A collection of original essays, Saints, Sinners, and Sisters showcases the diverse questions currently being asked by gender scholars dealing with French, Netherlandish and German art from the medieval and early modern periods. Moving beyond the reclamation of personalities and oeuvres of 'lost' female artists, the contributors pose questions about gender and sex within specific historical contexts, addressing such issues as intended audience, use of the object, and patronage. These avenues of inquiry intersect with larger cultural questions concerning societal control of women. The book's three sections, 'Saints,' 'Sinners,' and 'Sisters, Wives, Poets' are each preceded by a concise introductory essay, detailing themes and offering reflective comparisons of theses and information. In 'Saints,' contributors look at women who were positive exemplar used by society to uphold standards. In the second section, the essays focus on the power of women's sexuality. The third section expands beyond the customary dichotomous division of the first two to examine women in diverse roles not widely studied as positions of women in those times. This final section expands our definitions of women's responsibilities and realigns them historically; it argues that women, and thus gender, need to be understood within a much broader historical context and beyond simplistic approaches sometimes superimposed by present-day readers on past times. This volume answers an acute need for research on the art of Northern Europe prior to the 20th century, and highlights the possibilities of new directions in the field. The effect of the new scholarship presented here is to broaden the discursive field, allowing fluidity of disciplinary boundaries, resulting in a volume that is illuminating to historians of more than art alone.

A collection of original essays, Saints, Sinners, and Sisters showcases the diverse questions currently being asked by gender scholars dealing with French, Netherlandish and German art from the medieval and early modern periods. Moving beyond the reclamation of personalities and oeuvres of 'lost' female artists, the contributors pose questions about gender and sex within specific historical contexts, addressing such issues as intended audience, use of the object, and patronage. These avenues of inquiry intersect with larger cultural questions concerning societal control of women. The book's three sections, 'Saints, ' 'Sinners, ' and 'Sisters, Wives, Poets' are each preceded by a concise introductory essay, detailing themes and offering reflective comparisons of theses and information. In 'Saints, ' contributors look at women who were positive exemplar used by society to uphold standards. In the second section, the essays focus on the power of women's sexuality. The third section expands beyond the customary dichotomous division of the first two to examine women in diverse roles not widely studied as positions of women in those times. This final section expands our definitions of women's responsibilities and realigns them historically; it argues that women, and thus gender, need to be understood within a much broader historical context and beyond simplistic approaches sometimes superimposed by present-day readers on past times. This volume answers an acute need for research on the art of Northern Europe prior to the 20th century, and highlights the possibilities of new directions in the field. The effect of the new scholarship presented here is to broaden the discursive field, allowing fluidity of disciplinary boundaries, resulting in a volume that is illuminating to historians of more than art alone.

Four women seeking the promise of salvation and prosperity in a new land.

Sisters is the first major history of the pivotal role played by nuns in the building of American society. Nuns were the first feminists, argues Fialka. They became the nation's first cadre of independent, professional women. Some nursed, some taught, and many created and managed new charitable organizations, including large hospitals and colleges. In the 1800s nuns moved west with the frontier, often starting the first hospitals and schools in immigrant communities. They provided aid and service in the Chicago fire, cared for orphans and prostitutes in the California Gold Rush and brought professional nursing skills to field hospitals run by both armies in the Civil War. Their work was often done in the face of intimidation from such groups as the Know Nothings and the Ku Klux Klan. In the 1900s they built the nation's largest private school and hospital systems and brought the Catholic Church into the civil rights movement. As their numbers began to decline in the 1970s, many sisters were forced to take professional jobs as lawyers, probation workers, managers and hospital executives because their salaries were needed to support older nuns, many of whom lacked a pension system. Currently there are about 75,000 sisters in America, down from 204,000 in 1968. Their median age is sixty-nine. In Sisters, Fialka reveals the strength of the spiritual capital and the unprecedented reach of the caring institutions that religious women created in America.