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Ebook , by Bridget Quinn

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, by Bridget Quinn

Ebook , by Bridget Quinn

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Product details

File Size: 33191 KB

Print Length: 185 pages

Publisher: Chronicle Books LLC (March 7, 2017)

Publication Date: March 7, 2017

Sold by: Amazon Digital Services LLC

Language: English

ASIN: B01N6CJWVB

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Amazon Best Sellers Rank:

#136,930 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

As an art historian I am delighted to see these extraordinary women artists presented and Quinn does add new insight into the lives and works of several of the artists. However, I think Quinn ruins her approach by trying to be "too cool" and by using the f-word and other base observations not appropriate for serious research. She has paired well done writing with lowering herself to use expletives. Is this what we have to do today to appeal to readers ? I think it is a disservice to those women being presented. I also think the book centers too much on her and is often plain silly as to how she relates herself to studying these women.

Five stars means I love it - but not unconditionally! Quinn's initial quest for information on Lee Krasner led her to Janson's History of Art and then Artemisia Gentileschi. "By the time I hit the back cover, I had a list of sixteen women, one of them Lee Krasner. In more than 800 pages, this was all "official" art history could offer." Slowly, Quinn moved on and discovered other female artists like "Rosa Bonheur, a swaggering animal painter from the nineteenth century..." or "Edmonia Lewis, who was part Chippewa, part African American" In another class Quinn made use of her French language skills and studied Adelaide Labille-Guiard. I admit, I had never heard of either Lewis or Labille-Guiard before - Quinn's breezy tone made it easy to continue."You may well be asking: What the hell?" and off she goes describing the Gentileschi painting. Yes, the one were Judith assisted by her maid severs the head of Holofernes. "They could be Julia Child and Alice Waters deboning a turkey." It is so funny, so cutting, and so disturbing because we/I have never read anything translating this gruesome scene to something very contemporary, performed by modern women. Beyond describing the artists' most well-known works, Quinn tells of their life - what made them painters/sculptures, why were they successful or not, how did they live? Throughout the book Quinn offers stories from contemporary movies or novels that make for very easy reading and understanding of the heroine's (artist's) predicaments - compare Judith Leyster to Frans Hals via the Da Vinci Code. Then there are paintings who were first attributed to male masters, in fact being star attractions and then quietly put into storage and rediscovered, Quinn loves those. Throughout the book she seems to chuckle every time there is something along the lines of the Rosa Bonheur quote "the fact is, in the way of males, I only like the bulls I paint." Sometimes it is just too much levity and I could have done without it. The chapters on Edmonia Lewis, Vanessa Bell, Alice Need, Ruth Asawa and Ana Mendieta introduce these barely acknowledged artists - I am grateful to Quinn for introducing them to me.

I bought this book as a gift for an older woman who is an accomplished artist and a good friend. The primary subjects she portrays are women (usually in woodcut prints), so I thought this book would interest her. This may be the only book I've ever returned for reasons other than shipping damage. There are three basic things I don't like about this book: 1) The overall writing style is appallingly slangy, sloppy, and otherwise, undisciplined [believe me, I'm no prude, but on page 52, for example, in the space of about six sentences, the author uses major obscenities three times (Amazon rejected this review the first time because I quoted from the book), so be careful about who you give this to!], 2) The watercolor illustrations (these are the author's portraits of the artists she writes about] are overly sentimentalized, not particularly well done, and really detract from the impact of the book, especially given the high quality of the artists inside; and 3) The text font is uncomfortably small. This book might be appropriate for someone who has zero knowledge about art or the equivalent of a high school education, though I wouldn't give it to a youngster because of the vulgar language. Most of the artists in this book (Alice Neel, Ruth Asawa, etc.) are very well-known in the art world, so there weren't too many surprises for me. The only positive things I can say about this book are that women artists need greater recognition for their role in art history, so this book may be one tiny step forward in raising awareness about them; the technical quality of color reproductions is good; and the layout is nicely done, with the exception of the type, which, as I mentioned above, is very small. Now, getting really picky, I hated the choice in paper for the cover, kind of a fake-looking, cloth textured paper that looked rather tacky. There are many other better written and more comprehensive books on the same subject out there.

A lively, richly detailed introduction to fifteen fine artists who have been needing more ink for a long time. Bridget Quinn could have written yet another collection of biographies of the usual suspects -- Mary Cassatt, Berthe Morisot, Georgia O'Keefe, Frida Kahlo -- but instead she introduces us to some lesser known names. Written in a chatty style laced with a lot of autobiography, "Broad Strokes" is aimed more at the general public than art historians. She clearly loves great art, and she makes that love contagious. "Broad Strokes" makes you want to high-tail it to the nearest art museum.

As my daughter, a toddler, begins to experiment with art, I wonder: what female artists can inspire her? Enter Broad Strokes, a delightfully personal and intimate view into the lives and work of some of the world's most influential female artists. This book is monumental and so needed in a world where women's art and creative work is repeatedly marginalized. I cannot wait to read it to my daughter, for her to engage with such critical discourse and images of art that will surely provide her with the needed space and support to continue to explore creativity and feminism.

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