Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History yet effected real change? With a new preface by Griselda Pollock, this edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today. In March 2020 Griselda Pollock was awarded the Holberg Prize in recognition of her outstanding contribution to research and her influence on thinking on gender, ideology, art and visual culture worldwide for over 40 years. Old Mistresses was her first major scholarly publication which has become a classic work of feminist art history.

The Mancini Sisters, Marie and Hortense, were born in Rome, brought to the court of Louis XIV of France, and strategically married off by their uncle, Cardinal Mazarin, to secure his political power base. Such was the life of many young women of the age: they had no independent status under the law and were entirely a part of their husband's property once married. Marie and Hortense, however, had other ambitions in mind altogether. Miserable in their marriages and determined to live independently, they abandoned their husbands in secret and began lives of extraordinary daring on the run and in the public eye. The beguiling sisters quickly won the affections of noblemen and kings alike. Their flight became popular fodder for salon conversation and tabloids, and was closely followed by seventeenth-century European society. The Countess of Grignan remarked that they were traveling "like two heroines out of a novel." Others gossiped that they "were roaming the countryside in pursuit of wandering lovers. "Their scandalous behavior -- disguising themselves as men, gambling, and publicly disputing with their husbands -- served as more than just entertainment. It sparked discussions across Europe concerning the legal rights of husbands over their wives. Elizabeth Goldsmith's vibrant biography of the Mancini sisters -- drawn from personal papers of the players involved and the tabloids of the time -- illuminates the lives of two pioneering free spirits who were feminists long before the word existed.

This pioneering study of the much-mythologized Southern belle offers the first serious look at the lives of white women and their harsh and restricted place in the slave society before the Civil War. Drawing on the diaries, letters, and memoirs of hundreds of planter wives and daughters, Clinton sets before us in vivid detail the daily life of the plantation mistress and her ambiguous intermediary position in the hierarchy between slave and master. "The Plantation Mistress challenges and reinterprets a host of issues related to the Old South. The result is a book that forces us to rethink some of our basic assumptions about two peculiar institutions -- the slave plantation and the nineteenth-century family. It approaches a familiar subject from a new angle, and as a result, permanently alters our understanding of the Old South and women's place in it.

Seventeen-year-old Henry VIII was 'a youngling, he cares for nothing but girls and hunting.' Over the years, this didn't change much. Henry was considered a demi-god by his subjects, so each woman he chose was someone who had managed to stand out in a crowd of stunning ladies. Looking good was not enough (indeed, many of Henry's lovers were considered unattractive); she had to have something extra special to keep the king's interest. And Henry's women were every bit as intriguing as the man himself. In this book, Henry's mistresses are rescued from obscurity. The sixteenth century was a time of profound changes in religion and society across Europe – and some of Henry's lovers were at the forefront of influencing these events. Kelly Hart gives an excellent insight into the love life of our most popular king, and the twelve women who knew the man behind the mask.

Tells the history of the French Renaissance through the lives of its most prominent queens and mistresses.

The first in an unforgettable historical saga from the New York Times bestselling author of The Alice Network and The Diamond Eye. “So gripping, your hands are glued to the book, and so vivid it burns itself into your mind’s eye and stays with you long after you turn the final page.”—Diana Gabaldon, #1 New York Times bestselling author First-century Rome: One young woman will hold the fate of an empire in her hands. Thea, a captive from Judaea, is a clever and determined survivor hiding behind a slave’s docile mask. Purchased as a toy for the spoiled heiress Lepida Pollia, Thea evades her mistress’s spite and hones a secret passion for music. But when Thea wins the love of Rome’s newest and most savage gladiator and dares to dream of a better life, the jealous Lepida tears the lovers apart and casts Thea out. Rome offers many ways for the resourceful to survive, and Thea remakes herself as a singer for the Eternal ’City’s glittering aristocrats. As she struggles for success and independence, her nightingale voice attracts a dangerous new admirer: the Emperor himself. But the passions of an all-powerful man come with a heavy price, and Thea finds herself fighting for both her soul and her destiny. Many have tried to destroy the Emperor: a vengeful gladiator, an upright senator, a tormented soldier, a Vestal Virgin. But in the end, the life of Rome’s most powerful man lies in the hands of one woman: the Emperor’s mistress.

The first-of-its-kind exhibit cataloged here focuses on the women of Egypt from all levels of society in works compiled strictly from American collections by American curators. Because the quantity of written records is limited (though enormous in comparison to most early societies), there is still much guesswork involved in determining the place women held in Egyptian society. It is clear that, unlike most ancient and not-so-ancient societies, Egypt conferred on women the legal right to own property and to barter their own goods, which means a larger record for current study. The essays here are both erudite and fascinating to read; the illustrations are clear and well presented in conjunction with the text. 117 colour & 112 b/w illustrations