Kenneth J Bowman AM

Carney, Leo G.

doi:10.1111/j.1444-0938.2009.00347.x

Cited by 3 publications

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References 5 publications

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“…39 Gentileschi was the daughter of Orazio Gentileschi, one of the Caravaggisti, and she was 'one of the first female Italian artist[s] determined to compete with the male artists of her time'. 40 Her paintings often draw on mythological and mythical themes and are characterized by 'Caravaggesque realism' and chiaroscuro, a technique which uses light and dark to create a particularly dramatic style. 41 A lavishly dressed Gentileschi, adorned with pieces of jewellery, leans into the pictorial space, her low neck-line revealing an expanse of cleavage.…”

Section: 'She Held a Mirrhour Bright'mentioning

confidence: 99%

“…40 Her paintings often draw on mythological and mythical themes and are characterized by 'Caravaggesque realism' and chiaroscuro, a technique which uses light and dark to create a particularly dramatic style. 41 A lavishly dressed Gentileschi, adorned with pieces of jewellery, leans into the pictorial space, her low neck-line revealing an expanse of cleavage. Gentileschi presents herself in the midst of artistic creation, her hair flicking out of her haphazard bun and her sleeves bunched up around her elbows.…”

Section: 'She Held a Mirrhour Bright'mentioning

confidence: 99%

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‘Gazing in hir glasse of vaineglorie’

Tudor¹

2020

The Senses in Early Modern England, 1558–1660

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This chapter explores the problems that mirrors presented for women, at whom they were often directed, and discusses the potential for women to circumvent some of the mirror's negative associations. This essay will present three self-portraits by Sofonisba Anguissola and Artemisia Gentileschi which will reveal the different approaches of these women to the problem of representing themselves. These women seek out a new method of either sidestepping the issues of self-representation, often through a redirection of the gaze, or by presenting themselves as adhering to a particular set of societal conditions. Herbert Grabes's seminal work The Mutable Glass: Mirror-imagery in Titles and Texts of the Middle Ages and English Renaissance explores comprehensively the multiple meanings applied to the mirror in the early modern period, covering a vast number of exemplary texts from the period. He notes that the 'various properties of mirrors' were 'frequently the chief stimulus for employing the mirror-metaphor', and includes the 'false or flatt'ring' glass, which makes the individual appear more attractive, the 'true' or 'pure' mirror, which is 'closely associated with […] knowledge of the Divine', the tarnished or darkened mirror, which is 'an expression of a lack of moral integrity […] relating to knowledge of the Divine', and the brittleness of the mirror, which was used to signal transience. 1 The mirror metaphor, however, has yet more uses and Grabes describes instances in which 'man, or specifically another human being' is reflected in the mirror, and examples are frequent in literature which 'can offer us a mirror-image of human existence'. 2 William Rankins's A Mirrovr of Monsters (1587) is just such a text. Rankins's focus is on the dangers of 'show' and his text addresses the 'manifold vices' and 'spotted enormities' that are the result of the 'infectious sight of Playes'. 3 Rankins is particularly concerned with pride, and notes that players 'colour their vanitie with humanitie […] because vnder colour of humanitie, they present nothing but prodigious vanitie'. 4 Rankins expands his thoughts on pride and 'lecherie', using the character of Luxuria: Amongst y e rest to make hir séeme more amiable to hir best beloued shée painted hir faire face w t spots of shadowed modestie: not fro~ Apelles shop, whose colours

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Section: 'She Held a Mirrhour Bright'mentioning

confidence: 99%

Section: 'She Held a Mirrhour Bright'mentioning

confidence: 99%

‘Gazing in hir glasse of vaineglorie’

Tudor¹

2020

The Senses in Early Modern England, 1558–1660

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“…He also chairs the Australian Prostate Cancer Research Centre (Queensland). His profile was published in Clinical and Experimental Optometry in 2009 …”

Section: Honorary Doctorate For Professor Ken Bowmanmentioning

confidence: 99%