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Carnal Fantasies 1980 VCX DRO Exhausted 1981 Excite-DVD.com BJOnly 1 Golden Girls Film 29 1981 Caballero Home Video Facial O Limited Edition Film 194 1982 AVC LezOnly Lovin' Spoonfuls 1 1987 4-Play Video Facial DO Lusty Ladies Film 343 1981 Gourmet Video Collection LezOnly Mixed Bag 1981 TGA Video Facial Summer Beach House 1980 Gourmet Video Collection 1 DRO Swedish Erotica 29 1981 Caballero Home Video Udderly Fantastic 1980 TGA Video One of the most famous embroideries (it is not a tapestry) of the Medieval period is the Bayeux Tapestry, which was embroidered with wool on nine linen panels and is 230 feet long. Its c. seventy scenes narrate the Battle of Hastings and the Norman Conquest of England. The Bayeux Tapestry may have been created in either a commercial workshop by a royal or an aristocratic lady and her retinue, or in a workshop in a nunnery. Sylvette Lemagnen, conservator of the tapestry, in her 2005 book La Tapisserie de Bayeux states:
The Bayeux tapestry is one of the supreme achievements of the Norman Romanesque .... Its survival almost intact over nine centuries is little short of miraculous ... Its exceptional length, the harmony and freshness of its colours, its exquisite workmanship, and the genius of its guiding spirit combine to make it endlessly fascinating.[16] The High Middle Ages In the 14th century, a royal workshop is documented, based at the Tower of London, and there may have been other earlier arrangements. Manuscript illumination affords us many of the named artists of the Medieval Period including Ende, a 10th-century Spanish nun; Guda, a 12th-century German nun; and Claricia, a 12th-century laywoman in a Bavarian scriptorium. These women, and many more unnamed illuminators, benefited from the nature of convents as the major loci of learning for women in the period and the most tenable option for intellectuals among them. In many parts of Europe, with the Gregorian Reforms of the 11th century and the rise in feudalism, women faced many strictures that they did not face in the Early Medieval period. With these societal changes, the status of the convent changed. In the British Isles, the Norman Conquest marked the beginning of the gradual decline of the convent as a seat of learning and a place where women could gain power. Convents were made subsidiary to male abbots, rather than being headed by an abbess, as they had been previously. In Pagan Scandinavia (in Sweden) the only historically confirmed female runemaster, Gunnborga, worked in the 11th century.



Hildegard of Bingen Scivias I.6: The Choirs of Angels. From the Rupertsberg manuscript, fol. 38r. In Germany, however, under the Ottonian Dynasty, convents retained their position as institutions of learning. This might be partially because convents were often headed and populated by unmarried women from royal and aristocratic families. Therefore, the greatest late Medieval period work by women originates in Germany, as exemplified by that of Herrade of Landsberg and Hildegard of Bingen. Hildegard of Bingen (1098–1179) is a particularly fine example of a German Medieval intellectual and artist. She wrote The Divine Works of a Simple Man, The Meritorious Life, sixty-five hymns, a miracle play, and a long treatise of nine books on the different natures of trees, plants, animals, birds, fish, minerals, and metals. From an early age, she claimed to have visions. When the Papacy supported these claims by the headmistress, her position as an important intellectual was galvanized. The visions became part of one of her seminal works in 1142, Scivias (Know the Ways of the Lord), which consists of thirty-five visions relating and illustrating the history of salvation. The illustrations in the Scivias, as exemplified in the first illustration, depict Hildegard experiencing visions while seated in the monastery at Bingen. They differ greatly from others created in Germany during the same period, as they are characterized by bright colors, emphasis on line, and simplified forms. While Hildegard likely did not pen the images, their idiosyncratic nature leads one to believe they were created under her close supervision. The 12th century saw the rise of the city in Europe, along with the rise in trade, travel, and universities. These changes in society also engendered changes in the lives of women. Women were allowed to head their husbands' businesses if they were widowed. The Wife of Bath in Chaucer's The Canterbury Tales is one such case. During this time, women also were allowed to be part of some artisan guilds. Guild