进入主流
摘要
本文以20世纪上半期西方女艺术家自画像为研究对象，中心任务是探讨在20世纪上半期特定的历史条件下，面对既定的自画像传统与以男性为默认性别的“艺术家神话”，面对以男性为主导的现代艺术圈，女艺术家们是如何在自画像中进行自觉的形象“重塑”，为了进入艺术史而对艺术家神话，对主流现代艺术结构进行积极干预的。本文采用以理论为纲，以史料与作品为据的研究方法，试图从一些全新的角度对这一时期的女艺术家自画像作一个较为深入的分析。本文以法国学者米歇尔．德塞都的“战术”理论为贯穿全文的主线，以20世纪上半期女画家自画像中采用的五种主要“战术”为依据将这些自画像分成五大类进行讨论。这五种“战术”的理论依据分别是：巴赫金的“狂欢”理论，后结构主义的“挪用”理论，琼．瑞维尔的“假面”理论，女性主义与精神分析学派的“身体”理论，后结构主义的“解构”理论。论文的结语部分对于这些自画像对呈现、对艺术世界、对主流现代艺术的干预进行了总结，并讨论了它们对当代艺术史写作、艺术批评与艺术理论写作的启发作用。
The present thesis studies the self-portraits of woman artists in the first half of the 20th century. It aims to explore how the woman artists, confronted with an established self-portrait tradition, a male-dominated modern art world, and the "myth of the artist" with "male" as its implied sex, managed to "re-image" themselves by resorting to self-portraits and thus exerting their positive interventions in the configurations of "the myth of the artist", the mainstream modern art and art history as such. The thesis attempts to conduct original and penetrating analyses of these self-portraits by combining theoretical analyses with studies of historical literature and individual works. It uses French scholar Michel de Certeau's theory of "tactics" as the main thread, and divides these self-portraits into five main categories according to the various "tactics" adopted. The theoretical basis of each tactics is, respectively, Bakhtin's theory of carnivalism, the post-structuralist theory of appropriation, Jean Rivere's theory of masquerade, feminist and psychoanalytist theories of "the body", and the post-structuralist theory of deconstruction. The conclusion part of the thesis summarizes these self-portrait's interventions into the artistic representation, the art world, and the mainstream modern art, and also reveals the inspiring insights they provide into the writing of art history, the art criticism and the art theory.
The present thesis studies the self-portraits of woman artists in the first half of the 20th century. It aims to explore how the woman artists, confronted with an established self-portrait tradition, a male-dominated modern art world, and the "myth of the artist" with "male" as its implied sex, managed to "re-image" themselves by resorting to self-portraits and thus exerting their positive interventions in the configurations of "the myth of the artist", the mainstream modern art and art history as such. The thesis attempts to conduct original and penetrating analyses of these self-portraits by combining theoretical analyses with studies of historical literature and individual works. It uses French scholar Michel de Certeau's theory of "tactics" as the main thread, and divides these self-portraits into five main categories according to the various "tactics" adopted. The theoretical basis of each tactics is, respectively, Bakhtin's theory of carnivalism, the post-structuralist theory of appropriation, Jean Rivere's theory of masquerade, feminist and psychoanalytist theories of "the body", and the post-structuralist theory of deconstruction. The conclusion part of the thesis summarizes these self-portrait's interventions into the artistic representation, the art world, and the mainstream modern art, and also reveals the inspiring insights they provide into the writing of art history, the art criticism and the art theory.
引文
1 Joanna Woods-Marsden, Renaissance Self-Portraiture." The Visual Construction of Identity and the Social Status of the Artist, Yale University Press, 1998, p. 1.
2 具有代表性的如1524年帕米吉尼诺的《凸镜中的自画像》，艺术家穿着贵重的毛皮衣服，手上戴着表现财富的金戒指。
3 如荷兰画家黑姆斯克(Maarten Van Heemskerck)1553年的《有罗马圆形大剧场的自画像》等。
4 例如，在拉斐尔1519年左右《与朋友在一起的自画像》中，画家不仅衣着考究，还画上了一位穿着贵重的衣服、戴着佩剑(表现骑士或贵族身份)、气质不凡的朋友，以示自己的身份。
5 最典型的是丢勒1491年左右的《缠绷带的自画像》与1493年的《自画像，手与枕头，习作》用思考的眼神、特写的头部、夸大的手表现自己的艺术技巧与超凡的智慧。
6 圆规是上帝创世的象征。中世纪时就开始将创世的上帝看作拿着圆规的建筑师。《圣经》箴言篇第8章第27句写道：“他在渊面的周围，用圆规划出圆圈”(英文原文为：When He set a compass upon deface of the deep)。拿着圆规的自画像如16世纪早期贝利尼(Gentile Bellini)的自画像《拿着圆规的男子》。帕吉(Giovanni Paggi)16世纪80年代的自画像《与建筑师朋友在一起的自画像》也把圆规画在了非常显要的位置。
7 16世纪后半期，出现了为数不少带有职业工具的自画像。如1556年弗洛里斯(Frans Flofis)的《圣路加画圣母玛丽亚》，1555年左右阿洛里(Alessandro Allori)的《自画像》，1558年莫尔(Antonis Mor)的《画架前的自画像》等。
8 评论家坎普贝尔(Stephen J．Campbell)在2002年12月的Art Bulletin杂志(第84卷，第4号)第596—620页上的文章“Fare una Cosa Morta Parer Viva"：Michelangelo，Rosso，and the (Un)Divinity of Art”对艺术家的神化过程有详细论述。
9 如荷兰画家贝利(David Bailly)《与浮华的象征在一起的自画像》(Self-portrait with Vanitas Symbols，1651年)、道(Gerrit Dou)1665年左右的自画像等。
10 如西班牙画家梅伦德斯(Luis Melendez)1746年的《举着学院习作的自画像》、德国画家门斯(Anton Raphael Mengs)18世纪中后期的一张自画像等。
11 Friedrich Schelling,"System of Transcendental Idealism," in Philosophies of Art and Beauty: Selected Readings in Aesthetics from Plato to Heidegger, edited by Albert Hofstadter and Richard Kuhns, Chicago: University of Chicago Press, 1976, p. 59.
12 Joanne Cubbs,'Rebels, Mystics and Outcasts', in The Artist Outsider: Creativity and the Boundaries of Culture, Washington: Smithsonian Institute press, 1994, p. 77.
13 Carol Korsmeyer, Gender and Aesthetics: An Introduction(Understanding Feminist Philosophy), London: Routledge, 2004, p. 30.
14 古罗马历史学家普林尼曾提到有位叫亚亚(Iaia)的女画家“在镜子的帮助下画出了自己的像”。1402年意大利文版的薄伽丘《关于著名女性》的手抄本中的插图就表现了这个故事。女画家坐在堆满作画工具的桌前，左手持一面小圆镜，右手画着自己的肖像画。这或许是历史上第一幅有作画工具的艺术家自画像了。
15 16世纪意大利女画家安古索拉从13岁开始直到80多岁画下了20多幅自画像，成为丢勒之后画自画像最多的女艺术家；勒布朗在87岁的漫长一生中画出了近40幅自画像。
16 Whitney Chadwick,"How Do I Look?" in Mirror Mirror: Self-Portraits by Women Artists, Liz Rideal(Author), Whitney Chadwick(Contributor), Frances Borzello(Contributor), Watson-Guptill,2002, p. 28.
17 Edith Abbott & Sophonisba P. Breckinridge,"Employment of Women in Industries: Twelfth Census Statistics", The Journal of Political Economy, Vol. 14, No. 1(Jan., 1906), p. 30.
18 1881年5月在贝尔多夫人等的倡导下成立，并于次年1月举办了第一次女性沙龙，展出同盟成员的作品。除了每年举办一次沙龙之外，同盟还创办了自己的周刊——《女艺术家杂志》(Journal des femmes artistes)，选派代表参加妇女大会，游说法国政府的各个委员会，为女性进入官方艺术学院与获得罗马大奖而努力。及至1896年，同盟已经拥有450位成员。详细分析参见加波(Tamar Garb)，“Revising the Revisionists：The Formation of the Union des Femmes Peintres et Sculpteurs"，Art Journal，Vol．48，No．1，Spring，1989，pp．63-70．
19 Paula Modersohn-Becker, quoted by Frances Borzello in A World of Our Own, London: Thames & Hudson, 2000, p. 127.
20 Anne Goldthwaite, quoted by Kirsten Swinth in Painting Porfessionals: Women Artists and the Development of Modern American Art, 1870—1930, Chapel Hill: The University of North Carolina Press, 2003, p. 173.
21 "How Women Can Grow Old", Vanity Fair, vol. 5, 1, September l915, p. 67.
22 Marius-Ary Leblond,"Les Pentres de la Femme Novelle," La Revue, vol. 39, No. 4, November 1st, 1901, pp. 275—290.
23 Frances Borzello, A World of Our Own, London: Thames & Hudson, 2000, p. 170.
24 Bruce Robertson,"The Tipping Point: Museum Collecting and the Cannon", American Art, Vol. 17, No. 3(Autumn, 2003), pp. 2.
25 Valerie Preston Dunlop, Notes on Bodies in Dada, ed. Stephen C. Foster, NY: G. K. Hall, 1996, p.175.
26 Quoted by Kirsten Swinth in Painting Porfessionals: Women Artists and the Development of Modern American Art, 1870—1930, Chapel Hill: The University of North Carolina Press, 2003, p.179.
27 George Moore, Modern Painting, New York: Charle Scribner, 1900, p. 226.
28 Arthur Bye,"Women and the World of Art," in Art and Decoration, vol. 10, 1910, p.87.
29 Friedrich Wilhehn Nietzsche, The Will to Power, trans. Anthony. M. Ludovici, New York: Russell & Russell, vol 2, 1964, p. 261.
