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UID:news571@kunstgeschichte.philhist.unibas.ch
DTSTAMP;TZID=Europe/Zurich:20260907T105118
DTSTART;TZID=Europe/Zurich:20261020T181500
SUMMARY:Both/And: Madeleine Lemaire Through a Queer Lens
DESCRIPTION:Throughout her career\, Madeleine Lemaire (1845-1928) painted h
 undreds of works depicting women in various states of dress—and undress
 —and companionship with other women. These images tended to receive posi
 tive notice in both exhibitions and the popular press\, with no recorded c
 ommentary on the purported appropriateness of a so-called “woman artist
 ” representing seemingly Sapphic scenes. Yet today it remains common to 
 hear that “women artists” on the whole did not paint such images\, and
  when they did\, such images were rarely if ever sexualized. In this prese
 ntation\, Ringelberg will share a number of these images and ask the audie
 nce to rethink the mental frameworks that cause us to be unable to see the
 m in their complexity.Kirstin Ringelberg is Professor of Art History in th
 e Department of History & Geography at Elon University in North Carolina.
  Their book Redefining Gender in American Impressionist Studio Paintings:
  Work Place/Domestic Space was re-released in paperback in 2017. Recent 
 articles include “Reading Cisheteronormativity into the Art Historical 
 Archives” in Arts\, spring 2024\, “Trans visibility and trans viabilit
 y: a Roundtable\,” co-edited\, with Jill Casid and Cyle Metzger\, in the
  Journal of Visual Culture in 2022\, and “Prismatic Views: a look at the
  growing field of transgender art and visual culture studies\,” co-autho
 red with Cyle Metzger in the Journal of Visual Culture in 2020. In 2024\,
  Ringelberg was the Every Page Foundation Fellow at the Clark Art Instit
 ute\, for work on their book-length project Chez Madeleine Lemaire: Gender
  and Genre in the Queer Belle Époque (in progress).
X-ALT-DESC:<p>Throughout her career\, Madeleine Lemaire (1845-1928) painted
  hundreds of works depicting women in various states of dress—and undres
 s—and companionship with other women. These images tended to receive pos
 itive notice in both exhibitions and the popular press\, with no recorded 
 commentary on the purported appropriateness of a so-called “woman artist
 ” representing seemingly Sapphic scenes. Yet today it remains common to 
 hear that “women artists” on the whole did not paint such images\, and
  when they did\, such images were rarely if ever sexualized. In this prese
 ntation\, Ringelberg will share a number of these images and ask the audie
 nce to rethink the mental frameworks that cause us to be unable to see the
 m in their complexity.<br /><br />Kirstin Ringelberg is Professor of Art H
 istory in the Department of History &amp\; Geography at Elon University in
  North Carolina.&nbsp\;Their book <i>Redefining Gender in American Impress
 ionist Studio Paintings: Work Place/Domestic Space&nbsp\;</i>was re-releas
 ed in paperback in 2017. Recent&nbsp\;articles include&nbsp\;“Reading Ci
 sheteronormativity into the Art Historical Archives” in <i>Arts</i>\, sp
 ring 2024\, “Trans visibility and trans viability: a Roundtable\,” co-
 edited\, with Jill Casid and Cyle Metzger\, in the <i>Journal of Visual Cu
 lture</i> in 2022\, and “Prismatic Views: a look at the growing field of
  transgender art and visual culture studies\,” co-authored with Cyle Met
 zger in the <i>Journal of Visual Culture</i> in 2020.&nbsp\;In 2024\,&nbsp
 \;Ringelberg&nbsp\;was the Every Page Foundation Fellow at the Clark Art I
 nstitute\, for work on their book-length project <i>Chez Madeleine Lemaire
 : Gender and Genre in the Queer Belle Époque</i> (in progress).</p>\n\n
DTEND;TZID=Europe/Zurich:20261020T194500
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