Gender and the Woman Artist in Early Modern Iberia (Routledge Research in Gender and Art)

This monograph explores the social constructs surrounding artistic production in early modern Iberia through the lenses of gender and class by examining the rarely considered contribution of creative women in Spain and Portugal between 1550 and 1700. Using the life-stage framework popular in texts of the period and drawing on a broad spectrum of materials including conduct guidebooks, treatises and conventual rules, this book examines the constraints imposed by gender-related social structures through microhistories of nuns, married, and unmarried women. The text spans class boundaries in its analysis of the work of painters, engravers, and sculptors, many of whom have until now eluded scholarly attention in English-language publications. An extensive bibliography promotes new avenues of inquiry into women's contributions to the visual arts of the period. This book will be of interest to scholars working in art history, gender studies, women's history, early modern Iberian studies, and Renaissance studies. This monograph explores the social constructs surrounding artistic production in early modern Iberia through the lenses of gender and class by examining the rarely-considered contribution of creative women in Spain and Portugal between 1550 and 1700. Cover 1 Half Title 2 Series Page 3 Title Page 4 Copyright Page 5 Table of Contents 6 List of Figures 8 Foreword 12 1 Introduction: Early Modern Iberia: Gender and the Woman Artist 14 2 Women's Lives: Social and Political Contexts 23 3 The Unmarried Woman as Artist 43 4 The Married Woman as Artist 62 5 The Nun as Artist 111 6 Conclusion: The Challenges Facing Women Artists 141 Bibliography 144 Index 168 Portugal;,married,women;,unmarried,women;,agency;,gender,studies;,Philip,III;,Soror,Estefania;,Spain;,class;,women;,painters;,Charles,II;,Philip,IV;,Sor,Andrea,de,Mena;,Seville;,Renaissance;,marriage;,religion;,family;,convent;,Maria,de,Morales,Valdes;,Maria,Eugenia,de,Beer;,art,history;,female;,patriarchy;,society;,Council,of,Trent;,Catholic;,Braganza;,Joao,IV;,Philip,II;,church;,Sor,Maria,de,la,Santisima,Trinidad;,Sevilla;,Josefa,de,Ayala;,gender;,nuns;,engravers;,sculptors;,culture;,culture;,Hapsburg;,Sor,Cecilia,del,Nacimiento;,Sor,Maria,de,San,Alberto;,Soror,Juana,Baptista;,Roldan;,Ana,Heylan Portugal,married women,unmarried women,agency,gender studies,Philip III,Soror Estefania,Spain,class,women,painters,Charles II,Philip IV,Sor Andrea de Mena,Seville,Renaissance,marriage,religion,family,convent,Maria de Morales Valdes,Maria Eugenia de Beer,art history,female,patriarchy,society,Council of Trent,Catholic,Braganza,Joao IV,Philip II,church,Sor Maria de la Santisima Trinidad,Sevilla,Josefa de Ayala,gender,nuns,engravers,sculptors,culture,culture,Hapsburg,Sor Cecilia del Nacimiento,Sor Maria de San Alberto,Soror Juana Baptista,Roldan,Ana Heylan This monograph explores the social constructs surrounding artistic production in early modern Iberia through the lenses of gender and class by examining the rarely-considered contribution of creative women in Spain and Portugal between 1550 and 1700. Using the life-stage framework popular in texts of the period and drawing on a broad spectrum of materials including conduct guidebooks, treatises and conventual rules, the book examines the constraints imposed by gender-related social structures through microhistories of nuns, married, and unmarried women. The text spans class boundaries in its analysis of the work of painters, engravers, and sculptors, many of whom have until now eluded scholarly attention in English-language publications. An extensive bibliography promotes new avenues of inquiry into womens contributions to the visual arts of the period. The book will be of interest to scholars working in art history, gender studies, womens history, early modern Iberian studies, and Renaissance studies.