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Clara Database
The Clara database of women artists was a database named after Clara Peeters that was created and operated by the National Museum of Women in the Arts. It contained biographical information on 18,000 women visual artists of all time periods and nationalities. The information was drawn primarily from materials in NMWA's own archives, but various portraits used to document the entries were obtained from other libraries in the NMWA's network. The Clara database was maintained from 2008 to 2012 but is no longer being updated. It is accessible on the Wayback Machine. Some of the artist profiles from the database are now a featured component on the NMWA websit The name was chosen because two of Clara's works that had been purchased by Wilhelmina Holladay Wilhelmina Cole Holladay (née Cole; October 10, 1922 – March 6, 2021) was an American art collector and patron. She was the co-founder of the National Museum of Women in the Arts, and was awarded the National Medal of Arts in 2006. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Clara Peeters
Clara Peeters (active 1607–1621) was a Flemish still-life painter from Antwerp who worked in both the Spanish Netherlands and Dutch Republic. Peeters is the best-known female Flemish artist of this era and one of the few women artists working professionally in seventeenth-century Europe, despite restrictions on women's access to artistic training and membership in guilds. Peeters specialized in still-life paintings with food and was prominent among the artists who shaped the traditions of the Netherlandish ''ontbijtjes'', "breakfast pieces," scenes of food and simple vessels, and ''banketjes'', "banquet pieces" with expensive cups and vessels in precious metals. Life Details of Peeters' life are unclear. It is generally agreed by scholars that her work points to her being a native of Antwerp. The city of Antwerp's archives hold a record of a Clara Peeters, daughter of Jean (Jan) Peeters, baptized on 15 May 1594 in the Church of St. Walburga in Antwerp.Harris, Ann Sutherland, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
National Museum Of Women In The Arts
The National Museum of Women in the Arts (NMWA), located in Washington, D.C., is "the first museum in the world solely dedicated" to championing women through the arts. NMWA was incorporated in 1981 by Wallace and Wilhelmina Holladay. Since opening in 1987, the museum has acquired a collection of more than 5,500 works by more than 1,000 artists, ranging from the 16th century to today. The collection includes works by Frida Kahlo, Mary Cassatt, Alma Woodsey Thomas, Élisabeth Louise Vigée-LeBrun, and Amy Sherald. NMWA also holds the only painting by Frida Kahlo in Washington, D.C. The museum occupies an old Masonic Temple, a building listed on the U.S. National Register of Historic Places. History The museum was founded to reform traditional histories of art. It is dedicated to discovering and making known women artists who have been overlooked, erased, or unacknowledged, and assuring the place of women in contemporary art. The museum's founder, Wilhelmina Cole Holladay, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wilhelmina Holladay
Wilhelmina Cole Holladay (née Cole; October 10, 1922 – March 6, 2021) was an American art collector and patron. She was the co-founder of the National Museum of Women in the Arts, and was awarded the National Medal of Arts in 2006. Early life Holladay, known as "Billie", was born in Elmira, New York, on October 10, 1922. Her father, Chauncey Cole, worked as a businessman; her mother, Claire Elisabeth née Strong, was a housewife. She was close to her maternal grandmother, whom she credits with inculcating a perception of beauty. Holladay graduated with a degree in art history from Elmira College in 1944. She went on to study art history at Cornell University, before undertaking further studies at the University of Paris from 1953 to 1954. During World War II, Holladay worked for the United States Air Force and the Embassy of China. In the latter capacity, she was employed as the social secretary of Soong Mei-ling, the wife of Chiang Kai-shek. She met Wallace Holladay while he ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Open-access Archives
Open access (OA) is a set of principles and a range of practices through which research outputs are distributed online, free of access charges or other barriers. With open access strictly defined (according to the 2001 definition), or libre open access, barriers to copying or reuse are also reduced or removed by applying an open license for copyright. The main focus of the open access movement is "peer reviewed research literature". Historically, this has centered mainly on print-based academic journals. Whereas non-open access journals cover publishing costs through access tolls such as subscriptions, site licenses or pay-per-view charges, open-access journals are characterised by funding models which do not require the reader to pay to read the journal's contents, relying instead on author fees or on public funding, subsidies and sponsorships. Open access can be applied to all forms of published research output, including peer-reviewed and non peer-reviewed academic journal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Women Artists
The absence of women from the canon of Western culture, Western Art history, art has been a subject of inquiry and reconsideration since the early 1970s. Linda Nochlin's influential 1971 essay, "Why Have There Been No Great Women Artists?, Why Have There Been No Great Women Artists?" examined the social and institutional barriers that blocked most women from entering artistic professions throughout history, prompted a new focus on women artists, their art and experiences, and contributed inspiration to the Feminist art movement in the United States, Feminist art movement. Although women artists have been involved in the making of art throughout history, their work, when compared to that of their male counterparts, has been often obfuscated, overlooked and undervalued. The Western canon has historically valued men's work over womens' and attached gendered stereotypes to certain media, such as Textile arts, textile or fiber arts, to be primarily associated with women.Aktins, Robe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