30 Apollinaire, The Cubist Painters, tans. Lionel Abel, New York: Wittenborn, 1944, p. 27.
31 John Baur, Revolution and Tradition in Modern American Art, NY: Frederick A. Praeger, 1951, p.60.
32 ibid.
33 Michele Lamont's essay on Michel de Certeau's The Practice of Everyday Life on the back cover of The Practice of Everyday Life, Michel de Certeau, Berkeley: University of California Press, 1984.
34 Michel de Certeau,"'Making Do': Uses and Tactics," The Practice of Everyday Life, Trans. Steven F. Rendail, Berkeley: University of California Press, 1984., p. 36.
1 巴赫金，《答<新世界>编辑部问》，载《话语创作美学》，莫斯科，艺术出版社，1986年版。第348页，夏忠宪在《巴赫金狂欢化诗学研究》中引用，北京师范大学出版社，2000年，第55页。
2 《神话的诗学》，梅列金斯基著，魏庆征译，商务印书馆，1990年，第144页。
3 尼采，《偶像的黄昏》：《一个不合时宜者的漫游》(第10节)，长沙：湖南人民出版社，1987年。
4 尼采，《强力意志》，重庆出版社，李伟编译，2006，第798节
5 巴赫金，《巴赫金全集》第6卷，河北教育出版社，1998年，第9页。
6 巴赫金，《陀思妥耶夫斯基诗学问题》，白春仁、顾亚玲译，三联书店，1988年，第176页。
7 巴赫金，《陀思妥耶夫斯基诗学问题》，第180页。
8 巴赫金，《巴赫金全集》第6卷，河北教育出版社，1998年，第318页。
9 巴赫金，《陀思妥耶夫斯基诗学问题》，第180页。
1 Juan Luis Vives, the Instruction of a Christen Woman, English translation by Richard Hyde, vol. 2,Chapter 8, 1557.
2 《圣经》《申命记》第22章第5句，新国际版本，国际圣经协会出版，1978年。
3 Freud, New Introductory Lectures on Psychoanalysis, ed. James Strachery, W. W. Norton & Company, 1965, 22: p. 113.
4 Christine Buci-Glucksmann,"Catastrophic Utopia: The Feminine as Allegory of the Modern", Representations No. 14, The Making of the Modern Body: Sexuality and Society in the Nineteenth Century(Spring, 1986), pp. 220-229.
5 Amelia Jones,"'Clothes Make the Man': The Male Artist as a Performative Function,'"Oxford Art Journal, 18: 2, 1995, pp. 18—32.
6 Sandra Gilbert,"Costumes of the Mind: Transvestism as Metaphor in Modern Literature," Writing and Sexual Difference, Ed. Elizabeth Abel, Chicago: U of Chicago P, 1982. pp. 193-219.
7 Susan Gubar, quoted by Marjorie Garber in Vested Interests." Cross-dressing and Cultural Anxiety, Penguin Books, 1992, p. 9.
8 Judith Butler, Gender Trouble: Feminism and the Subversion of Identity, New York:Routledge Classics, 2006.
9 Elliott, Bridget."Performing the Picture or Painting the Other: Romaine Brooks, Gluck and the Question of Decadence in 1923," Women Artists and Modernism, Ed. Katy Deepwell, Katy, Manchester and New York: Manchester University Press, 1998, pp. 75-78.
10 Diana Souhami, Gluck, 1895-1978: Her Biography, London: Pandora, 1988, p. 9.
11 Brooks' letter to Barney, December 1923, quoted by B. Chavanne and B. Gaudichon in Romaine Brooks, 1874-1970: Poitiers, Musee Sainte-Croix, 1987, p. 159. The original text is:"que les femmes qui veulent etre comme des homes retrogradent en ecolieres et rien de plus".
12 Butler, op. cit. p. 137.
13 Whitney Chadwick, Amazons in the Drawing Room-The Art of Romaine Brooks, Berkeley, USA Chameleon, 2000, p. 33.
14 Susan Gubar,'Blessings in Disguise: Cross Dressing as Re-Dressing for Female Modernists', Massachusetts Review, Autumn 1981, pp. 479.
15 Gautier Theophile, Mademoiselle du Maupin, 1835.
16 Monique Wittig,"One is Not Born Woman", Feminist Issues(Fall 1981), vol. 1, No. 2, p. 53.
17 Susan Fillin-Yeh,"Dandies, Marginality, and Modernism: Georgia O'Keeffe, Marce Duchamp, and Other Cross-Dressers", ed. Naomi Sawelson-Gorse, Women in Dada: Essays on Sex, Gender, and Identity, Cambridge: MIT Press, 1998, pp. 181-183.
1 Aveux nOB avenues，Paris：Editions du Carrefour,1930，52。Aveux non avenues是卡恩与后母带来的姐姐、自己的同性情人马赛尔．摩尔合著的一本集子，其中收录了卡恩的很多幻想、格言、梦呓、三言两语的短句、图画、拼贴等。本文将Aveux non avenues暂译为《无用的忏悔》。
2 Jennifer Blessing,"Claude Cahun,'Dandy Provocateuse'", Dandies: Fashion and Finesse in Art and Culture, ed. Susan Fillin-Yeh, New York Univrisity Press, 2001, p. 186.
3 巴赫金，《小说中的时间与时空体的形式》，文艺出版社，1975年版，第211页。
4 巴赫金，《小说中的时间与时空体的形式》，《文学与美学问题》，文艺出版社，1975年版，第211页。
5 Cahun, quoted by Honor Lasalle and Abigail Solomon-Godeau in"Surrealist Confession: Claude Cahun's Photomon tages," Afterimage 19(March 1992): 10-13.
6 Cahun,"Cinderella, Humble, Haughty Child", Heroines, Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman, ed. Shelley Rice, New York University Press, 1999, p. 69.
7 Cahun,"The Virgin Mary", op. cit. p. 66.
8 Cahun,"Helen the Rebel", op. cit. p. 59.
9 Aveux non avenues, Paris: Editions du Carrefour, 1930, 52
10 Cahun,"Salome the Skeptic", Heroines, Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman, p. 77.
1 Roland Barthes,'Theory of the Text' in R. Young(ed.) Untying the Text: A Post-structuralist Reader, London: Routledge, 1981, p. 39.
2 Adrian Poole, Shakespeare and the Victorians, London: Thomson Learning, 2004, p. 2.
3 Robert Weimann,"Text, Author-Function, and Appropriation in Modern Narrative: Toward a Sociology of Representation", Critical Inquiry, vol. 14, no. 3, p. 433.
4 Adrienne Rich,"When We Dead Awaken", in Maggie Humm(edo), Feminisms: A Reader, Hemel Hempstead: Harvester Wheatsheaf, p. 369.
1 Marco Boschini, La Carta del navega pitoresco,(Venice, 1660), ed. Anna Pallucchini, Venice and Rome, 1966, p. 678. Quoted by Philip Sohm in"Gendered Style in Italian Art Criticism from Michelangelo to Malvasia", Renaissance Quarterly, Vol. 48, No. 4(Winter, 1995), p. 798.
2 Whitney Chadwick, Women, Art and Society, 3rd ed., London: Thames and Hudson, 2002, p. 7.
3 Griselda Pollock,"Modernism and the Space of femininity", Vision and Difference, London: Routledge, 1988, p. 72-73.
4 Marsha Meskimmon, The Art of Reflection: Women Artists' Self Portrait in the 20th Century, New York: Columbia University Press, 1996, p. 43.
5 Whitney Chadwick, Women Artists and the Surrealist Movement, Reprint edition, London: Thames & Hudson, 1991, p. 30页.
6 当然，皇家学院的人体画室并不是佐法尼可以选择的唯一地点。他完全可以选择别的集会场所，将两位女艺术家包括进来。
7 Anne Higonnet, Berthe Morisot's Images of Woman, Harvard: Harvard University Press, 1992, p.23.
8 Francis Frascina, Modernity and Modernism." French Painting in the Nineteenth Century, Yale University Press, 1993, p. 238.
9 Germaine Greer, The Obstacle Race." the Fortunes of Women Painters and Their Work, New York:Tauris Parke Paperbacks, 2001.
1 Joanne Bernstein,"The Female Model and the Renaissance Nude: Durer, Giogione, and Raphael,"Artibus et Historiae, Vol. 13, No. 26(1992), pp. 49-63.
2 B. Cellini, The Autobiography of Benvenuto Cellini, trans. G. Bull, New York: Harmondsworth, 1956, p. 101.
3 见N．J．Vicker关于切利尼的论文“The Mistress in the Masterpiece”，in The Practice of Gender，ed．N．K．Miller，1988，pp．19-41．
4 B. Cellini, The Autobiography of Benvenuto Cellini, trans. G. Bull, New York: Harmondsworth, 1956，p．288．
5 瓦萨里的这幅壁画画在他位于佛罗伦萨的家中，是根据古罗马作家老普林尼(Pliny)笔下古代艺术家的故事创作的三幅壁画之一。这三幅壁画分别是：《绘画的起源》、《画室中的艺术家与向画室走来的模特们》、《阿佩利斯与鞋匠》。《画室中的艺术家与向画室走来的模特们》左半部分表现的是宙克西斯(Zeuxis)(有些评论家认为是阿佩利斯)在画室中画裸体模特的场景，右半部分表现的是穿着衣服的模特们走向宙克西斯画室的场景。
6 Linda Nochlin, Representing Women, London: Thames & Hudson, 1999, p. 236.
7 "Je peint avec mon bitre." Quoted by Jean Renoir in Renoir, My Father, Boston: Little, Brown & Co., 1962, p.185
8 Quoted by Schneider Pierre in Matisse, eng trans. By Michael Taylor and Bridget Stevens Romer, eng. New York:Rizzoli, 1984, p. 620.
