Винни Рим Хокси: Letup J. A. Vinnie Ream and Abraham Lincoln // Woman’s Art Journal. Fall 1985/Winter 1986. Vol. 6. P. 24–29; ответ Хосмер см. на с. 27. Thompson V. Vinnie Ream: The Teen Who Sculpted Abe Lincoln // Sculpture Review. 1992. Vol. 41. P. 32–33.
Глава 8. Самостоятельные, но неравноправные: женская сфера и новое искусство
Столетняя выставка в Филадельфии: Corn W. M. Women Building History // American Women Artists: 1830–1930. P. 26–34; Paine J. The Women’s Pavilion of 1876 // Feminist Art Journal. Winter 1975–1976. P. 5–12; ответ Элизабет Кэди Стэнтон цит. на с. 11. Burns S. The ‘Earnest, Untiring Worker’ and the Magician of the Brush: Gender Politics in the Criticism of Cecilia Beaux and John Singer Sargent // The Oxford Art Journal. 1992. Vol. 15. No. 1. P. 36–53.
Пенсильванская академия изящных искусств: The Pennsylvania Academy and Its Women 1830–1920 (каталог выставки, Pennsylvania Academy of the Fine Arts, Philadelphia, 1973),
essay by Christine Jones Huber.
Сьюзан Макдауэлл Икинс: Thomas Eakins, Susan MacDowell Eakins, Elizabeth MacDowell Kenton (каталог выставки, North Cross School, Roanoke, Virginia, 1977); Louise Lippincott, «Thomas Eakins in the Academy,» In This Academy (Washington, D. C., 1976); Susan MacDowell Eakins: 1851–1938 (каталог выставки, The Pennsylvania Academy of the Fine Arts, Philadelphia, 1973) / essays by S. Adelman; S. Casteras.
Мэй Олкотт: Ticknor C. May Alcott: A Memoir. Boston, 1927; ее описание Кассат см. на с. 152; см. также: Elbert S. A Hunger for Home: Louisa May Alcott and Little Women. Philadelphia, 1984; Auerbach N. Communities of Women: An Idea in Fiction. Cambridge, MA, 1978.
Женщины и импрессионизм: Lipton E. Looking Into Degas: Uneasy Images of Women and Modern Life. Berkeley, Los Angeles; London, 1986; Garb T. Women Impressionists. Oxford, 1986; Moffett C. et al. The New Fainting: Impressionism 1874–1886. Oxford, 1986; Rewald J. The History of Impressionism. New York, 1973; Gronberg T. A. Femmes de Brasserie // Art History. September 1984. Vol. 7. P. 329–344; Broude N. Degas’s ‘Misogyny’ // N. Broude, M. Garrard. Feminism and Art History. P. 247–269; Pollock G. Modernity and the Spaces of Femininity // Vision and Difference. P. 50–90; Perry G. Women Artists and the Parisian Avant-Garde. Manchester and New York, 1995; Iskin R. Selling, Seduction and Soliciting the Eye: Manet’s Bar at the Folies— Bergère // The Art Bulletin. March 1995. Vol. 77. P. 19–44: Delafond M. Les Femmes Impressionistes: Mary Cassatt, Eva Gonzales, Berthe Morisot (каталог выставки, Musée Marmottan, Paris, 1993).
Мэри Кассат: Pollock G. Mary Cassatt. New York, 1980; Breeskin A. The Graphic Work of Mary Cassatt: A Catalogue Raisonné. New York, 1948; Breeskin A. Mary Cassatt: A Catalogue Raisonné of Paintings, Watercolors and Drawings. Washington, D. C., 1970; Hale N. Mary Cassatt. New York, 1975; Kysela J. D. Mary Cassatt’s Mystery Mural and the World’s Fair of 1893 // Art Quarterly. 1966. Vol. 19. P. 129–145; Sweet F. Miss Mary Cassatt: Impressionist from Pennsylvania. Norman, OK, 1966; Fillin-Yeh S. Mary Cassatt’s Images of Women // Art Journal. Summer 1976. Vol. 35. P. 359–363; замечания Кассат о живописи цит. по: Pollock G. Mary Cassatt. P. 9.
