Abstract:

In early modernity, artistic education began and endured with the student’s drawing practice—first in replicating works from the master, then of antiquity, and finally in the student master’s creation of new ‘invenzione’ to express artistic command. For women, this learning process was less straightforward. This article considers the changing nature of women’s artistic education between the seventeenth and eighteenth centuries, where the book and textual knowledge production come to mark the onset of women’s artistic practice. With case studies exploring artistic texts by Giovanna Garzoni, Élisabeth-Sophie Chéron, and Catherine Perrot, I trace the private means by which women artists utilised rising access to print culture for artistic instruction, commensurate with the growth of printing across Europe.

摘要：

在现代早期，艺术教育随着学生的绘画实践而开始并持续下去——首先是复制大师的作品，然后是古代的作品，最后是学生大师创作新的“发明”来表达艺术指挥。对于女性来说，这个学习过程就不那么简单了。本文探讨了十七世纪和十八世纪之间女性艺术教育性质的变化，其中书籍和文本知识的生产标志着女性艺术实践的开始。通过对乔凡娜·加尔佐尼 (Giovanna Garzoni)、伊丽莎白-索菲·谢龙 (Élisabeth-Sophie Chéron) 和凯瑟琳·佩罗 (Catherine Perrot) 的艺术文本进行案例研究，我追踪了女性艺术家利用日益增长的印刷文化进行艺术指导的私人手段，这与整个欧洲印刷术的发展相称。