Юдифь: Evan Y. Mantegna’s Uffizi Judith: The Masculinization of the Female Hero // Kunsthistorisk Tidskrift. 1992. Vol. 61. P. 8–20; Friedman M. The Metamorphosis of Judith // Jewish Art. 1986–1987. Vol. 12. P. 225–246; Cilette E. Patriarchal Ideology in the Renaissance Iconography of Judith // M. Migiel, J. Schiesari. Refiguring Woman: Perspectives on Gender and the Italian Renaissance. Ithaca, 1991. P. 35–70.
Орацио Джентилески: Spear R. Caravaggio and His Followers (каталог выставки, Cleveland Museum of Art, 1971); Longhi R. Gentileschi padre e figlia // L’Arte. 1916. Vol. 19. P. 245–314; Moir A. The Italian Followers of Caravaggio. Cambridge, MA, 1967.
Женская героика и женская подчиненность: Evan Y. The Loggia dei Lanzi: A Showcase of Female Subjugation // ed. N. Broude, M. Garrard. The Expanding Discourse: Feminism and Art History. New York, 1992. P. 127–37; Carroll M. D. The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence // Ibid. P. 140–159.
Глава 4. Бытовые жанры и художницы Северной Европы
Ключевые книги по северу: Bergstrom I. Dutch Still-Life Painting in the Seventeenth Century. New York, 1956; Rosenberg J., Slive S., Ter Kuile E. H. Dutch Art and Architecture, 1600 to 1800. Middlesex, 1966; Bernt W. The Netherlandish Painters of the Seventeenth Century. London, 1970; Alpers S. The Art of Describing: Dutch Art in the Seventeenth Century. Chicago, 1983; Haak B. The Golden Age: Dutch Painters of the Seventeenth Century. New York, 1984; Brown C. Images of a Golden Past. New York, 1984; Schama S. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York, 1987.
Основные каталоги выставок: Jongh E. de, Tot Lering en Vermak. Rijksmuseum, Amsterdam, 1976; Blankert A. et al. Gods, Saints and Heroes: Dutch Painting in the Age of Rembrandt. National Gallery of Art, Washington, D. C., 1980; Sutton P. Masters of Seventeenth-Century Dutch Genre Painting. Philadelphia Museum of Art, 1984.
Элизабет Скепенс: La Miniature flammande au temps de la cour de Bourgogne. Paris and Brussels, 1927; The Obstacle Race. P. 166.
Катерина ван Хемессен: Our Hidden Heritage. P. 51–53; Vey O., Vey H. Painting and Sculpture in Germany and the Netherlands: 1500–1600. Harmondsworth, 1969; Bergmans S. Le problème Jan van Hemessen, monogrammiste de Brunswick // Revue beige d’archéologie et d’histoire de l’art. Antwerp, 1955. Vol. 24. P. 133–157; Bergmans S. Note complémentaire à l’étude des De Hemessen, de van Amstel et du monogrammiste de Brunswick // Revue beige d’archéologie et d’histoire de l’art. Antwerp,
1958. Vol. 27. P. 77–83.
Левина Теерлинк: Women Artists: 1550–1050. P. 102–104; Our Hidden Heritage. P. 43–45; Strong R. The English Renaissance Miniature. London, 1983. P. 54–64; Strong R. Gloriana: The Portraits of Queen Elizabeth I. London, 1987. P. 55–57; Auerbach E. Tudor Artists. London, 1954. P. 51–75; Bergmans S. The Miniatures of Levina Teerlinc // Burlington Magazine. January-June 1934. Vol. 64. P. 232–236. О культе Елизаветы см.: Greenblatt S. Renaissance Self-Fashioning: From More to Shakespeare. Chicago and London, 1980; Yates F. Astrea: The Imperial Themes in the Sixteenth Century. London and Boston, 1975.