Берта Моризо: Berthe Morisot: Impressionist (каталог выставки, The National Gallery of Art, Washington, D. C., 1987) / essays by C. F. Stuckey, W. P. Scott; Adler K., Garb T. Berthe Morisot. Ithaca, N. Y., 1987; Rouart D., ed. The Correspondence of Berthe Morisot. New York, 1957. P. 35; Bataille M. L., Wildenstein G. Berthe Morisot: Catalogue des peintures, pastels et aquarelles. Paris, 1961; Kinney L. Genre; A Social Contract? // Art Journal. Winter 1987. Vol. 46. P. 267–277; Nochlin L. Morisot’s Wet Nurse: The Construction of Work and Leisure in Impressionist Painting // Women, Art, and Power. P. 37–56; замечание Ренуара о профессионализме женщин см. в: Renoir (каталог выставки, The Museum of Fine Arts, Boston, 1987). P. 15; Higonnet A. Berthe Morisot: A Biography. New York, 1991; Higonnet A. Berthe Morisot’s Images of Women. Cambridge; New York, 1992.
Ева Гонсалес: Mathey F. Six femmes peintres. Paris, 1931; Salons de la Vie Moderne: Catalogue des peintures et pastels de Eva Gonzales. Paris, 1885.
Движение «Искусства и ремесла»: Callen A. Women Artists of the Arts and Crafts Movement 1870–1914. New York, 1979; Anscombe I. A Woman’s Touch: Women in Design from 1860 to the Present. London, 1984; Gere A., Gere C. Arts and Crafts in Britain and America. New York, 1978; The Subversive Stitch; Candace Wheeler is quoted in A Woman’s Touch. P. 36; Burkhauser J., ed. Glasgow Girls: Women in Art and Design, 1880–1920. Edinburgh, 1990; Helland J. The Critics and the Arts and Crafts: The Instance of Margaret Macdonald and Charles Rennie Mackintosh // Art History. June 1994. Vol. 17. P. 209–227.
Художественная керамика: Evans P. Art Pottery of the United States: An Encyclopedia of Producers and Their Marks. New York, 1974.
Всемирная Колумбийская выставка: Weimann J. M. The Fair Women: The Story of the Woman’s Building, World’s Columbian Exposition, Chicago 1893. Chicago, 1981; Carr C. K., Webster S. Mary Cassatt and Mary Fairchild MacMonnies: The Search for Their 1893 Murals // American Art. Winter 1994. Vol. 8. P. 52–69.
Глава 9. Модернизм,
абстракция и новая женщина
Шарль Бодлер: «The Painter of Modern Life» (1863), перепечатано в: Frascina F., Harrison C., ed. Modern Art and Modernism: A Critical Anthology. New York, 1982. P. 23; Экстер цитируется по: Yasinskaya I. Revolutionary Textile Design: Russia in the 1920s and 1930s / intr. by J. Bowlt. New York, 1983.
Василий Кандинский: Weiss P. Kandinsky in Munich: The Formative Jugendstil Years. Princeton, 1979, содержит ценные сведения о Кандинском и югендстиле; см. в частности гл. 10 об орнаменте и абстракции; замечание Кандинского цитируется на с. 107.
Реформирование одежды: Montague K. The Aesthetics of Hygiene: Aesthetic Dress, Modernity, and the Body as Sign // Journal of Design History. 1994. Vol. 7. No. 2. P. 91–112.
Габриель Мюнтер: Women Artists: 1550–1950. P. 281–282; Women and Art. P. 160–162; Shulamith Behr, Women Expressionists. New York, 1988; Mochon A. Gabriele Münter: Between Munich and Murnau. Cambridge; Princeton, 1980; Roditi E. Interview With Gabriele Münter // Arts. January 1960. Vol. 34. P. 36–41; Eichner J. Kandinsky und Gabriele Münter von Ursprungen modernen Kunst. Munich, 1957; Erlanger L. Gabriele Münter: A Lesser Life? // Feminist Art Journal. Winter 1974–75. P. 11–13;