Diana May Un Official Fan Site Tribute

Diana May : This Is An Un Official Fan Site Tribute
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Diana May

Movie Title Year Distributor Notes Rev Formats Afternoon Delights 1980 Caballero Home Video BJOnly Facial 1 DO Angel Buns 1981 Video-X-Pix 1 DRO Candida Royalle's Fantasies 1981 VCR Anal Facial DP DO Deep Inside Annie Sprinkle 1981 Video-X-Pix LezOnly 2 DRO Oh Those Nurses! 1982 VCA 2 DO Pandora's Mirror 1981 Caballero Home Video 3 DRO Vanessa Del Rio's Fantasies 1981 VCR Facial DO Artists from the Baroque era include: Mary Beale, Élisabeth Sophie Chéron, Maria Theresa van Thielen, Katharina Pepijn, Catharina Peeters, Johanna Vergouwen, Michaelina Wautier, Isabel de Cisneros, Giovanna Garzoni[20] Artemisia Gentileschi, Judith Leyster, Maria Sibylla Merian, Louise Moillon, Josefa de Ayala better known as Josefa de Óbidos, Maria van Oosterwijk, Magdalena de Passe, Clara Peeters, Maria Virginia Borghese (daughter of art collector Olimpia Aldobrandini),[27] Luisa Roldán known as La Roldana, Rachel Ruysch, Maria Theresa van Thielen, Anna Maria van Thielen, Françoise-Catherina van Thielen and Elisabetta Sirani. As in the Renaissance Period, many women among the Baroque artists came from artist families. Artemisia Gentileschi is an example of this. She was trained by her father, Orazio Gentileschi, and she worked alongside him on many of his commissions. Luisa Roldán was trained in her father's (Pedro Roldán) sculpture workshop.
Women artists in this period began to change the way women were depicted in art. Many of the women working as artists in the Baroque era were not able to train from nude models, who were always male, but they were very familiar with the female body. Women such as Elisabetta Sirani created images of women as conscious beings rather than detached muses. One of the best examples of this novel expression is in Artemisia Gentileschi's Judith beheading Holofernes, in which Judith is depicted as a strong woman determining and avenging her own destiny. Letizia Treves, curator at London's National Gallery 2020 Gentileschi show has commented: "you can't see it without thinking of Tassi raping Gentileschi."[28] The elements of the picture are "balanced with such skill they speak of a painter who prioritised virtuosity over passion."[1] While other artists, including Botticelli and the more traditional woman, Fede Galizia, depicted the same scene with a passive Judith, in her novel treatment, Gentileschi's Judith appears to be an able actor in the task at hand. Action is the essence of it and another painting by her of Judith leaving the scene. Still life emerged as an important genre around 1600, particularly in the Netherlands. Women were at the forefront of this painting trend. This genre was particularly suited to women, as they could access the materials for still life readily. In the North, these practitioners included Clara Peeters, a painter of banketje or breakfast pieces, and scenes of arranged luxury goods; Maria van Oosterwijk, the internationally renowned flower painter; and Rachel Ruysch, a painter of visually charged flower arrangements. In other regions, still life was less common, but there were important women artists in the genre including Giovanna Garzoni, who created realistic vegetable arrangements on parchment, and Louise Moillon, whose fruit still life paintings were noted for their brilliant colors.