9 Pablo Picasso, quoted at http://www.artquotes.net/art-quotes-archives/april-art-quotes04.htm.
10 Heather Dawkins, The Nude in French Art and Culture, 1870-1910, Cambridge: Cambridge UP,2002, p. 116.
11 See Anne Higonnet, Berthe Morisot's Images of Woman, Harvard University Press, 1992.
12 Janet Hobhouse, The Bride Stripped Bare: The Artist and the Female Nude in the Twentieth Century, London: Janathan Cape, 1988, p. 140.
13 John Russell Taylor,"The Lost Ladies Four," London Times, November 10, 1987.
14 Janet Hobhouse, The Bride Stripped Bare: The Artist and the Female Nude in the Twentieth Century, p. 10.
1 Joan Riviere,'Womanliness as Masquerade', reprinted in Fomations of Fantasy, ed. Victor Burgin,James Donald, Cora Kaplan, London: Methuen, 1986, p. 39.
2 ibid. p. 36.
3 ibid. p. 37.
4 ibid. p. 38.
5 ibid. p. 41.
6 ibid. p. 38.
7 ibid. p. 38.
8 Stephen Heath,'Joan Reviere and the Masquerade', in Formations of Fantasy, ed. Victor Burgin, James Donald, Cora Kaplan, London: Methuen, 1986, p. 54.
9 Tim Dean, Beyond Sexuality, University Of Chicago Press, 2000, p. 84.
1 Stettheimer, untitled poem in Crystal Flowers, quoted by Barbara J. Bloemink in"Florine Stettheimer: Becoming Herself' in Singular Women: Writing the Artist, eds. Kristen Frederickson and Sarah E. Webb, University of California Press, 2003, p. 111.
2 "Florine Stettheimer", New Yorker, June 1946, p. 27.
3 Carl Van Vechten,"World of Florine Stettheimer", Town and Country, 1935, p. 356.
4 Marsden Hartley's article on Stettheimer in Creative Art, July 1931, quoted by Barabra J. Bloemink in The Life and Art of Florine Stettheimer, Yale University Press, 1995, p. 175.
5 Whitney Chadwick, Women, Art and Society, 3rd ed., London: Thames and Hudson, 2002, p. 295.
6 Barbara J. Bloemink in"Florine Stettheimer: Becoming Herself', p. 113.)
7 From Stettheimer's manuscript in Beinecke Library, Ⅶ-Ⅸ, quoted by Linda Nocklin in《女性,艺术与权力》,游惠贞译,广西师范大学出版社, 2005年,第147页。
8 Stettheimer, untitled poem, quoted by Barbara J. Bloemink in"Florine Stettheimer: Becoming Herself', p. 123.
9 Eddie Stettheimer in the preface to Crystal Flowers, p iii.
10 Stettheimer's poem"Nursery Rhythms", quoted by Barbara J. Bloemink in The Life and Art of Florine Stettheimer, notes, p. 254.
11 Nancy Miller, quoted in Caroline Heilbrun, Writing a Woman's Life, Ballantine Books, 1988, p.44.
12 untitled poem by Stettheimer, quoted by quoted by Barbara J. Bloemink in"Florine Stettheimer: Becoming Herself", p. 126-127.
13 untitled poem by Stettheimer, op. cit., p. 118.
14 Stettheimer's poem, quoted by Barbara J. Bloemink in The Life and Art of Florine Stettheimer, notes, p. 14.
15 Parker Tyler, Florine Stettheimer: A Life in Art, New York: Farrar, Straus, 1963, p. 11.
16 Stettheimer's poem, quoted by Barbara J. Bloemink in"Florine Stettheimer: Hiding in Plain Sight", Women in Dada: Essays on Sex, Gender, and Identity, ed. Naomi Sawelson-Gorse, MIT: Cambridge, 2000, p. 493.
17 Carl Van Vechten,"Introduction," in Tyler, Florine Stettheimer, p. Xiii.
18 Ettie Stettheimer, quoted by Barbara J. Bloemink in The Life and Art of Florine Stettheimer, p. 173.
19 Parker Tyler, op. cit., p. 201.
20 Barbara J. Bloemink in"Florine Stettheimer: Becoming Herself", p. 125.
21 Hilton Kramer, Florine Stettheimer's Distinctive Vision of Society, New York times, March 16,1980, pp. 22.
22 Stettheimer's poem，quoted by Linda Nocklin in《女性，艺术与权力》，游惠贞译，广西师范大学出版社，2005年，第165页。
23 Carl Van Vechten,"World of Florine Stettheimer," op. cit., p. 356.
1 Laurencin, quoted by Gabrielle Buffet in"Mary Laurencin", Art, July 1923, p. 396.
2 Roger Allard, Marie Laurencin, Editions de la Nouvelle Revue Francaise, 1921, p. 7.
3 Martha Davidson,"Famous Exponent of Femininity," Art News, 13 November 1937, pp 18-19.
4 Emily Grenauer,"The Elfin Maidens of Marie Laurencin", Art Digest, 12, December 15, 1937, p.10.
5 1930年，作家弗莱蒙(Albert Flament)为法国文化的四“后”组织了一个午宴。其中，文学之后为柯丽特(Colette)，戏剧之后为瓦伦丁．泰西尔(Valentine Testier)，时尚之后为可可·香奈尔(Coco Chanel)，而绘画之后就是洛朗桑。
6 Rene Gimpel in 1930,"Diary of an Art Dealer", trans. John Rosenberg, Vu, Universe Books,1987, p. 399.
7 阿波利奈尔语。
8 Fagan-King, Julia."United on the Threshold of the Twentieth-Century Mystical Ideal: Marie Laurencin's Integral Involvement with Guillaume Apollinaire and the Inmates of the Bateau Lavoir." Art History 11(March 1988), pp. 103-108.
9 Marie Laurencin, Le Carnet des nuits. Brussels, 1942. Reprint, Switzerland: La Bartavelle, 1997. Le Carnet des nuits is a collection of poems and memoirs by Laurencin, which serves as a primary source for biographical information for Laurencin's childhood and early career.
10 "Art and Life", Continental Daily Mail, March 30th, 1950.
11 Rene Gimpel, Diary of an Art Dealer, trans. John Rosenberg, Universe Books, 1987, p.251.
12 ibid. 376.
13 Buffet,1923, p. 394.
14 Quoted by Gertrude Stein in The Autobiography of Alice B. Toklas, Brace and Company, 1933,pp. 74-75.
15 Marjorie Perloff, Avant-Garde, Avant Guerre, and the Language of Rupture, The University of Chicago Press, 1986, p. 68.
16 Fernande Olivier, Picasso and His Friends, translated by Jane Miller, London, Heinemann, 1964,p. 85.
17 ibid. p. 43.
18 Quoted by Gertrude Stein in The Autobiography of Alice B. Toklas, pp. 74-75.
19 Gabrielle Buffet,"Marie Laurencin", Arts, June 1923, p. 396.
20 Dorothy Todd,"Exotic Canvases Suited to Modern Decoration", Arts and Decoration, January~(19) ibid.p. 92
21 ibid. 92.
22 ibid. 95.
23 1942年出版，里面收录了洛朗桑关于自己青春岁月的一些回忆和年轻时写的一些诗歌。
24 Apollinaire on Art，p．210。这篇评论名为《艺术新闻“装饰艺术与女性绘画》，最初刊登在1912年3月13日的Le Petit Bleu上．
25 e.g. Emmanuel Cooper in The Sexual Perspective: Homosexuality and Art in the Last 100 Years in the West, Routledge, 1994; Flora Groult in Marie laurencin, Mercure de France, 1987, p. 84;Elaine Marks in"Lesbian Intertextuality," Homosexualities and French Literature, Eds. GeorgeStambolian and Elaine Marks, Ithaca: Cornell University Press, 1979, p. 354.
26 Hyland, Douglas and Heather McPherson, Marie Laurencin: Artist and Muse, Alabama: Birmingham Museum of Art, 1989, p. 29.
27 Hyland, Douglas and Heather McPherson,, p. 30。
28 Walter Benjamin, Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, Trans. Harry Zohn, London: Verso, 1997, p. 90.
29 Roland Barthes, Mythologies, selected and translated by Annette Lavers, New York: Hill and Wang, 1978, p. 144.
1 Jean Paul-Sartre, Being and Nothingness, English Translation Hazel by E. Barnes, New York: Washington Square Press, 1966, pp. 429-430.
2 Contemporary psychologist Phyllis Greenacre,"Early Physical Determinants in the Development of the Sense of Identity", in her Emotional Growth, New York, 1971, vol. 2, p. 614.
3 琳达．诺克林，《女性，艺术与权力》，游惠贞译，广西师范大学出版社，1988年，第126—127页
4 女性主义艺术理论家帕克尔(Rozsika Parker)与波洛克(Griselda Pollock)认为，从18世纪晚期开始，人体画就开始被默认为女性人体画。见Old Mistresses：Women，Art and Ideology，Rozsika Parker and Griselda Pollock，London：Pandora，1981，p．119．
1 琳达．诺克林，“19世纪艺术中情色与女性意象”，《女性，艺术与权力》，广西师范大学出版社，2005年，第176—177页。
2 Paul Mink,"Le Travail des femmes", partially printed in Women, the Family, and Freedom: The Debate in Doucuments 1880-1950, ed. Susan Groag Bell, Stanford University Press, 1983, p. 470.
3 Linda Nochlin, Representing Women, Thames & Hudson, 1999, p. 236.
4 Paul Gauguin, Interview with Engene Tardieu from L'Echo de Paris, 13 May 1895, quoted in Paul Gauguin, Oviri, ecritis d'un savage, ed. Daniel Guerin, Paris, Gallimard, 1974, p. 140.
5 Yan Duncan,"Virility and Domination in Early Twentieth-Century Vanguard Painting", Feminism And Art History: Questioning the Litany, eds. Norma Broude and Mary D. Garrard, New York: Harper & Row, 1982, p. 298.
