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- aggregation classification "D1".
- aggregation creator person.
- aggregation date "2006".
- aggregation hasFormat 778537.bibtex.
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- aggregation language "dut".
- aggregation publisher "K.U.Leuven, OE Kunstwetenschap".
- aggregation subject "Arts and Architecture".
- aggregation title "Het binnenste buiten: sculpturen van vrouwelijke beeldhouwers in de grootstedelijke publieke ruimte (Parijs, Londen & Brussel, ca. 1770-1953)".
- aggregation abstract "Both sculpture and public space have been considered a male preserve for centuries, and most certainly during the 19th century. Yet since the late 18th century, more sculptures by female sculptors than previously thought, have found their place in (semi-)public spaces, even in art metropolises. This remarkable phenomenon forms the subject of this dissertation, which asks as its principal question whether public sculptures by female sculptors are to be seen as a deviation or a confirmation of the ideology of the ‘separate spheres’. On the one hand, by their mere existence, sculptures by women in the public space can be seen as a new case study linked with recent studies which point out the presence of particular groups of women in (specific areas of) the public space in the 19th century. On the other hand, the phenomenon confirms the paradigm of the ‘separate spheres’ again, both at the level of the sculptors and their sculptures. Indeed, the sculptresses were confronted with numerous difficulties in the race for commissions; also the specific appearance of their (semi-)public sculptures testifies of the impact of gendered role models. Moreover, the often gender-coloured, contemporary and subsequent reception mainly confirms the ‘male’ identity of the sculptor and his public works. The dissertation consists of two volumes. The critical catalogue (volume 2) surveys, describes and illustrates 360 not previously catalogued sculptures made by women for (semi-)public indoor and outdoor spaces in Paris, London and Brussels in the period between ca. 1770 and 1953. In the text (volume 1) this unexpectedly voluminous material is first mapped geographically and temporally, compared and interpreted, and tendencies are distinguished in production and placement, among others from the point of view of the different urbanisations of the three cities and of the evolution of public sculpture. Although the absolute number of their (semi-)public sculptures is a revelation, their work is nevertheless strongly under-represented relative to the entire output of public sculptures. Indeed, the expectations towards women at the time had a considerable influence on their chances of carving out a career as a sculptress, of getting trained and of attracting commissions. Nevertheless, many – through a subtle balancing act between showing and hiding – succeeded in manipulating those circumstances, finding a way around them or using them to their advantage. They seemed to be operating in a ‘borderland’, a kind of social limbo between the public and private spheres, in which they were allowed just a little bit extra, but which nevertheless had a glass ceiling. An analysis is made, from different perspectives, to which extent and in which form their sculptures were and are present, represented and visible in the cityscape, specifically in Paris, London and Brussels. Both literally and figuratively, their sculptures appear to have been mainly characterised by their ‘invisibility’ in the inherent visibility of public space. They were for instance often given hardly prominent locations, their size is often ‘humble’, sculptresses were seldom called upon for the highest iconographical genres, and stylistic experimentation was rarely their first concern. At the level of reception, the sculptresses gained their visibility mainly by their sex, yet it is exactly this exceptionality and the trouble that critics had to judge them independently from that, which is one of the reasons for their near-invisibility in the canon of art history. This dissertation offers food for further thought on this ‘blind spot’ in art history, and a possible opening towards the correction of the slightly distorted image that female sculptors and their works were absent in the public space during the long 19th century.".
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