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"A Revolution on Canvas: The Rise of Women Artists in Britain and France, 1760–1830" by Paris A. Spies-Gans is a significant contribution to the fields of art, gender, and cultural history. The book explores the art education, exhibition venues, and subject matter choices of women artists in both countries during this period. Spies-Gans emphasizes the ways in which women artists sought to professionalize their careers and highlights their efforts to publicly exhibit works, market their paintings, and gain a livable income. The book includes data sets, graphs, primary source quotations, and full-color illustrations of the artwork discussed. Overall, the book establishes the historical and cultural achievements of these resilient women artists. [Extracted from the article]

The text discusses two recent exhibitions that highlight the contributions of early modern women artists in Europe from 1400 to 1800. The exhibitions, "Making Her Mark" and "Geniale Frauen," go beyond simply displaying women painters and instead explore the diverse ways in which women were involved in artistic endeavors during this period. The exhibitions challenge traditional art historical hierarchies and showcase a wide range of artistic mediums, including painting, sculpture, needlework, pattern books, and various crafts. The exhibitions also examine the impact of gender, marriage, and social status on women's artistic production. These exhibitions demonstrate that early modern women artists were successful in various art forms and provide important insights into their lives and work. [Extracted from the article]

The text discusses the exhibition and accompanying catalogue titled "Ay-Ō: Happy Rainbow Hell" at the Freer Gallery of Art and Arthur M. Sackler Gallery, National Museum of Asian Art, Smithsonian. The exhibition showcases the works of Ay-Ō, a visual and performance artist from Japan, who gained popularity both within Japan and internationally. The catalogue, curated by Kit Brooks, provides a scholarly introduction to Ay-Ō and his works, emphasizing the importance of experiencing his prints. The exhibition itself is immersive and inclusive, incorporating interactive elements and addressing the symbolism of the rainbow to the LGBTQIA community. While the exhibition and catalogue are engaging, the text suggests that a larger space and more three-dimensional works could have further explored the experiential qualities of Ay-Ō's art. Overall, the text highlights the significance of Ay-Ō's work and the need for further scholarly attention. [Extracted from the article]

"Maternidades puertorriqueñas: Esclavitud, colonialismo y diáspora en el arte y la literatura" by Ivette M. Guzmán Zavala is a study of the various ways of "mothering" in the visual arts and literature of Puerto Rico. The book explores the term "maternar," which refers to shared practices associated with caring for others, and challenges the notion that there is only one correct way to be a mother. Guzmán Zavala analyzes cultural production from the eighteenth century to the present, drawing on the work of sociologists, anthropologists, and feminist and transgender literary critics. The book is organized chronologically and geographically, examining the representation of motherhood in photographs, literary works, and visual art. It highlights the role of racialized subjects and the impact of industrialization on motherhood, and also explores the experiences of Puerto Ricans in the diaspora. "Maternidades puertorriqueñas" contributes to the understanding of motherhood in Puerto Rico and Latin American cultures, challenging traditional paradigms and offering new perspectives on caregiving. [Extracted from the article]

The book "Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century: The Imprint of Women, c. 1700-1830" by Cristina S. Martinez and Cynthia E. Roman explores the often overlooked contributions of women in the print industry during the eighteenth century. The authors aim to recover the historical role of women in print production through meticulous research and analysis of archival sources. The book covers various aspects of women's involvement in visual print production, including self-presentation, learning the craft, and competing in the market. The essays provide new information about lesser-known figures and offer insights into the diverse experiences of women in the print trade. The volume also includes chapters that examine examples from Germany, France, Italy, and America, showcasing the international scope of women's participation in the industry. While the book primarily focuses on printmakers and sellers, it raises questions about the definition of professionalism, the distinction between amateur and professional printmakers, and the role of women as print buyers. Overall, "Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century" is a valuable contribution to the study of women in the print trades and serves as a catalyst for further research in this field. [Extracted from the article]