6 Aristotle, quoted in Gill Saunders, The Nude: A New Perspective, London: Herbert Press, 1989, p.21.
7 Rozsika Parker & Griselda Pollock, Old Mistresses: Women, Art and Ideology, London: Pandora, 1981,p. 119.
8 Hannah Wilke, American woman artist,"Reimaging the Body", Feminist-Art-Theory: An Anthology, 1968-2000, ed. Hilary Robinson, Blackwell Publishing, 2001, p. 379.
9 Sigmund Freud, The Ego and the Id, The Hogarth Press Ltd., 1957, p. 31.
10 Paula Modersohn-Becker, The Letters and Journals, edited by Gunter Busch and Liselotte von Reinken, translated by Arthur S. Wensinger and Carole Clew Hoey, New York, Taplinger, 1983, p.190.
11 Frida Kahlo, The Diary of Frida Kahlo: An Intimate Self-Portrait, New York: Harry N Abrams, 1995, p. 41.
1 Lynne Huffer, Maternal Pasts, Feminist Futures: Nostalgia, Ethics, and the Question of Difference, Stanford: Standford University Press, 1998, p. 7.
2 Simone De Beauvoir, The Second Sex, trans. H. M. Parshley, Harmondsworth, Penguin Books, 1972, p. 179.
3 如巴黎西南郊沙特尔大教堂(Chartres Cathedral)12世纪的《基督降生》玻璃画，罗马圣母玛丽亚大教堂(Santa Maria in Trastevere)卡瓦利尼(Pietro Cavallini)1291年的《基督降生》镶嵌画等。
4 如丢勒1504年的《基督降生》，胡安．德．法兰德斯(Juan de Flandres)1508—1519年的《基督降生》等。
6 在基督教文化中，红色常常象征放荡。例如，《圣经》启示录第17章中的“大淫妇”就是一个骑着“朱红色的兽”、穿着“朱红色的衣服”的女人。霍桑的《红字》中也以红色暗指通奸罪。浓密的头发常常暗示着强烈的性欲。例如，在《维多利亚时代想象中女人头发的力量》一文中，伊丽莎白．G．基特就写道：“头发越浓密。其所暗示的性诱惑力越强。”
7 Marsha Meskimmon, The Art of Reflection, New York: Columbia UP, 1996, pp. 141-142.
8 Jane Ussher, The Psychology of the Female Body, London: Routledge, 1989.
9 Sigmund Freud,"An Outline of Pscho-analysis", Freud on Women: A Reader, ed. Elisabeth Young-Bruehl, NY: W. W. Norton & Company, 1990, p. 364.
10 Sigmund Freud, ibid., p. 365.
11 Juliet Mitchell, Psychoanalysis and Feminism: A Radical Reassessment of Freudian Psychoanalysis, London: Penguin Books, 1974, p. 404.
12 Julia Kristeva, Desire in Language: A Semiotic Approach to Literature and Art, trans., Thomas Gora, Alice Jardine and Leon S. Roudiez, ed., Leon S. Roudiez, NY: CUP, 1980, p. 237.
13 Elizabeth Grosz, Jacques Lacan: A Feminist Introduction, NY: Routledge, 1990, p. 185.
14 Lynne Huffer, Maternal Pasts, Feminist Futures: Nostalgia, Ethics, and the Question of Difference, Stanford: SUP, 1998, p. 15.
15 Luce Irigary, Je, Tu, Nous: Toward a Culture of Difference, trans., Alison Martin, NY: Routledhe,1993,p. 46.
16 Catherine Parr, quoted by Anne Higonnet in Berthe Morisot's Image of Women, Harvard UP: 1992, p. 202.
17 See Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation, Gannit Ankori, Westport: Greenwood Press, 2002, p. 155.
15 See handbuch der Geburtshilfe, F. von Winckel, Wiesbaden, 1905-1906, vol 2, p. 13.
18 See Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation, p. 155.
19 Parker Lesley,"Transcription of Notes Taken During Conversations with Frida Kahlo de Rivera and Diego Rivera", Unpublished Manuscript, quoted in Imaging Her Selves, p. 28.
20 Paula Modersohn-Becker, in the introductory essay by Jane Kallir in Paula Modersohn-Becke, unpaged.
21 December 1898, a passage in her diary concerning a young woman she had previously used as a model, The Letters and Journals.
22 Paula Modersohn-Becker, The Letters and Journals, p. 112.
23 e.g. The Letters and Journals, p. 409, letter to husband and p. 422, letter to sister.
24 迭戈．里维拉(Diego Rivera)，卡洛的丈夫，墨西哥著名壁画大师。
25 Diego Rivera, My Art, My Life, New York, 1960, p. 201.
26 Paula Modersohn-Becker, The Letters and Journals,p. 395,
27 《弗里达》，海登．赫雷拉著，夏雨译，上海人民美术出版社，2003年1月，第191页。
28 同上，第204页。
29 在这个时候，贝克尔并没有怀孕。贝克尔的怀孕是次年三月份的事情。不仅如此，贝克尔显然也并没有作怀孕的打算。从贝克尔这段时期信件中谈到自己的丈夫和情人——社会学家斯托姆巴(Werner Stombart)的文字看，她根本就没有考虑怀孕。
30 Moira Gatens, Imaginary Bodies: Ethics, Power and Corporeality, London: Routledge, 1996,
1 苏菲亚．玻卡(Sophia Phoca)，《后女性主义》，谢小芩译，台湾立绪文化事业有限公司出版，1999年，第47页。
2 雅克．德里达：《立场：与让-路易斯．豪德宾、盖伊．斯卡培塔的会谈》，载黄颂杰主编《二十世纪哲学经典文本》(欧洲大陆哲学卷)，复旦大学出版社，1999年．
3 特雷．伊格尔顿(Terry Eagleton)著，伍晓明译，《二十世纪西方文学理论》，陕西师大出版社，1986年，第185页。
1 笛卡尔，Discourse，开篇．
2 Ellie Ragland-Sullivan, Jacques Lacan and the Philosophy of Psychoanalysis, University of Illinois Press, 1986, p. 25.
3 Whitney Chadwick, Women Artists and the Surrealist Movement, Thames & Hudson, 1991, p.315.
4 Rita Kernn-Larsen, letter to Chadwick, quoted by Chadwick in Women Artists and the Surrealist Movement, Thames & Hudson, 1991, p. 74.
5 Trinh T. Min—ha, Woman, Native, Other: Writing Postcoloniality and Feminism, Bloomington: Indiana University Press, 1989.
6 拉丁语中的vanitas一词相当于英语的vanity(虚荣，浮华)，这里指一种寓意静物画类型。这类画中画的是一些象征人生短暂，浮华如梦的意象(例如，年轻女子、骷髅头、镜子、鲜花、蜡烛、破碎的陶瓷器皿等)。这类画在十六、十七世纪相当流行，特别是在荷兰。
7 犹太教、伊斯兰教典籍中亚当的第一任妻子，后被逐出伊甸园，与撒旦生子。
8 在维多利亚时代被视为性诱惑的象征。在《维多利亚时代想象中女人头发的力量》一文中，伊丽莎白．G．基特写道：“头发越浓密。其所暗示的性诱惑力越强。
9 Trinh T. Min—ha, Woman, Native, Other: Writing Postcoloniality and Feminism.
10 Rita Kernn-Larsen, letter to Chadwick, quoted by Chadwick in Women Artists and the Surrealist Movement, p. 74.
11 Cahiers Bleus, no.10, Extracts of a Conversation with Jacqueline Trutat(Valentine Hugo),Troyes:Centre Culturel Thibaud de Champagne, 1977.
12 ibid.
13 诺瓦利斯是弗里德里希．利奥波德(Friedrich Leopold)的笔名。早期德国浪漫派诗人兼理论家。他的诗歌与理论对后来的浪漫主义思潮影响甚大。
14 Julien Levy, Memoir of an Art Gallery, New York, 1977, p. 170.
15 quoted by Chadwick in Women Artists and the Surrealist Movement, p. 81.
16 Interview with Leonor Fini, St. Dye-sur-Ioire, June 1982。
17 Whitney Chadwick, Women Artists and the Surrealist Movement, London: Thames and Hudson, 1985, p. 78.
18 Whitney Chadwick,"Women, Surrealism, and Self-Representation," Mirror Images." Women,Surrealism, and Self-Representation, ed. Whitney Chadwick, the MIT Press, 1998, p. 12.
19 Whitney Chadwick, Mirror Images: Women, Surrealism, and Self-Representation, The MIT Press, 1998, p. 12.
20 Roland Barthes, Sade, Fourier, Loyola, Hill & Wang Pub, 1976, p. 10.
1 Vasari, quoted by Whitney Chadwick in Women, Art, and Society, London: Thames and Hudson, 1990, p. 34.
2 马尔维萨伯爵(1616—1683)，诗人、律师、教育家兼收藏家，写过多部关于博洛尼亚绘画的著作，其中最著名的就是Felsina Pittrice，Felsina是伊特鲁里亚语“博洛尼亚”之意。这是一部马尔维萨为当时博洛尼亚的艺术家们撰写的传记合集，是研究巴洛克时期博洛尼亚艺术家最重要的原始资料。
3 里多尔菲(1594—1648)，意大利画家，他的著作Meraviglie dell' Arte是一部记录威尼斯绘画艺术的百科全书式著作，里面共有150多篇当时威尼斯艺术家的传记。
4 Leon Legrange,Gazette des Beaux-Arts,1860.
5 詹姆森(1794-1860)，英国女作家、艺术史家，其著作Sacred and Legendary Art被很多学者认为是19世纪上半期最重要的艺术史著作。
6 艾利(1818-1877)，美国女作家、历史学家，其著作Women Artists in All Ages and All Countries是19世纪介绍女艺术家以及她们的艺术成就的最重要的著作之一。
(?)利蒙特(1834-1916)，美国女艺术史家、建筑史家，其著作Women in the Fine Arts from the 7th Century BC to the 20th Century中包括从公元前7世纪到20世纪初一千多位女画家和女雕塑家的小传。
8 Germaine Greer, The Obstacle Race: The Fortunes of Women Painters and Their Work, Tauris Parke Paperbacks: New York, 2001, p. 68.