records show that women were particularly active in the textile industries in Flanders and Northern France. Medieval manuscripts have many marginalia depicting women with spindles. In England, women were responsible for creating Opus Anglicanum, or rich embroideries for ecclesiastical or secular use on clothes and various types of hangings. Women also became more active in illumination. A number of women likely worked alongside their husbands or fathers, including the daughter of Maître Honoré and the daughter of Jean le Noir. By the 13th century most illuminated manuscripts were being produced by commercial workshops, and by the end of the Middle Ages, when production of manuscripts had become an important industry in certain centres, women seem to have represented a majority of the artists and scribes employed, especially in Paris. The movement to printing, and book illustration to the printmaking techniques of woodcut and engraving, where women seem to have been little involved, represented a setback to the progress of women artists. Meanwhile, Jefimija (1349-1405) a Serbian, noblewoman, widow and orthodox nun became known not only as a poet who wrote a lament for her dead son, Uglješa, but also as a skilled needlewoman and engraver. Her lament for her beloved son which immortalized the sorrow of all mothers mourning their deceased children, was carved on the back of the diptych, (two-panelled icon representing a Virgin and Child) which Teodosije, Bishop of Serres, had presented as a gift to the infant Uglješa at his baptism. The piece of art, already valuable because of the gold, precious stones, and beautiful carving on its wooden panels, became priceless after Jefemija's lament was engraved on its back.[18] In 15th-century Venice the daughter of the glass artist, Angelo Barovičr, was known to have been the artist behind a particular glass design from Venetian Murano. She was Marietta Barovier, a Venetian glass artist.[19] Seemingly several centuries had to elapse before women were able to pursue the medium in Glass art. Renaissance Levina Teerlinc, Portrait of Elizabeth I. c. 1565 St. Catherine of Bologna (Caterina dei Vigri), (Maria und das Jesuskind mit Frucht), c. 1440s. She is the patron saint of artists. Caterina van Hemessen, Self-portrait 1548 Sofonisba Anguissola, Self-Portrait, 1554 Esther Inglis, Portrait, 1595 Fede Galizia, Judith with the Head of Holofernes, 1596. The figure of Judith is believed to be a self-portrait. Lavinia Fontana, Minerva Dressing, 1613, Galleria Borghese, Rome Artists from the Renaissance era include, Sofonisba Anguissola, Lucia Anguissola, Lavinia Fontana, Fede Galizia, Diana Scultori Ghisi, Caterina van Hemessen, Esther Inglis, Barbara Longhi, Maria Ormani, Marietta Robusti (daughter of Tintoretto), Properzia de' Rossi, Levina Teerlinc, Mayken Verhulst, and St. Catherine of Bologna (Caterina dei Vigri).[20][21] Lucia Anguissola, Doctor of Cremona, 1560, Museo del Prado, Madrid This is the first period in Western history in which a number of secular female artists gained international reputations. The rise in women artists during this period may be attributed to major cultural shifts. One such shift came from the Counter-Reformation reacting against Protestantism and giving rise to a move toward humanism, a philosophy affirming the dignity of all people, that became central to Renaissance thinking and helped raise the status of women.[1] In addition, the identity of the individual artist in general was regarded as more important. Significant artists from this period whose identities are unknown virtually cease to exist. Two important texts, On Famous Women and The City of Women, illustrate this cultural change. Boccaccio, a 14th-century humanist, wrote De mulieribus claris (Latin for On Famous Women) (1335–59), a collection of biographies of women. Among the 104 biographies he included was that of Thamar (or Thmyris), an ancient Greek vase painter. Curiously, among the 15th-century manuscript illuminations of On Famous Women, Thamar was depicted painting a self-portrait or perhaps painting a small image of the Virgin and Child. Christine de Pizan, a remarkable late medieval French writer, rhetorician, and critic, wrote Book of the City of Ladies in 1405, a text about an allegorical city in which independent women lived free from the slander of men. In her work she included real women artists, such as Anastasia, who was considered one of the best Parisian illuminators, although none of her work has survived. Other humanist texts led to increased education for Italian women. The most notable of these was Il Cortegiano or The Courtier by 16th-century Italian humanist Baldassare Castiglione. This enormously popular work stated that men and women should be educated in the social arts. His influence made it acceptable for women to engage in the visual, musical, and literary arts. Thanks to Castiglione, this was the first period of renaissance history in which noblewomen were able to study painting. Sofonisba Anguissola was the most successful of these minor aristocrats who first benefited from humanist education and then went on to recognition as painters.