Женщины и Реформация: Bainton R. Women and the Reformation. Minneapolis, 1971; Franks W. E. Paragons of Virtue: Women and Domesticity in Seventeenth-Century Dutch Art. Cambridge and New York, 1993; Hollander M. The Divided Household of Nicolaes Maes // Word and Image. April/June 1994. Vol. 10. P. 138–155; Veldman I. M. Lessons for Ladies: A Selection of Sixteenth and Seventeenth-Century Dutch Prints // Semiolus. 1986. Vol. 16. No. 2/3. P. 113–127; Smith E. L. Women and the Moral Argument of Lucas van Leyden’s Dance Around the Golden Calf // Art History. September 1992. Vol. 15. P. 296–315.
Голландская версия итальянского искусства Возрождения: Микеланджело цит. по: Alpers S. Art History and Its Exclusions: The Example of Dutch Art // N. Broude, M. Garrard. Feminism and Art History. P. 194. The Naomi Schor quote is from Reading in Detail: Aesthetics and the Feminine. New York and London, 1987. P. 4.
Анна Мария ван Шурман: Women and Art. P. 30–31; The Embarrassment of Riches. P. 410–412.
Брак и домашняя жизнь: The Embarrassment of Riches, ch. 6. О популярных символах см.: Cats J. Alle de Werken. Amsterdam, 1659. «Моральные символы» Каца и замечание ван Бевервейка о женском поле цит. по: The Embarrassment of Riches. P. 400, 418–420 соответственно; Schama S. Wives and Wantons: Versions of Womanhood in Seventeenth-Century Dutch Art // Oxford Art Journal. April 1980. P. 5–13; Thiel P. van. Poor Parents, Rich Children and Family Saying Grace: Two Related Aspects of the Iconography of Late Sixteenth— and Seventeenth-Century Dutch Domestic Morality // Semiolus: Netherlands Quarterly for the History of Art. 1987. Vol. 17. P. 90–149. Распущенная женщина — тема статьи: Zemon Davis N. Women on Top // Society and Culture in Early Modern France. Stanford, 1975.
Производство одежды в Лейдене и Гарлеме: Stone L. From Cloth to Clothing: Depictions of Textile Production and Textiles in Seventeenth-Century Dutch Art // unpublished Ph.D. dissertation. University of California, Berkeley, 1980; о символике приравнивания ткачества к совокуплению см. на с. 139.
Сюзанна ван Стенвейк-Гаспоэль: Stone L.
From Cloth to Clothing. P. 69.
Юдит Лейстер: «Предложение» подробно рассматривается в: Fox Hofrichter F. Judith Leyster’s Proposition: Between Virtue and Vice // N. Broude, M. Garrard. Feminism and Art History. P. 173–182; Fox Hofrichter F. Judith Leyster: A Woman Painter in Holland’s Golden Age. Doornspijk, The Netherlands, 1989; Biesboer P., Welu J., ed. Judith Leyster: A Dutch Master and Her World. New Haven; New York, 1993.
Гертрюдт Рогман: The Embarrassment of Riches. P. 417; Stone-Ferrier L. Dutch Prints of Daily Life: Mirrors of Life or Masks of Morals? (каталог выставки, The Spencer Museum of Art, The University of Kansas, Lawrence, 1983). P. 59–60; Ackley C. Printmaking in the Age of Rembrandt (каталог выставки, Boston Museum of Fine Arts, 1981). P. 166, подчеркивается их редкость, не считая иллюстраций; Peacock M. M. Geertruydt Roghman and the Female Perspective in 17th-century Dutch Genre Imagery // Woman’s Art Journal. Fall/Winter 1993–1994. Vol. 14. P. 3–10. Вермеер: Gowing L. Vermeer. London and New York, 1970; Snow E. A Study of Vermeer. Berkeley, 1979.
Плетение кружев: Palliser Mrs. B. History of Lace. London, 1910. P. 258–260.
Эразм Роттердамский: Christian Humanism and the Reformation. Selected Writings of Erasmus.
New York, 1987.
Ботаническая иллюстрация: Blunt W. The Art of Botanical Illustration. London, 1950; Blunt W. Flower Books and Their Illustrators. Cambridge, 1950; Arber A. From Medieval Herbalism