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Journal Article
Camera Obscura (1983) 4 (2 (11)): 111–119.
Published: 01 September 1983
...Nancy Wood Griselda Pollock. Mary Cassatt (New York: Harper & Row, 1980) © 1983 by Camera Obscura 1983 Mary Cassatt by Griselda Pollock (New York: Harper & Row, 1980) Nancy Wood Griselda Pollock states as the opening caveat ofher book that many readers may well have...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 217–219.
Published: 01 December 1989
... Pollock and T. J. Clark, particularly when writing on the Paris Opera paintings and prints of Cassatt, Renoir and others of the 1870s and 1880s. The activity of looking out of and into an elevated opera box was a subject of more interest to these artists, of more pressing concern, than any...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 169–170.
Published: 01 December 1984
.... 4, no. 12; pp. 144-156. Wood, Nancy Mary Cassatt. Vol. 4, no. 11; pp. 111-119. Articles on film and video history. criticism. theory and...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 148–165.
Published: 01 September 1991
... feminist art history (“Vision, voice and power: feminist art histories and Marxism “Modernity and the spaces of femininity,” a reading of the paintings of Mary Cassatt and Berthe Morisot that argues for their specifically “feminine” employ- ment of compressed spatial...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 86–107.
Published: 01 January 1989
... dog and various toys, some belonging to the dog, some to Janey. In the background, to the left, there is a large poster of a painting of a mother and child by Mary Cassatt, in a pose suggestive of Hope and Janey in the final shot of the credit sequence described earlier. This poster becomes...