18th century Angelica Kauffman, Literature and Painting, 1782, Kenwood House Anne Vallayer-Coster, Attributes of Music, 1770 Marie-Gabrielle Capet, 1783 Ignacy Potocki by Anna Rajecka, 1784 Elisabeth Vigee-Le Brun (1755–1842), Self-portrait, c. 1780s, one of many she painted for sale Rosalba Carriera (1675–1757), Self-portrait 1715 Ulrika Pasch, Self portrait, c. 1770 Anna Dorothea Therbusch, Self-portrait, 1777 Adélaïde Labille-Guiard, Self-portrait with two pupils, Marie-Gabrielle Capet and Marie-Marguerite Carreaux de Rosemond 1785, Metropolitan Museum of Art Marguerite Gérard, First steps, oil on canvas, 45.5 x 55 cm, c. 1788 Artists from this period include, Rosalba Carriera, Maria Cosway, Marguerite Gérard, Angelica Kauffman, Adélaïde Labille-Guiard, Giulia Lama, Mary Moser, Ulrika Pasch, Adèle Romany, Anna Dorothea Therbusch, Anne Vallayer-Coster, Elisabeth Vigée-Le Brun and Anna Rajecka, also known as Madame Gault de Saint-Germain. In many countries of Europe, the Academies were the arbiters of style. The Academies also were responsible for training artists, exhibiting artwork, and, inadvertently or not, promoting the sale of art. Most Academies were not open to women. In France, for example, the powerful Academy in Paris had 450 members between the 17th century and the French Revolution, and only fifteen were women. Of those, most were daughters or wives of members. In the late 18th century, the French Academy resolved not to admit any women at all. The pinnacle of painting during the period was history painting, especially large scale compositions with groups of figures depicting historical or mythical situations. In preparation to create such paintings, artists studied casts of antique sculptures and drew from male nudes. Women had limited, or no access to this Academic learning, and as such there are no extant large-scale history paintings by women from this period. Some women made their name in other genres such as portraiture. Elisabeth Vigee-Lebrun used her experience in portraiture to create an allegorical scene, Peace Bringing Back Plenty, which she classified as a history painting and used as her grounds for admittance into the Academy. After the display of her work, it was demanded that she attend formal classes, or lose her license to paint. She became a court favourite, and a celebrity, who painted over forty self-portraits, which she was able to sell.[22] In England, two women, Angelica Kauffman and Mary Moser, were founding members of the Royal Academy of Arts in London in 1768. Kauffmann helped Maria Cosway enter the Academy. Although Cosway went on to gain success as a painter of mythological scenes, both women remained in a somewhat ambivalent position at the Royal Academy, as evidenced by the group portrait of The Academicians of the Royal Academy by Johan Zoffany now in The Royal Collection. In it, only the men of the Academy are assembled in a large artist studio, together with nude male models. For reasons of decorum given the nude models, the two women are not shown as present, but as portraits on the wall instead.[29] The emphasis in Academic art on studies of the nude during training remained a considerable barrier for women studying art until the 20th century, both in terms of actual access to the classes and in terms of family and social attitudes to middle-class women becoming artists. After these three, no woman became a full member of the Academy until Laura Knight in 1936, and women were not admitted to the Academy's schools until 1861. By the late 18th century, there were important steps forward for artists who were women. In Paris, the Salon, the exhibition of work founded by the Academy, became open to non-Academic painters in 1791, allowing women to showcase their work in the prestigious annual exhibition. Additionally, women were more frequently being accepted as students by famous artists such as Jacques-Louis David and Jean-Baptiste Greuze. 19th century Painters Women artists of the early part of the 19th century include Marie-Denise Villers, who specialized in portraiture; Constance Mayer, who painted portraits and allegories; Marie Ellenrieder, who was noted mainly for her religious paintings in the Nazarene style. In the second half of the century, Emma Sandys, Marie Spartali Stillman, Eleanor Fortescue-Brickdale, and Maria Zambaco[30] were women artists of the Pre-Raphaelite movement. Also influenced by the Pre-Raphaelites were Evelyn De Morgan and the activist and painter Barbara Bodichon. Impressionist painters Berthe Morisot, Marie Bracquemond, and the Americans, Mary Cassatt and Lucy Bacon, became involved in the French Impressionist movement of the 1860s and 1870s. American Impressionist Lilla Cabot Perry was influenced by her studies with Monet and by Japanese art in the late 19th century. Cecilia Beaux was an American portrait painter who also studied in France. Apart from Anna Bilinska-Bohdanowicz, Olga Boznanska is considered the best-known of all Polish women artists, and was stylistically associated with Impressionism. Rosa Bonheur was the best-known female artist of her time, internationally renowned for her paintings of animals.[31] Elizabeth Thompson (Lady Butler), perhaps inspired by her life-classes of armoured figures at the Government School, was one of the first women to become famous for large history paintings, specializing in scenes of military action, usually with many horses, most famously Scotland Forever!, showing a cavalry charge at Waterloo. Kitty Lange Kielland was a Norwegian landscape painter. Elizabeth Jane Gardner was an American academic painter who was the first American woman to exhibit at the Paris Salon. In 1872 she became the first woman to ever win a gold medal at the Salon. In 1894, Suzanne Valadon was the first woman admitted to the Société Nationale des Beaux-Arts in France. Anna Boch was a post-impressionist painter, as was Laura Muntz Lyall, who exhibited at the 1893 World Columbian Exposition in Chicago, Illinois, and then in 1894 as part of the Société des artistes français in Paris. Marie Ellenrieder, Self-portrait as a Painter, 1819 Mary Cassatt, Tea, 1880, oil on canvas, 25½ × 36¼ in., Museum of Fine Arts, Boston Maria Bashkirtseva, In the Studio, 1881, oil on canvas, 74 × 60.6 in, Dnipro State Art Museum Suzanne Valadon, Self-portrait, 1883 Berthe Morisot, L'Enfant au Tablier Rouge, 1886, American Art Museum Jeanna Bauck, The Danish Artist Bertha Wegmann Painting a Portrait, late 19th century Anna Bilinska-Bohdanowicz, the black woman, 1884, Warsaw National Museum Olga Boznanska, Girl with Chrysanthemums, 1894, National Museum, Kraków Rosa Bonheur, The Horse Fair, 1853–1855, Metropolitan Museum of Art, New York Elizabeth Thompson, Remnants of an Army, 1879, Tate. She specialized in military scenes. Sculpture The South Bank Lion in Coade stone 1837, London Edmonia Lewis The Death of Cleopatra, marble, 1876 Smithsonian American Art Museum Before the 19th century began, an exceptional independent business woman emerged in Georgian England who discovered her own artistic talent in mid-life. She was Eleanor Coade (1733 – 1821). She became known for manufacturing Neoclassical statues, architectural decorations and garden ornaments made of Lithodipyra or Coade stone for over 50 years from 1769 until her death.[32] Lithodipyra ("stone fired twice") was a high-quality, durable moulded weather-resistant, ceramic stoneware. Statues and decorative features from this ceramic still look almost new today. Coade did not invent 'artificial stone', but she likely perfected both the clay recipe and the firing process. She combined high-quality manufacturing and artistic taste, together with entrepreneurial, business and marketing skills, to create the overwhelmingly successful stone products of her age. She produced stoneware for St George's Chapel, Windsor, The Royal Pavilion, Brighton, Carlton House, London and the Royal Naval College, Greenwich.[32] Eleanor Coade developed her own talent as a modeller, exhibiting around 30 sculptures on classical themes at the Society of Artists between 1773 and 1780 as listed in their exhibitors catalogue of the time.[33] After her death, her Coade stoneware was used for refurbishments to Buckingham Palace and by noted sculptors in their monumental work

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