9 Kathleen Russo, Phd, Florida Atlantic University Presented in 1996, Amsterdam,http://www.batguano.com/VigeeSPpapertxt.html.
10 D. Dederot, Salons; J. Seznec et G Adhemar, Oxford, 1767, vol. III, p. 34
11 ibid. P.250.
12 Letter of March 1728, from the Abbe Conte toMme de Caylus, quoted by Pallucchiniin"Per la Conoscenza di Guila Lama",Arte Veneta, 1970, p. 161-2.
13 Introduction to The Landauter Collection of Kathe Kollwitz: Prints and Drawings, Museum of Art, The University of Connecticut, 1968, unpaged.
14 Kollwitz, quoted by Alessandra Comini and Hildegard Bachert in Kathe Kollwitz, ed. Elizabeth Prelinger, National Gallery of Art I992, p.76.
15 Diary of September 29, 1910, The Diary and Letters of Kaethe Kollwitz, ed. Hans Kollwitz, trans, Richard and Clara Winston, Chicago: Henry Regnery Company, 1955, p. 57.
16 Julia Kristeva, Powers of Horror: An Essay on Abjection, in Art in Theory: 1900-2000, eds. Charles Harrison & Paul Wood, Blackwell Publishing, 2002, p. 1138
17 Kristeva, Powers of Horror: An Essay on Abjection, Leon S. Roudiez trans., New York: Clumbia UP, 1982, p. 2.
18 ibid.
19 Elizabeth Gross,"The Body of Signification", in John Fletcher and Andrew Benjamin eds, Abjection, Melancholy and Love: The Work of Julia Kristeva, NewYork: Routledge, 1990, p. 90.
20 Kristeva, Powers of Horror: An Essay on Abjection, Leon S. Roudiez trans., New York: Clumbia UP, 1982,页码待确定
21 Jitta Kollwitz,"The Last Days of Kathe Kollwitz", The Diary and Letters of Kaethe Kollwitz, p.197.
22 Kollwitz, Diary of March 19th, The Diary and Letters of Kaethe Kollwitz, p. 88.
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Yeldham, Charlotte. Women Artists in Nineteenth-Century France and England: their art education, exhibition opportunities and membership of exhibiting societies and academies, with an assessment of the subject matter of their work and summary biographies. New York: Garland Pub., Inc., 1984.
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黄颂杰主编《二十世纪哲学经典文本》(欧洲大陆哲学卷)，复旦大学出版社，1999年
李建群。《拉美．英伦．女性主义》。中国人民大学出版社，2004年。
琳达．诺克林。《女性，艺术与权力》。游惠贞译。广西师范大学出版社，1988年．
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夏忠宪，《巴赫金狂欢化诗学研究》，北京师范大学出版社 2000年。
伊丽莎白．赖特。《拉康与后女性主义》。王文华译。北京大学出版社，2004年。
Anderson, Corine Elizabeth."Representing the Subject: An Interdisciplinary Study of Women's Autobiography, Self-Portraiture, and Autobiography in the Twentieth Century"(Doctoral Dissertation), University of Illinois, 2002.
Bernstein, Joanne,"The Female Model and the Renaissance Nude: Durer, Giogione, and Raphael," Artibus et Historiae, Vol. 13, No. 26(1992)
Campbell, Stephen J.,"Fare una Cosa Morta Parer Viva": Michelangelo, Rosso, and the(Un)Divinity of Art", Art Bulletin, vol. 84, No. 4(Dec., 2002).
Davidson, Martha"Famous Exponent of Femininity," Art News, 13 November 1937.
Fagan-King, Julia."United on the Threshold of the Twentieth-Century Mystical Ideal: Marie Laurencin's Integral Involvement with Guillaume Apollinaire and the Inmates of the Bateau Lavoir." Art History 11(March 1988)
Grenauer, Emily"The Elfin Maidens of Marie Laurencin", Art Digest, 12, December 15, 1937.
Gubar, Susan,"Blessings in Disguise: Cross Dressing as Re-Dressing for Female Modernists", Massachusetts Review, Autumn 1981.
Jones, Amelia"'Clothes Make the Man': The Male Artist as a Performative Function," Oxford Art Journal, 18: 2, 1995.
Katz, M. Barry."The women of Futurism", Women's Art Journal, Fall1986/Winter1987.
Kramer, Hilton. Florine Stettheimer's Distinctive Vision of Society, New York times, March 16, 1980.
Lichtenstein, Therese."A Mutable Mirror: Claude Cahun". Artforum 30, April 1992.
Robertson, Bruce."The Tipping Point: Museum Collecting and the Cannon", American Art, Vol. 17, No. 3(Autumn, 2003).
Sohm, Philip."Gendered Style in Italian Art Criticism from Michelangelo to Malvasia", Renaissance Quarterly, Vol. 48, No. 4(Winter, 1995).
Robert Weimann,"Text, Author-Function, and Appropriation in Modern Narrative: Toward a Sociology of Representation", Critical Inquiry, vol. 14, no. 3
Wittig, Monique."One is Not Born Woman", Feminist Issues(Fall 1981), vol. 1, No. 2.
2 具有代表性的如1524年帕米吉尼诺的《凸镜中的自画像》，艺术家穿着贵重的毛皮衣服，手上戴着表现财富的金戒指。
3 如荷兰画家黑姆斯克(Maarten Van Heemskerck)1553年的《有罗马圆形大剧场的自画像》等。
4 例如，在拉斐尔1519年左右《与朋友在一起的自画像》中，画家不仅衣着考究，还画上了一位穿着贵重的衣服、戴着佩剑(表现骑士或贵族身份)、气质不凡的朋友，以示自己的身份。
5 最典型的是丢勒1491年左右的《缠绷带的自画像》与1493年的《自画像，手与枕头，习作》用思考的眼神、特写的头部、夸大的手表现自己的艺术技巧与超凡的智慧。
6 圆规是上帝创世的象征。中世纪时就开始将创世的上帝看作拿着圆规的建筑师。《圣经》箴言篇第8章第27句写道：“他在渊面的周围，用圆规划出圆圈”(英文原文为：When He set a compass upon deface of the deep)。拿着圆规的自画像如16世纪早期贝利尼(Gentile Bellini)的自画像《拿着圆规的男子》。帕吉(Giovanni Paggi)16世纪80年代的自画像《与建筑师朋友在一起的自画像》也把圆规画在了非常显要的位置。
7 16世纪后半期，出现了为数不少带有职业工具的自画像。如1556年弗洛里斯(Frans Flofis)的《圣路加画圣母玛丽亚》，1555年左右阿洛里(Alessandro Allori)的《自画像》，1558年莫尔(Antonis Mor)的《画架前的自画像》等。
8 评论家坎普贝尔(Stephen J．Campbell)在2002年12月的Art Bulletin杂志(第84卷，第4号)第596—620页上的文章“Fare una Cosa Morta Parer Viva"：Michelangelo，Rosso，and the (Un)Divinity of Art”对艺术家的神化过程有详细论述。
9 如荷兰画家贝利(David Bailly)《与浮华的象征在一起的自画像》(Self-portrait with Vanitas Symbols，1651年)、道(Gerrit Dou)1665年左右的自画像等。
10 如西班牙画家梅伦德斯(Luis Melendez)1746年的《举着学院习作的自画像》、德国画家门斯(Anton Raphael Mengs)18世纪中后期的一张自画像等。
11 Friedrich Schelling,"System of Transcendental Idealism," in Philosophies of Art and Beauty: Selected Readings in Aesthetics from Plato to Heidegger, edited by Albert Hofstadter and Richard Kuhns, Chicago: University of Chicago Press, 1976, p. 59.
12 Joanne Cubbs,'Rebels, Mystics and Outcasts', in The Artist Outsider: Creativity and the Boundaries of Culture, Washington: Smithsonian Institute press, 1994, p. 77.
13 Carol Korsmeyer, Gender and Aesthetics: An Introduction(Understanding Feminist Philosophy), London: Routledge, 2004, p. 30.
14 古罗马历史学家普林尼曾提到有位叫亚亚(Iaia)的女画家“在镜子的帮助下画出了自己的像”。1402年意大利文版的薄伽丘《关于著名女性》的手抄本中的插图就表现了这个故事。女画家坐在堆满作画工具的桌前，左手持一面小圆镜，右手画着自己的肖像画。这或许是历史上第一幅有作画工具的艺术家自画像了。
15 16世纪意大利女画家安古索拉从13岁开始直到80多岁画下了20多幅自画像，成为丢勒之后画自画像最多的女艺术家；勒布朗在87岁的漫长一生中画出了近40幅自画像。
16 Whitney Chadwick,"How Do I Look?" in Mirror Mirror: Self-Portraits by Women Artists, Liz Rideal(Author), Whitney Chadwick(Contributor), Frances Borzello(Contributor), Watson-Guptill,2002, p. 28.
17 Edith Abbott & Sophonisba P. Breckinridge,"Employment of Women in Industries: Twelfth Census Statistics", The Journal of Political Economy, Vol. 14, No. 1(Jan., 1906), p. 30.
18 1881年5月在贝尔多夫人等的倡导下成立，并于次年1月举办了第一次女性沙龙，展出同盟成员的作品。除了每年举办一次沙龙之外，同盟还创办了自己的周刊——《女艺术家杂志》(Journal des femmes artistes)，选派代表参加妇女大会，游说法国政府的各个委员会，为女性进入官方艺术学院与获得罗马大奖而努力。及至1896年，同盟已经拥有450位成员。详细分析参见加波(Tamar Garb)，“Revising the Revisionists：The Formation of the Union des Femmes Peintres et Sculpteurs"，Art Journal，Vol．48，No．1，Spring，1989，pp．63-70．
19 Paula Modersohn-Becker, quoted by Frances Borzello in A World of Our Own, London: Thames & Hudson, 2000, p. 127.
20 Anne Goldthwaite, quoted by Kirsten Swinth in Painting Porfessionals: Women Artists and the Development of Modern American Art, 1870—1930, Chapel Hill: The University of North Carolina Press, 2003, p. 173.
