Мэри Делани: The Obstacle Race. P. 291.
Энн Сеймур Деймер: Women and Art. P. 76–77.
Кэтрин Рид: Manners V. Catherine Read: the ‘English Rosalba’ // Connoisseur. London, December 1931. P. 376–386; Women and Art. P. 71. The Abbe Grants comment on Read and history painting is in Manners // Catherine Read. P. 380.
Академия Святого Луки: о женщинах в этой академии см.: Women Artists: 1550–1950. P. 36–38; Guiffrey J. Histoire de l’Académie de Saint-Luc // Archives de l’art français. Paris, 1925.
Ангелика Кауфман: Angelica Kauffmann und Ihre Zeitgenossen (каталог выст., Vorarlberger Landesmuseum, Bregenz, 1968); Women and Art. P. 72–75; Our Hidden Heritage. P. 117–121; Women Artists: 1550–1950. P. 174–178; Manners V., Williamson G. C. Angelica Kauffmann, R. A.: Her Life and Her Works. London, 1924; Moulton-Mayer D. Angelica Kauffmann, R. A.: 1741–1807. Gerrards Cross, Buckinghamshire, 1972; Rosenblum R. The Origin of Painting: A Problem in the Iconography of Romantic Classicism // Art Bulletin. New York, December 1957. P. 279–290; Pindar is quoted in Adeline Hartcup, Angelica: The Portrait of an Eighteenth-Century Artist. London, 1954. P. 133; Rosenthal A. Angelica Kauffmann Ma(s)king Claims // Art History. March 1902. Vol. 15. P. 38–55; Perry G. ‘The British Sappho’: Borrowed Identities and the Representation of Women Artists in Late Eighteenth-Century British Art // Oxford Art Journal. 1995. Vol. 18. P. 44–55; Kampen N. B. The Muted Other: Gender and Morality in Augustan Rome and Eighteenth-Century Europe / ed. N. Broude, M. D. Garrard // The Expanding Discourse: Feminism and Art History. New York, 1992. P. 161–169; Roworth W. W., ed. Angelica Kauffmann: A Continental Artist in Georgian England. London, 1992.
Эстетика XVIII века: Hautecoeur L. Le Sentimentalisme dans la peinture française de Greuze a David // Gazette des Beaux-Arts. Lausanne, 1909. P. 159–176, 269–286; Clements C. The Academy and the Other: Les Graces and Le Genie Gallant’ // Eighteenth-Century Studies. Summer 1992. Vol. 25. P. 469–494; см. также: Painters and Public Life. Нападки Дидро на Буше цит. по: Absorption and Theatricality. P. 40.
Культ блаженного материнства: основополагающей статьей на эту тему остается: Duncan C. Happy Mothers and Other New Ideas. P. 202–219; Charlton D. G. New Images of the Natural in France. Cambridge, 1984. P. 135–177; Sheriff M. Fragonards Erotic Mothers and the Politics of Reproduction / ed. L. Hunt // Eroticism and the Body Politics. Baltimore, 1991. P. 14–40; Doy G. Women and the Bourgeois Revolution of 1789: Artists, Mothers and Makers of (Art) History / ed. G. Perry, M. Rossington // Femininity and Masculinity in Eighteenth-Century Art and Culture. Manchester and New York, 1994. P. 184–203. Darrow M. French Noblewomen and the New Domesticity, 1750–1850 // Feminist Studies. Spring 1979. Vol. 5. P. 41–65, считает, что в конце XVIII века женщины из высшего света сменили традиционную «карьеру» придворных дам и салоньерок на роль жены и матери.
Анна Валлайе-Костер: Roland-Michel M. Anne Vallayer-Coster: 1744–1818. Paris, 1970; Roland-Michel M. A propos d’un tableau retrouvé de Vallayer-Coster // Bulletin de la Société de l’Histoire de l’Art Français. 1965. P. 185–90; Women Artists: 1550–1950. P. 179–184; Women and Art. P. 45.
Аделаида Лабиль-Гиар: Passez A. -M. Adélaide Labille-Guiard. Paris, 1973; Portalis R. Adélaide Labille-Guiard // Gazette des Beaux-Arts. Lausanne, 1901. P. 352–367; Portalis R. Adélaide Labille-Guiard. Paris, 1902; Women Artists: 1550–1950. P. 185–187; Women and Art. P. 45–48; о «Портрете мадам Аделаиды»: Cailleux J. Portrait of Madame Adélaide of France, Daughter of Louis XV // Burlington Magazine. March 196. Vol. 3. Supp. i — vi.
