Download e-book for kindle: A Studio Of One's Own: Fictional Women Painters And The Art by Roberta White

By Roberta White

ISBN-10: 0838640729

ISBN-13: 9780838640722

ISBN-10: 142376868X

ISBN-13: 9781423768685

"A Studio of One's personal: Fictional girls Painters and the paintings of Fiction" is a severe research of the portrayal of ladies artists in 19th- and twentieth-century novels in English, together with British, American, Irish, and Canadian girls writers. This e-book strains the slow development from novice parlor painters within the novels of Jane Austen, Charlotte Bronte, and others, to the intense specialist painters depicted through modern writers corresponding to Margaret Atwood. Mary Gordon, and A. S. Byatt. In fiction as in historical past, the lady artist's operating house enlarges via time - via asymmetric steps - from a portfolio in a cabinet to a studio or atelier the place paintings should be accomplished and ready on the market or exhibition. This operating area is a degree of the declare that the artist makes upon the realm.

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And she quotes from the Bible, ‘‘I came into deep waters; the floods overflowed me’’ (197). The figure of the deathlike head against the iceberg continues the polar imagery and more obviously foreshadows her episodes with St. John Rivers, whose abode she approaches in a near-death state as a ‘‘poor, emaciated, pallid wanderer’’ (225). The middle picture, showing a woman’s figure in a state of glory in darkness, ‘‘crowned with a star,’’ suggests Jane’s search for fulfillment, her attempts to understand and reach her own potential best self in a world that presents numerous obstacles to that goal.

Prior to painting Rosamond’s portrait, Jane constructs a judicious ‘‘reading’’ of her face: [She was] ingenuous, sufficiently intelligent; gay, lively, and unthinking: she was very charming, in short, even to a cool observer of her own sex like me; but she was not profoundly interesting or thoroughly impressive. (245) In a few short months and after many hardships, Jane has learned to see marketable beauty and wealth in other women as less threatening to herself and less relevant to her own life.

Anne Bronte¨ and Elizabeth Stuart Phelps both depict women painters who are continually distracted from their work by the demands of courtship and marriage. In Bronte¨ ’s novel the institution of marriage is never held up to scrutiny; her protagonist simply has very bad luck in her choice of her first husband. ’’27 Phelps also presents that conflict, but her novel, unlike Bronte¨ ’s, contains a bitter indictment of marriage and domestic life. 11160$ $CH1 04-01-05 07:54:00 PS PAGE 50 51 1: OPENING THE PORTFOLIO That these authors perceive an incompatibility between traditional and innovative notions of womanhood—a dissonance beneath the surface and unarticulated in Anne Bronte¨ but explicit in Phelps—is evidenced by the pervasive instances of ambiguity and doubleness in these novels.

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A Studio Of One's Own: Fictional Women Painters And The Art Of Fiction by Roberta White


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