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Francois Boucher
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Gustave Corbet
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J W Godward
J W Waterhouse
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Jules Joseph Lefebvre
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Lawrence Alma Tadema
Sexy Venus
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Romantic Love Poems
Pierre Auguste Renoir
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Women Painters of the World

Jensen. C Frau Marie
Jopling. R Mrs. Louisa. R R.B.A.
Kauffman. F Angelica. R R.A.
Kemp Welch. B Miss L. E.. R R.B.A.
King. E Miss Jessie M.
Koch. U Elisa
Kollwitz. W Freulein Kethe
Laucota. N Freulein Herstine
Larcombe. O Miss Ethel.
Le Brun. T Madame Vigee
Leleux. H Madame Armand
Le Roy. O adame
Lescot. X Madame Haudebourt
Leyster. T Judith
Longhi. E Barbara
Louise. B H.R.H. Princess. Duchess of    Argyll
Lucas Robiquet. C Mme.
Macbeth. D Miss Ann
Macdonald. T Miss Biddie
Macgregor. I Miss Jessie
Marcotte. G Mlle. E.
Martineau. M Miss Edith. R A.R.W.S.
Maupeou. E Caroline von
Mayer. P Constance
Mee. R Mrs. Anne
Meen. T Mrs. Margaret
Merian. U Maria S.
Merritt. V Mrs. Anna Lea. R R.B.A.
Meunier. E Mlle. Georgette
Morin. P Eulalie
Morisot. R Berthe
Moser. G Mary. R R.A.
Nicolas. M Mlle. Marie
Normand. J Mrs. (Henrietta Rae)
Offor. T B. (Mrs. F. Littler)
Oppenheim. E Mlle. A.
Parlaghy. K Frau Vilms Paymal Amouroux. L Mme.
Petiet. S Mlle. Marie
Phillott. F Miss Constance. R A.R.W.S.
Prestel. H Maria C.
Real del Sarte. U Mme.
Ragnoni. E Barbara
Read. H Catharine
Reis. T Maria G. Silva
Robertson. W Mrs. J.
Roederstein. I Mlle. Ottilie
Romani. D Juana
Romany. Y Mme. Adele
Rongier. L Mlle.. R Jeanne
Ronner. F Mme. Henriette
Rothschild. N de. R Baroness Lambert
Rude. V Mme. Sophie
Ruysch. G Rachel
Salanson. S Mlle. Eugenie
Salles Wagner. C Adelaede
Sawyer. R Miss Amy
Schjerfbeck. K Helene
Schurman. F Anna Maria
Schneider. I Mme. Felicie
Schwartze. E Therese
Sindici. K Doea Stuart
Sirani. S Elisabetta
Sister A. O Sienese Nun
Sister B. E Sienese Nun
Smythe. J Miss Minnie. R A.R.W.S.
Sonrel. T Elisabeth
Spencer. D Lavinia. R Countess
Staples. G Mrs. (M. E. Edwards)
Starr. K Louisa (Mme. Canziana)
Stokes. M Mrs. Marianne
Strong. Y Mrs. Elizabeth
Subleyras. Z Maria Tibaldi
Swon. B Mrs. J. M.
Swynnerton. L Mrs. A. L.
Tavernier. W de. R Mme. E.
Templetown. P Viscountess
Thesleff. R Ellen
Valory. Y de. R Mme. Caroline
Vallet Bisson. P Mme.
Vanteuil. M de. R Mlle.
Vigri. G Caterina
Waterford. R Louisa
Waternau. T Mlle. Hermine
Watson. D Caroline
Wentworth. R Mrs. Cecilia
Wesmael. L Mlle. E.
White. E Miss Florence
Wiik. H Maria
Wolfthorn. C Frau Julie
Wytsman. R Mme. Juliette
Youngman. K Miss A. M.. R R.I.
Zappi. G Lavinia Fontana
Zillhardt. R Mlle. Jenny



Women Painters in Italy since the Fifteenth Century


Preceding the certified past of Greek art is a custom that joins a girl's name with the revelation of a wonderful craft, the craft of creating portraits in relief. Kora, known as the virgin of Corinth, and a child of a potter called Butades, was sitting one night with her boyfriend in her father's home; a light burned, a wood fire bickered in a fireplace, casting a shadow on the wall of a clear outline of the young man's features; and Kora, motivated by a sudden urge, took from the fireplace a burnt piece of wood and copied the shadow. When the girl's father,  saw the drawing which she had done, he then filled in the drawing with his potters' clay, making the first medallion.

It is a pretty, gentlemanlike tradition, and it brings back to one's mind the fact that the ancient Greeks really had some women artists of character, like Aristarete, daughter and student of Nearchus, celebrated for her portrait of Aesculapius; or like Anaxandra (around B.C. 225), daughter of the painter Nealces, or in the manner of Helena, who painted the battle of Issus, around B.C. 336.

Moving from Greece to ancient Rome, we discover only one woman artist, Lala by name, and she was a Greek by birth and education. Lala lived and laboured around 100 B.C. She moved to Rome during the concluding days of the republic and gained for herself an incredible reputation for her miniature paintings of ladies.

As the early Christians shunned all luxury and adornment, the Christain influence was very slow in capturing its benign sway in the arts world; but amidst the civilisations which were set up on the ruins of Rome's downfall, there were some women who justify to be memorialised for their advocacy of art.

Amalasontha, daughter of Eric the Tremendous, Theodelinda, the Queen of Spades, Hroswitha, in her monastery at Gandershein, as well as Ava, the first German poetess, these women, and many more, made pioneering names, names that frequented far lands and gave enthusiasm to other women.

To sum things up, the Renaissance was announced by a long, aggravated beginning; but it eventually arrived, and its effects on the future of women were instantaneous and extensive. In Italy, one after another, the Universities opened their doors to the fair, the University of Bologna leading the way in the thirteenth century, when Betisia Gozzadini studied there with accomplishment, dressed as a male, like Plato's student, Axiothea. And a line of female graduates joins up with Betisia Gozzadini and with the female lecturers who will eventually be so famous at Bologna in the eighteenth century Laura Bassi, Anna Manzolini, Maria Agnesi, Maria Dalle Donne, and Clotilde Tambroni.


It is difficult to explain why the Italian universities and towns gave so much assistance to the more advanced ambitions of girls. In poetry, in art, in education, that encouragement was equally phenomenal, and I am tempted to ascribe its ancestry to the pugnacious disposition of the Middle Ages, which attracted a lot of young men from the universities to join in the activities of the tilt yard or in the hazards of the battlefield, departing the fields of education in need of eager labourers. Women, meanwhile, opened their hearts, although not their lives, to the peril of duels, contests and battles; they lived longer than males, as a rule, and wherefore it was important to embolden openly those gifts of the female wisdom and spirit which had long been educated privately for the betterment of tranquil nunneries.

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