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Sheila ffolliott

Coming Attractions

Workshop for the Columbia Residences on 11 April.

Audience participation Zoom session exploring ways to get more from an encounter with works of art.  Discussion and hands-on exercises facilitate acquiring or improving skills that help you make art more accessible and pleasurable.  If you have the time and interest before the session, look at these two paintings and think about how comparing them helps to facilitate analysis.  Download a higher res image by clicking on the link provided.

click on this link for a larger image: 21wjug.jpg

  • Vermeer: Young Woman with a Water Jug, 1660-62   Oil on canvas, 45.7 x 40.6 cm. New York: Met Museum

click on this link for a larger image: 28389

  • Matisse, Red Room (Harmony in Red) 1908 Oil on canvas. 180.5 x 221 cm  St. Petersburg: Hermitage Museum

We’ll be using terms like:  formal analysis, style, connoissership, intentionality, biographical approach, contextual approach, medium, technique, iconography.

 

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  • 29-30 April 2021. Virtual Conference: Jornadas Arte, Poder y Género: Mujer y retrato en el Renacimiento      Universidad de Murcia: Spain  Conference on Portraits of Women in the 16th and 17th Centuries.  Some talks in English.

  • Conference schedule (all in Spanish time, 6 hours ahead of EDT)

    12.30-13.30 EDT. Portrayals of Catherine de’ Medici in Florence and France.
    Sheila ffolliott (George Mason University)    Abstract: For a family bent on gaining status, having a Pope was tantamount to winning the lottery. This vehicle enabled certain families in the early modern period to rise to the ranks of nobility, even royalty, almost impossible otherwise. The Medici had two almost consecutive popes: Leo X (1513-21) and Clement VII (1523-34). Because the papacy was a life appointment, papal kin sought to solidify any gains they made during an actual papacy. Scoring appointments and wealth were obvious strategies, as were dynastic marriages. Catherine de’ Medici’s marriage into the Valois in 1533 provided a key link for the Florentine family. This paper compares some of her portrayals in France and in the Medici family histories depicted in Quartiere di Leo X in the Palazzo Vecchio Florence.  It considers the contexts in which her portraits appear. What does the representation of a female family member like Catherine who marries out mean for her birth family? How does she position herself in her portrayals in France and what is her role in their creation and display?

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Re-Conceiving an Ancient Wonder, the Afterlife of the Mausoleum of Halicarnassus, 1500-1850. Aachen, Germany, September 2021.

I’ll be presenting a paper: Embodying the Mausoleum:  Artemisia as Model for 16th and 17th C. Women Patrons and Regents


Sheila ffolliott

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