21 "How Women Can Grow Old", Vanity Fair, vol. 5, 1, September l915, p. 67.
22 Marius-Ary Leblond,"Les Pentres de la Femme Novelle," La Revue, vol. 39, No. 4, November 1st, 1901, pp. 275—290.
23 Frances Borzello, A World of Our Own, London: Thames & Hudson, 2000, p. 170.
24 Bruce Robertson,"The Tipping Point: Museum Collecting and the Cannon", American Art, Vol. 17, No. 3(Autumn, 2003), pp. 2.
25 Valerie Preston Dunlop, Notes on Bodies in Dada, ed. Stephen C. Foster, NY: G. K. Hall, 1996, p.175.
26 Quoted by Kirsten Swinth in Painting Porfessionals: Women Artists and the Development of Modern American Art, 1870—1930, Chapel Hill: The University of North Carolina Press, 2003, p.179.
27 George Moore, Modern Painting, New York: Charle Scribner, 1900, p. 226.
28 Arthur Bye,"Women and the World of Art," in Art and Decoration, vol. 10, 1910, p.87.
29 Friedrich Wilhehn Nietzsche, The Will to Power, trans. Anthony. M. Ludovici, New York: Russell & Russell, vol 2, 1964, p. 261.
30 Apollinaire, The Cubist Painters, tans. Lionel Abel, New York: Wittenborn, 1944, p. 27.
31 John Baur, Revolution and Tradition in Modern American Art, NY: Frederick A. Praeger, 1951, p.60.
32 ibid.
33 Michele Lamont's essay on Michel de Certeau's The Practice of Everyday Life on the back cover of The Practice of Everyday Life, Michel de Certeau, Berkeley: University of California Press, 1984.
34 Michel de Certeau,"'Making Do': Uses and Tactics," The Practice of Everyday Life, Trans. Steven F. Rendail, Berkeley: University of California Press, 1984., p. 36.
1 巴赫金，《答<新世界>编辑部问》，载《话语创作美学》，莫斯科，艺术出版社，1986年版。第348页，夏忠宪在《巴赫金狂欢化诗学研究》中引用，北京师范大学出版社，2000年，第55页。
2 《神话的诗学》，梅列金斯基著，魏庆征译，商务印书馆，1990年，第144页。
3 尼采，《偶像的黄昏》：《一个不合时宜者的漫游》(第10节)，长沙：湖南人民出版社，1987年。
4 尼采，《强力意志》，重庆出版社，李伟编译，2006，第798节
5 巴赫金，《巴赫金全集》第6卷，河北教育出版社，1998年，第9页。
6 巴赫金，《陀思妥耶夫斯基诗学问题》，白春仁、顾亚玲译，三联书店，1988年，第176页。
7 巴赫金，《陀思妥耶夫斯基诗学问题》，第180页。
8 巴赫金，《巴赫金全集》第6卷，河北教育出版社，1998年，第318页。
9 巴赫金，《陀思妥耶夫斯基诗学问题》，第180页。
1 Juan Luis Vives, the Instruction of a Christen Woman, English translation by Richard Hyde, vol. 2,Chapter 8, 1557.
2 《圣经》《申命记》第22章第5句，新国际版本，国际圣经协会出版，1978年。
3 Freud, New Introductory Lectures on Psychoanalysis, ed. James Strachery, W. W. Norton & Company, 1965, 22: p. 113.
4 Christine Buci-Glucksmann,"Catastrophic Utopia: The Feminine as Allegory of the Modern", Representations No. 14, The Making of the Modern Body: Sexuality and Society in the Nineteenth Century(Spring, 1986), pp. 220-229.
5 Amelia Jones,"'Clothes Make the Man': The Male Artist as a Performative Function,'"Oxford Art Journal, 18: 2, 1995, pp. 18—32.
6 Sandra Gilbert,"Costumes of the Mind: Transvestism as Metaphor in Modern Literature," Writing and Sexual Difference, Ed. Elizabeth Abel, Chicago: U of Chicago P, 1982. pp. 193-219.
7 Susan Gubar, quoted by Marjorie Garber in Vested Interests." Cross-dressing and Cultural Anxiety, Penguin Books, 1992, p. 9.
8 Judith Butler, Gender Trouble: Feminism and the Subversion of Identity, New York:Routledge Classics, 2006.
9 Elliott, Bridget."Performing the Picture or Painting the Other: Romaine Brooks, Gluck and the Question of Decadence in 1923," Women Artists and Modernism, Ed. Katy Deepwell, Katy, Manchester and New York: Manchester University Press, 1998, pp. 75-78.
10 Diana Souhami, Gluck, 1895-1978: Her Biography, London: Pandora, 1988, p. 9.
11 Brooks' letter to Barney, December 1923, quoted by B. Chavanne and B. Gaudichon in Romaine Brooks, 1874-1970: Poitiers, Musee Sainte-Croix, 1987, p. 159. The original text is:"que les femmes qui veulent etre comme des homes retrogradent en ecolieres et rien de plus".
12 Butler, op. cit. p. 137.
13 Whitney Chadwick, Amazons in the Drawing Room-The Art of Romaine Brooks, Berkeley, USA Chameleon, 2000, p. 33.
14 Susan Gubar,'Blessings in Disguise: Cross Dressing as Re-Dressing for Female Modernists', Massachusetts Review, Autumn 1981, pp. 479.
15 Gautier Theophile, Mademoiselle du Maupin, 1835.
16 Monique Wittig,"One is Not Born Woman", Feminist Issues(Fall 1981), vol. 1, No. 2, p. 53.
17 Susan Fillin-Yeh,"Dandies, Marginality, and Modernism: Georgia O'Keeffe, Marce Duchamp, and Other Cross-Dressers", ed. Naomi Sawelson-Gorse, Women in Dada: Essays on Sex, Gender, and Identity, Cambridge: MIT Press, 1998, pp. 181-183.
1 Aveux nOB avenues，Paris：Editions du Carrefour,1930，52。Aveux non avenues是卡恩与后母带来的姐姐、自己的同性情人马赛尔．摩尔合著的一本集子，其中收录了卡恩的很多幻想、格言、梦呓、三言两语的短句、图画、拼贴等。本文将Aveux non avenues暂译为《无用的忏悔》。
2 Jennifer Blessing,"Claude Cahun,'Dandy Provocateuse'", Dandies: Fashion and Finesse in Art and Culture, ed. Susan Fillin-Yeh, New York Univrisity Press, 2001, p. 186.
3 巴赫金，《小说中的时间与时空体的形式》，文艺出版社，1975年版，第211页。
4 巴赫金，《小说中的时间与时空体的形式》，《文学与美学问题》，文艺出版社，1975年版，第211页。
5 Cahun, quoted by Honor Lasalle and Abigail Solomon-Godeau in"Surrealist Confession: Claude Cahun's Photomon tages," Afterimage 19(March 1992): 10-13.
6 Cahun,"Cinderella, Humble, Haughty Child", Heroines, Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman, ed. Shelley Rice, New York University Press, 1999, p. 69.
7 Cahun,"The Virgin Mary", op. cit. p. 66.
8 Cahun,"Helen the Rebel", op. cit. p. 59.
9 Aveux non avenues, Paris: Editions du Carrefour, 1930, 52
10 Cahun,"Salome the Skeptic", Heroines, Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman, p. 77.
1 Roland Barthes,'Theory of the Text' in R. Young(ed.) Untying the Text: A Post-structuralist Reader, London: Routledge, 1981, p. 39.
2 Adrian Poole, Shakespeare and the Victorians, London: Thomson Learning, 2004, p. 2.
3 Robert Weimann,"Text, Author-Function, and Appropriation in Modern Narrative: Toward a Sociology of Representation", Critical Inquiry, vol. 14, no. 3, p. 433.
4 Adrienne Rich,"When We Dead Awaken", in Maggie Humm(edo), Feminisms: A Reader, Hemel Hempstead: Harvester Wheatsheaf, p. 369.
1 Marco Boschini, La Carta del navega pitoresco,(Venice, 1660), ed. Anna Pallucchini, Venice and Rome, 1966, p. 678. Quoted by Philip Sohm in"Gendered Style in Italian Art Criticism from Michelangelo to Malvasia", Renaissance Quarterly, Vol. 48, No. 4(Winter, 1995), p. 798.
2 Whitney Chadwick, Women, Art and Society, 3rd ed., London: Thames and Hudson, 2002, p. 7.
3 Griselda Pollock,"Modernism and the Space of femininity", Vision and Difference, London: Routledge, 1988, p. 72-73.
4 Marsha Meskimmon, The Art of Reflection: Women Artists' Self Portrait in the 20th Century, New York: Columbia University Press, 1996, p. 43.
5 Whitney Chadwick, Women Artists and the Surrealist Movement, Reprint edition, London: Thames & Hudson, 1991, p. 30页.
6 当然，皇家学院的人体画室并不是佐法尼可以选择的唯一地点。他完全可以选择别的集会场所，将两位女艺术家包括进来。
7 Anne Higonnet, Berthe Morisot's Images of Woman, Harvard: Harvard University Press, 1992, p.23.
8 Francis Frascina, Modernity and Modernism." French Painting in the Nineteenth Century, Yale University Press, 1993, p. 238.
9 Germaine Greer, The Obstacle Race." the Fortunes of Women Painters and Their Work, New York:Tauris Parke Paperbacks, 2001.
1 Joanne Bernstein,"The Female Model and the Renaissance Nude: Durer, Giogione, and Raphael,"Artibus et Historiae, Vol. 13, No. 26(1992), pp. 49-63.
