the task of the feminist historian is to rewrite history to provide an account of how social life was differently experienced by differently gendered subjects. This requires reinterpreting gendered aspects of images, but also reassign the values that frame certain images as great works of art.
Gender, Class, and Public Space
How are images gendered? Is there a realtionship between
the gender of the artist/author/producer and the ideal spectator?
Could a woman experience modernity as it was expressed by notable male impressionists. That is, in the terms set forth as characteristic of impressionism
Gender, Class, and Public Space
Modernism as defined in terms of transformation of the public world and it's associated consciousness. Crowds, masses, life amongst strangers, changes in the regulation of time, fashion, manufacture, trade etc... "the spectacular city." These factors all affected women and men in different ways.
Walter Benjamin's flaneur-- a mobile passive observer, a strolling voyeur
Space
as locations: where the artist or spectator had access to (domestic spaces, parks, bars, brothels, etc)
the spatial order within paintings: division of space and dislocation between artist/viewer and the world, compression of depth, seclusion and isolation.
the gaze and women's relation to looking in painting
Critique of the notion of a fully coherent author subject. (p118)