[22] The Cremona-born Anguissola was both a trailblazer and role model for future generations of women artists.[1] Artists who were not noblewomen were affected by the rise in humanism as well. In addition to conventional subject matter, artists such as Lavinia Fontana and Caterina van Hemessen began to depict themselves in self-portraits, not just as painters but also as musicians and scholars, thereby highlighting their well-rounded education. Fontana benefited from the enlightened attitudes in her native city, Bologna where the university had admitted women scholars since the Middle Ages.[1] Along with the rise in humanism, there was a shift from craftsmen to artists. Artists, unlike earlier craftsmen, were now expected to have knowledge of perspective, mathematics, ancient art, and study of the human body. In the late Renaissance the training of artists began to move from the master's workshop to the Academy, and women began a long struggle, not resolved until the late 19th century, to gain full access to this training.[1] Study of the human body required working from male nudes and corpses. This was considered essential background for creating realistic group scenes. Women were generally barred from training from male nudes, and therefore they were precluded from creating such scenes. Such depictions of nudes were required for the large-scale religious compositions, which received the most prestigious commissions. Although many aristocratic women had access to some training in art, though without the benefit of figure drawing from nude male models, most of those women chose marriage over a career in art. This was true, for example, of two of Sofonisba Anguissola's sisters. The women recognized as artists in this period were either nuns or children of painters. Of the few who emerged as Italian artists in the 15th century, those known today are associated with convents. These artists who were nuns include Caterina dei Virgi, Antonia Uccello, and Suor Barbara Ragnoni. During the 15th and 16th centuries, the vast majority of women who gained any modicum of success as artists were the children of painters. This is likely because they were able to gain training in their fathers' workshops. Examples of women artists who were trained by their fathers include the painter Lavinia Fontana, the miniature portraitist Levina Teerlinc, and the portrait painter Caterina van Hemessen. Italian women artists during this period, even those trained by their family, seem somewhat unusual. However, in certain parts of Europe, particularly northern France and Flanders, it was more common for children of both genders to enter into their father's profession. In fact, in the Low Countries where women had more freedom, there were a number of artists in the Renaissance who were women. For example, the records of the Guild of Saint Luke in Bruges show not only that they admit women as practicing members, but also that by the 1480s twenty-five percent of its members were women (many probably working as manuscript illuminators). Nelli's Last Supper The Last Supper, a 7x2-meter oil-on-canvas, preserved in the Basilica of Santa Maria Novella, is the only signed work by Plautilla Nelli known to survive. A recently rediscovered fragile 22 foot canvas roll in Florence has turned out to be an outstanding treasure. But for the groundbreaking actions of American philanthropist, Jane Fortune (died 2018) and Florence-based author, Linda Falcone and their organisation, Advancing Women Artists Foundation, the roll might have gathered more dust.[1] Four years of painstaking restoration by a female led team, reveals the brilliance of the 16th-century, self-taught, suor Plautilla Nelli, a nun, and only renaissance woman known to have painted the Last Supper.[23][24][25] The work went on exhibition at the Santa Maria Novella Museum in Florence in October 2019.[26] As of early 2020, AWA has sponsored the restoration of 67 works by female artists, unearthed in Florentine collections


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