TY - JOUR
AU - Dolan, Frances E.
AB - 264 Reviews of Books holders of an “office”—that is, part of a job descrip- association with the deceptive, vain, and ephemeral tion—seems extremely dubious. It is difficult, further- practice of cosmetics, women might also achieve self- more, to see the usefulness of calling the doge’s wife an determination and sensual pleasure through their use “icon.” Dogaresse moved about the city mainly in boats of cosmetics. Nor was this the limit of their creativity. rather than on foot, a point obscured by the absence of Phillippy is particularly interested in the agency avail- a map. Their portraits were never painted. Hence I able to women artists. I cannot think of another book doubt that they were sufficiently visible to their con- that so thoroughly and thoughtfully explores the con- temporaries either to serve as or to problematize mod- nections between women’s writing and painting. Phill- els of gendered behavior. ippy offers extended interpretations of works by writers In chapter four, “Death and the Dogaressa,” Hurl- including Marguerite de Navarre, Elizabeth Tudor, burt steps onto terra firma. Using wills and other ma- Amelia Lanyer, and Elizabeth Cary and her filial bi- terials, she persuasively examines the efforts of some ographer, and 
TI - Patricia Phillippy. Painting Women: Cosmetics, Canvases, and Early Modern Culture. Baltimore: Johns Hopkins University Press. 2006. Pp. xii, 258. $52.00
JF - The American Historical Review
DO - 10.1086/ahr.112.1.264
DA - 2007-02-01
UR - https://www.deepdyve.com/lp/oxford-university-press/patricia-phillippy-painting-women-cosmetics-canvases-and-early-modern-MaTDa0rWRc
SP - 264
EP - 265
VL - 112
IS - 1
DP - DeepDyve
ER -