2 B. Cellini, The Autobiography of Benvenuto Cellini, trans. G. Bull, New York: Harmondsworth, 1956, p. 101.
3 见N．J．Vicker关于切利尼的论文“The Mistress in the Masterpiece”，in The Practice of Gender，ed．N．K．Miller，1988，pp．19-41．
4 B. Cellini, The Autobiography of Benvenuto Cellini, trans. G. Bull, New York: Harmondsworth, 1956，p．288．
5 瓦萨里的这幅壁画画在他位于佛罗伦萨的家中，是根据古罗马作家老普林尼(Pliny)笔下古代艺术家的故事创作的三幅壁画之一。这三幅壁画分别是：《绘画的起源》、《画室中的艺术家与向画室走来的模特们》、《阿佩利斯与鞋匠》。《画室中的艺术家与向画室走来的模特们》左半部分表现的是宙克西斯(Zeuxis)(有些评论家认为是阿佩利斯)在画室中画裸体模特的场景，右半部分表现的是穿着衣服的模特们走向宙克西斯画室的场景。
6 Linda Nochlin, Representing Women, London: Thames & Hudson, 1999, p. 236.
7 "Je peint avec mon bitre." Quoted by Jean Renoir in Renoir, My Father, Boston: Little, Brown & Co., 1962, p.185
8 Quoted by Schneider Pierre in Matisse, eng trans. By Michael Taylor and Bridget Stevens Romer, eng. New York:Rizzoli, 1984, p. 620.
9 Pablo Picasso, quoted at http://www.artquotes.net/art-quotes-archives/april-art-quotes04.htm.
10 Heather Dawkins, The Nude in French Art and Culture, 1870-1910, Cambridge: Cambridge UP,2002, p. 116.
11 See Anne Higonnet, Berthe Morisot's Images of Woman, Harvard University Press, 1992.
12 Janet Hobhouse, The Bride Stripped Bare: The Artist and the Female Nude in the Twentieth Century, London: Janathan Cape, 1988, p. 140.
13 John Russell Taylor,"The Lost Ladies Four," London Times, November 10, 1987.
14 Janet Hobhouse, The Bride Stripped Bare: The Artist and the Female Nude in the Twentieth Century, p. 10.
1 Joan Riviere,'Womanliness as Masquerade', reprinted in Fomations of Fantasy, ed. Victor Burgin,James Donald, Cora Kaplan, London: Methuen, 1986, p. 39.
2 ibid. p. 36.
3 ibid. p. 37.
4 ibid. p. 38.
5 ibid. p. 41.
6 ibid. p. 38.
7 ibid. p. 38.
8 Stephen Heath,'Joan Reviere and the Masquerade', in Formations of Fantasy, ed. Victor Burgin, James Donald, Cora Kaplan, London: Methuen, 1986, p. 54.
9 Tim Dean, Beyond Sexuality, University Of Chicago Press, 2000, p. 84.
1 Stettheimer, untitled poem in Crystal Flowers, quoted by Barbara J. Bloemink in"Florine Stettheimer: Becoming Herself' in Singular Women: Writing the Artist, eds. Kristen Frederickson and Sarah E. Webb, University of California Press, 2003, p. 111.
2 "Florine Stettheimer", New Yorker, June 1946, p. 27.
3 Carl Van Vechten,"World of Florine Stettheimer", Town and Country, 1935, p. 356.
4 Marsden Hartley's article on Stettheimer in Creative Art, July 1931, quoted by Barabra J. Bloemink in The Life and Art of Florine Stettheimer, Yale University Press, 1995, p. 175.
5 Whitney Chadwick, Women, Art and Society, 3rd ed., London: Thames and Hudson, 2002, p. 295.
6 Barbara J. Bloemink in"Florine Stettheimer: Becoming Herself', p. 113.)
7 From Stettheimer's manuscript in Beinecke Library, Ⅶ-Ⅸ, quoted by Linda Nocklin in《女性,艺术与权力》,游惠贞译,广西师范大学出版社, 2005年,第147页。
8 Stettheimer, untitled poem, quoted by Barbara J. Bloemink in"Florine Stettheimer: Becoming Herself', p. 123.
9 Eddie Stettheimer in the preface to Crystal Flowers, p iii.
10 Stettheimer's poem"Nursery Rhythms", quoted by Barbara J. Bloemink in The Life and Art of Florine Stettheimer, notes, p. 254.
11 Nancy Miller, quoted in Caroline Heilbrun, Writing a Woman's Life, Ballantine Books, 1988, p.44.
12 untitled poem by Stettheimer, quoted by quoted by Barbara J. Bloemink in"Florine Stettheimer: Becoming Herself", p. 126-127.
13 untitled poem by Stettheimer, op. cit., p. 118.
14 Stettheimer's poem, quoted by Barbara J. Bloemink in The Life and Art of Florine Stettheimer, notes, p. 14.
15 Parker Tyler, Florine Stettheimer: A Life in Art, New York: Farrar, Straus, 1963, p. 11.
16 Stettheimer's poem, quoted by Barbara J. Bloemink in"Florine Stettheimer: Hiding in Plain Sight", Women in Dada: Essays on Sex, Gender, and Identity, ed. Naomi Sawelson-Gorse, MIT: Cambridge, 2000, p. 493.
17 Carl Van Vechten,"Introduction," in Tyler, Florine Stettheimer, p. Xiii.
18 Ettie Stettheimer, quoted by Barbara J. Bloemink in The Life and Art of Florine Stettheimer, p. 173.
19 Parker Tyler, op. cit., p. 201.
20 Barbara J. Bloemink in"Florine Stettheimer: Becoming Herself", p. 125.
21 Hilton Kramer, Florine Stettheimer's Distinctive Vision of Society, New York times, March 16,1980, pp. 22.
22 Stettheimer's poem，quoted by Linda Nocklin in《女性，艺术与权力》，游惠贞译，广西师范大学出版社，2005年，第165页。
23 Carl Van Vechten,"World of Florine Stettheimer," op. cit., p. 356.
1 Laurencin, quoted by Gabrielle Buffet in"Mary Laurencin", Art, July 1923, p. 396.
2 Roger Allard, Marie Laurencin, Editions de la Nouvelle Revue Francaise, 1921, p. 7.
3 Martha Davidson,"Famous Exponent of Femininity," Art News, 13 November 1937, pp 18-19.
4 Emily Grenauer,"The Elfin Maidens of Marie Laurencin", Art Digest, 12, December 15, 1937, p.10.
5 1930年，作家弗莱蒙(Albert Flament)为法国文化的四“后”组织了一个午宴。其中，文学之后为柯丽特(Colette)，戏剧之后为瓦伦丁．泰西尔(Valentine Testier)，时尚之后为可可·香奈尔(Coco Chanel)，而绘画之后就是洛朗桑。
6 Rene Gimpel in 1930,"Diary of an Art Dealer", trans. John Rosenberg, Vu, Universe Books,1987, p. 399.
7 阿波利奈尔语。
8 Fagan-King, Julia."United on the Threshold of the Twentieth-Century Mystical Ideal: Marie Laurencin's Integral Involvement with Guillaume Apollinaire and the Inmates of the Bateau Lavoir." Art History 11(March 1988), pp. 103-108.
9 Marie Laurencin, Le Carnet des nuits. Brussels, 1942. Reprint, Switzerland: La Bartavelle, 1997. Le Carnet des nuits is a collection of poems and memoirs by Laurencin, which serves as a primary source for biographical information for Laurencin's childhood and early career.
10 "Art and Life", Continental Daily Mail, March 30th, 1950.
11 Rene Gimpel, Diary of an Art Dealer, trans. John Rosenberg, Universe Books, 1987, p.251.
12 ibid. 376.
13 Buffet,1923, p. 394.
14 Quoted by Gertrude Stein in The Autobiography of Alice B. Toklas, Brace and Company, 1933,pp. 74-75.
15 Marjorie Perloff, Avant-Garde, Avant Guerre, and the Language of Rupture, The University of Chicago Press, 1986, p. 68.
16 Fernande Olivier, Picasso and His Friends, translated by Jane Miller, London, Heinemann, 1964,p. 85.
17 ibid. p. 43.
18 Quoted by Gertrude Stein in The Autobiography of Alice B. Toklas, pp. 74-75.
19 Gabrielle Buffet,"Marie Laurencin", Arts, June 1923, p. 396.
20 Dorothy Todd,"Exotic Canvases Suited to Modern Decoration", Arts and Decoration, January~(19) ibid.p. 92
21 ibid. 92.
22 ibid. 95.
23 1942年出版，里面收录了洛朗桑关于自己青春岁月的一些回忆和年轻时写的一些诗歌。
24 Apollinaire on Art，p．210。这篇评论名为《艺术新闻“装饰艺术与女性绘画》，最初刊登在1912年3月13日的Le Petit Bleu上．
25 e.g. Emmanuel Cooper in The Sexual Perspective: Homosexuality and Art in the Last 100 Years in the West, Routledge, 1994; Flora Groult in Marie laurencin, Mercure de France, 1987, p. 84;Elaine Marks in"Lesbian Intertextuality," Homosexualities and French Literature, Eds. GeorgeStambolian and Elaine Marks, Ithaca: Cornell University Press, 1979, p. 354.
26 Hyland, Douglas and Heather McPherson, Marie Laurencin: Artist and Muse, Alabama: Birmingham Museum of Art, 1989, p. 29.
27 Hyland, Douglas and Heather McPherson,, p. 30。
28 Walter Benjamin, Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, Trans. Harry Zohn, London: Verso, 1997, p. 90.
29 Roland Barthes, Mythologies, selected and translated by Annette Lavers, New York: Hill and Wang, 1978, p. 144.
1 Jean Paul-Sartre, Being and Nothingness, English Translation Hazel by E. Barnes, New York: Washington Square Press, 1966, pp. 429-430.
