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Tate Women Artists Paperback – Illustrated, Jun 2003


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Product details

  • Paperback: 272 pages
  • Publisher: Tate Publishing (Jun 2003)
  • Language: English
  • ISBN-10: 1854373110
  • ISBN-13: 978-1854373113
  • Product Dimensions: 21 x 2.2 x 27 cm
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 522,567 in Books (See Top 100 in Books)
  • See Complete Table of Contents

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Product Description

Review

'Superbly comprehensive' -- Ham and High, June 2004

This handsome volume is an extremely useful reference tool and a joy to browse through. -- Artists and Illustrators, August 2004

About the Author

Alicia Foster specialises in the work of women artists and has published titles on Victorian women artists, fashion and artistic identity. She is the author of Gwen John in the British Artists series.

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Most Helpful Customer Reviews

Format: Paperback
The work of more than 250 women artists is represented in the Tate Gallery, or was represented in 2004 when this book was published. The list spans five centuries and includes well-known, lesser-known and forgotten artists.

The success of the venture depends on the author and here Alicia Foster has used her extensive interdisciplinary knowledge and experience in art history, sociology and women’s studies to produce a very interesting, even compelling, book. It would be an added bonus if other leading public art galleries and museums used this book as a model to present their holdings of women artists, who still only contribute a small minority of the artists [11% in the case of the Tate artists and only 7% of its collection] and whose work is rarely promoted and displayed as effectively as it deserves.

Foster’s writing is passionate although not as strident as, for example, that of Linda Nochlin and her first illustrated essay ‘Women and the Tate’ is an articulate and forceful expression of the history of the representation of women artists in the Tate. Foster makes the valid point that women have contributed to the collection in other significant ways, as ‘consumers of culture, art collectors, patrons and benefactors’ and, latterly, curators. I have just been reading about the adventurous collectors of French Realist, Impressionist and Post-Impressionist works, Gwendoline and Margaret Davies, who would have given their collection to the Tate in the 1920s had not its [male] decision-makers refused to accept a loan of the sisters’ Cézannes.

The author’s scholarship and communication skills are both evident as she presents illustrated essays on ‘Beginnings’, ‘Victorians’, ‘The Twentieth Century’ and ‘Women working now’.
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By massimo palmi on 3 Oct 2014
Format: Paperback Verified Purchase
good item
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