Элизабет-Луиза Виже-Лебрен: Robb D., ed. Elisabeth-Louise Vigée-Lebrun (каталог выставки, Kimball Art Museum, Forth Worth, 1982); Women and Art. P. 48–51; Women Artists: 1550–1950. P. 190–194; Our Hidden Heritage. P. 127–132; Munhall E. Vigée Le Brun’s Marie Antoinette: The Beauty of the Head That Rolled // Art News. January 1983. Vol. 82. P. 106–108; Adams B. Privileged Portraits: Vigée Le Brun // Art in America. November 1982. Vol. 70. P. 75–80; Vigée-Lebrun, Memoires / trans. L. Strachey. New York, 1903; Radisich P. R. Que pent definir les femmes?: Vigée-Lebrun’s Portraits of an Artist // Eighteenth-Century Studies. Summer 1992. Vol. 25. P. 441–467; Sheriff M. D. Woman? Hermaphrodite? History Painter? On the Self-Imaging of Elisabeth Vigée-Lebrun // The Eighteenth Century. 1994. Vol. 35. No. 1. P. 3–25; Vigée-Lebrun E. L. The Memoirs of Elisabeth Vigee-Lebrun. London, 1989; стихи на с. 45. О портрете Марии-Антуанетты с детьми подробно см. в: Baillio J. Marie-Antoinette et ses enfants par Mme. Vigée LeBrun // Gazette des Beaux-Arts. March 1981. Vol. 97. P. 34–41; May 1981. Vol. 97. P. 52–60; «Секретные мемуары» цит. на с. 40. Cailleux J. Royal Portraits of Madame Vigée-LeBrun and Mme. Labille-Guiard // Burlington Magazine. March 1969. P. 1–6, рассматривает два портрета, выставленные в 1787 году.
Маргерит Жерар: Women Artists: 1550–1950. P. 197–200; Women and Art. P. 51–52; Doin J. Marguerite Gérard (1761–1837) // Gazette des Beaux-Arts. Lausanne, 1912. P. 429–452.
Женщины и Французская революция: Crow T. The Oath of the Horatii: Painting and pre— Revolutionary Radicalism in France // Art History. December 1978. Vol. 1. P. 424–471; The Age of Revolution: French Painting 1774–1830 (каталог выставки, The Metropolitan Museum of Art, New York, 1975); Lyle S. The Second Sex. September, 1793 // Journal of Modern History. March 1955. P. 14–26; Graham R. Rousseau’s Sexism Revolutionized / ed. P. Fritz, R. Morton // Woman in the Eighteenth Century. P. 127–139; Raca E. The Women’s Rights Movement in the French Revolution // Science and Society. Spring 1952. P. 151–174; Hufton O. Women in Revolution 1789–1796 // Past and Present. November 1971. P. 90–108; Gutwirth M. The Twilight of the Goddess, Women and Representation in the French Revolutionary Era. New Brunswick, N. J., 1992; Rand E. Depoliticizing Women: Female Agency, the French Revolution, and the Art of Boucher and David // Genders. Spring 1990. Vol. 7. P. 47–68; Cameron V. Political Exposures: Sexuality and Caricature in the French Revolution // L. Hunt. Eroticism and the Body Politic. P. 90–107; Hunt L. The Many Bodies of Marie Antoinette: Political Pornography and the Problem of the Feminine in the French Revolution // L. Hunt. Eroticism and the Body Politic. P. 108–130; Шометт цит. по: Sheriff M. Woman? Hermaphrodite? History Painter? On the Self-Imaging of Elisabeth Vigée-Lebrun. P. 7. Ответ Мэри Уолстонкрафт на идеологию подчинения женщин, разработанную французскими писателями, обсуждается в: Kaplan C. Wild Nights: Pleasure/Sexuality/Feminism // Formations of Pleasure. London, 1983. P. 15–33.
Художницы после революции: работы отдельных художниц каталогизированы в: Women Artists: 1550–1950. P. 24–30; статистика участия женщин в Салонах на с. 46; Doy G. Women and Visual Culture in Nineteenth-Century France, 1800–1852. Leicester, 1998.
Глава 6. Пол, класс и власть в викторианской Англии
Ключевые работы о XIX веке: Weeks J. Sex, Politics and Society. London, 1981; Gay