness. Because Bassein assumes an unchanging continuity from the Middle Ages to the present in cultural attitudes toward "the inseparable triad: woman, sex, death," she gives us an ahistorical argument, failing to account for changing ideologies as well as for varying social and historical contexts. Hence she also oversimplifies the complex interplay between symbolic and social systems, image and attitude, prescription and behavior. Although she hopes to examine both the "image" and the "actuality" of women's lives, she tends to confuse the two, as in her assumption that a repressive Victorian sexual ideology "cut [women] off from real life" and "stifled their development." Recent studies by Carl Degler and Peter Gay, however, demonstrate that this was not the case: there was considerably more sexual freedom and enjoyment in the nineteenth century for both women and men than the prescriptive literature would suggest. Bassein's attempt to integrate systems of cultural representation—literature, myth, religion—with social/historical actualities is admirable, but her insufficient awareness of social history unfortunately places both her questions and her conclusions on shaky methodological ground. In A Portrait of the Artist as a Young Woman Linda Huf avoids the problems raised by interdisciplinary scholarship by restricting herself to a literary subject: her concern is the feminist exploration of the interconnections between gender and genre. Proceeding from the assumption that the male kunstlerroman does not tell the woman artist's story, Huf sets out to define and to analyze the female novel of artistic emergence. She devotes an introductory chapter to isolating the common elements in the female kunstlerroman and then applies her paradigm to six American novels, ranging from the midnineteenth to the twentieth century: Ruth Hall (1855), The Story of Avis (1877), The Awakening (1899), The Song of the Lark (1915), The Heart Is a Lonely Hunter (1940), and The Bell Jar (1963...