2 Contemporary psychologist Phyllis Greenacre,"Early Physical Determinants in the Development of the Sense of Identity", in her Emotional Growth, New York, 1971, vol. 2, p. 614.
3 琳达．诺克林，《女性，艺术与权力》，游惠贞译，广西师范大学出版社，1988年，第126—127页
4 女性主义艺术理论家帕克尔(Rozsika Parker)与波洛克(Griselda Pollock)认为，从18世纪晚期开始，人体画就开始被默认为女性人体画。见Old Mistresses：Women，Art and Ideology，Rozsika Parker and Griselda Pollock，London：Pandora，1981，p．119．
1 琳达．诺克林，“19世纪艺术中情色与女性意象”，《女性，艺术与权力》，广西师范大学出版社，2005年，第176—177页。
2 Paul Mink,"Le Travail des femmes", partially printed in Women, the Family, and Freedom: The Debate in Doucuments 1880-1950, ed. Susan Groag Bell, Stanford University Press, 1983, p. 470.
3 Linda Nochlin, Representing Women, Thames & Hudson, 1999, p. 236.
4 Paul Gauguin, Interview with Engene Tardieu from L'Echo de Paris, 13 May 1895, quoted in Paul Gauguin, Oviri, ecritis d'un savage, ed. Daniel Guerin, Paris, Gallimard, 1974, p. 140.
5 Yan Duncan,"Virility and Domination in Early Twentieth-Century Vanguard Painting", Feminism And Art History: Questioning the Litany, eds. Norma Broude and Mary D. Garrard, New York: Harper & Row, 1982, p. 298.
6 Aristotle, quoted in Gill Saunders, The Nude: A New Perspective, London: Herbert Press, 1989, p.21.
7 Rozsika Parker & Griselda Pollock, Old Mistresses: Women, Art and Ideology, London: Pandora, 1981,p. 119.
8 Hannah Wilke, American woman artist,"Reimaging the Body", Feminist-Art-Theory: An Anthology, 1968-2000, ed. Hilary Robinson, Blackwell Publishing, 2001, p. 379.
9 Sigmund Freud, The Ego and the Id, The Hogarth Press Ltd., 1957, p. 31.
10 Paula Modersohn-Becker, The Letters and Journals, edited by Gunter Busch and Liselotte von Reinken, translated by Arthur S. Wensinger and Carole Clew Hoey, New York, Taplinger, 1983, p.190.
11 Frida Kahlo, The Diary of Frida Kahlo: An Intimate Self-Portrait, New York: Harry N Abrams, 1995, p. 41.
1 Lynne Huffer, Maternal Pasts, Feminist Futures: Nostalgia, Ethics, and the Question of Difference, Stanford: Standford University Press, 1998, p. 7.
2 Simone De Beauvoir, The Second Sex, trans. H. M. Parshley, Harmondsworth, Penguin Books, 1972, p. 179.
3 如巴黎西南郊沙特尔大教堂(Chartres Cathedral)12世纪的《基督降生》玻璃画，罗马圣母玛丽亚大教堂(Santa Maria in Trastevere)卡瓦利尼(Pietro Cavallini)1291年的《基督降生》镶嵌画等。
4 如丢勒1504年的《基督降生》，胡安．德．法兰德斯(Juan de Flandres)1508—1519年的《基督降生》等。
6 在基督教文化中，红色常常象征放荡。例如，《圣经》启示录第17章中的“大淫妇”就是一个骑着“朱红色的兽”、穿着“朱红色的衣服”的女人。霍桑的《红字》中也以红色暗指通奸罪。浓密的头发常常暗示着强烈的性欲。例如，在《维多利亚时代想象中女人头发的力量》一文中，伊丽莎白．G．基特就写道：“头发越浓密。其所暗示的性诱惑力越强。”
7 Marsha Meskimmon, The Art of Reflection, New York: Columbia UP, 1996, pp. 141-142.
8 Jane Ussher, The Psychology of the Female Body, London: Routledge, 1989.
9 Sigmund Freud,"An Outline of Pscho-analysis", Freud on Women: A Reader, ed. Elisabeth Young-Bruehl, NY: W. W. Norton & Company, 1990, p. 364.
10 Sigmund Freud, ibid., p. 365.
11 Juliet Mitchell, Psychoanalysis and Feminism: A Radical Reassessment of Freudian Psychoanalysis, London: Penguin Books, 1974, p. 404.
12 Julia Kristeva, Desire in Language: A Semiotic Approach to Literature and Art, trans., Thomas Gora, Alice Jardine and Leon S. Roudiez, ed., Leon S. Roudiez, NY: CUP, 1980, p. 237.
13 Elizabeth Grosz, Jacques Lacan: A Feminist Introduction, NY: Routledge, 1990, p. 185.
14 Lynne Huffer, Maternal Pasts, Feminist Futures: Nostalgia, Ethics, and the Question of Difference, Stanford: SUP, 1998, p. 15.
15 Luce Irigary, Je, Tu, Nous: Toward a Culture of Difference, trans., Alison Martin, NY: Routledhe,1993,p. 46.
16 Catherine Parr, quoted by Anne Higonnet in Berthe Morisot's Image of Women, Harvard UP: 1992, p. 202.
17 See Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation, Gannit Ankori, Westport: Greenwood Press, 2002, p. 155.
15 See handbuch der Geburtshilfe, F. von Winckel, Wiesbaden, 1905-1906, vol 2, p. 13.
18 See Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation, p. 155.
19 Parker Lesley,"Transcription of Notes Taken During Conversations with Frida Kahlo de Rivera and Diego Rivera", Unpublished Manuscript, quoted in Imaging Her Selves, p. 28.
20 Paula Modersohn-Becker, in the introductory essay by Jane Kallir in Paula Modersohn-Becke, unpaged.
21 December 1898, a passage in her diary concerning a young woman she had previously used as a model, The Letters and Journals.
22 Paula Modersohn-Becker, The Letters and Journals, p. 112.
23 e.g. The Letters and Journals, p. 409, letter to husband and p. 422, letter to sister.
24 迭戈．里维拉(Diego Rivera)，卡洛的丈夫，墨西哥著名壁画大师。
25 Diego Rivera, My Art, My Life, New York, 1960, p. 201.
26 Paula Modersohn-Becker, The Letters and Journals,p. 395,
27 《弗里达》，海登．赫雷拉著，夏雨译，上海人民美术出版社，2003年1月，第191页。
28 同上，第204页。
29 在这个时候，贝克尔并没有怀孕。贝克尔的怀孕是次年三月份的事情。不仅如此，贝克尔显然也并没有作怀孕的打算。从贝克尔这段时期信件中谈到自己的丈夫和情人——社会学家斯托姆巴(Werner Stombart)的文字看，她根本就没有考虑怀孕。
30 Moira Gatens, Imaginary Bodies: Ethics, Power and Corporeality, London: Routledge, 1996,
1 苏菲亚．玻卡(Sophia Phoca)，《后女性主义》，谢小芩译，台湾立绪文化事业有限公司出版，1999年，第47页。
2 雅克．德里达：《立场：与让-路易斯．豪德宾、盖伊．斯卡培塔的会谈》，载黄颂杰主编《二十世纪哲学经典文本》(欧洲大陆哲学卷)，复旦大学出版社，1999年．
3 特雷．伊格尔顿(Terry Eagleton)著，伍晓明译，《二十世纪西方文学理论》，陕西师大出版社，1986年，第185页。
1 笛卡尔，Discourse，开篇．
2 Ellie Ragland-Sullivan, Jacques Lacan and the Philosophy of Psychoanalysis, University of Illinois Press, 1986, p. 25.
3 Whitney Chadwick, Women Artists and the Surrealist Movement, Thames & Hudson, 1991, p.315.
4 Rita Kernn-Larsen, letter to Chadwick, quoted by Chadwick in Women Artists and the Surrealist Movement, Thames & Hudson, 1991, p. 74.
5 Trinh T. Min—ha, Woman, Native, Other: Writing Postcoloniality and Feminism, Bloomington: Indiana University Press, 1989.
6 拉丁语中的vanitas一词相当于英语的vanity(虚荣，浮华)，这里指一种寓意静物画类型。这类画中画的是一些象征人生短暂，浮华如梦的意象(例如，年轻女子、骷髅头、镜子、鲜花、蜡烛、破碎的陶瓷器皿等)。这类画在十六、十七世纪相当流行，特别是在荷兰。
7 犹太教、伊斯兰教典籍中亚当的第一任妻子，后被逐出伊甸园，与撒旦生子。
8 在维多利亚时代被视为性诱惑的象征。在《维多利亚时代想象中女人头发的力量》一文中，伊丽莎白．G．基特写道：“头发越浓密。其所暗示的性诱惑力越强。
9 Trinh T. Min—ha, Woman, Native, Other: Writing Postcoloniality and Feminism.
10 Rita Kernn-Larsen, letter to Chadwick, quoted by Chadwick in Women Artists and the Surrealist Movement, p. 74.
11 Cahiers Bleus, no.10, Extracts of a Conversation with Jacqueline Trutat(Valentine Hugo),Troyes:Centre Culturel Thibaud de Champagne, 1977.
12 ibid.
13 诺瓦利斯是弗里德里希．利奥波德(Friedrich Leopold)的笔名。早期德国浪漫派诗人兼理论家。他的诗歌与理论对后来的浪漫主义思潮影响甚大。
14 Julien Levy, Memoir of an Art Gallery, New York, 1977, p. 170.
15 quoted by Chadwick in Women Artists and the Surrealist Movement, p. 81.
16 Interview with Leonor Fini, St. Dye-sur-Ioire, June 1982。
17 Whitney Chadwick, Women Artists and the Surrealist Movement, London: Thames and Hudson, 1985, p. 78.
18 Whitney Chadwick,"Women, Surrealism, and Self-Representation," Mirror Images." Women,Surrealism, and Self-Representation, ed. Whitney Chadwick, the MIT Press, 1998, p. 12.
19 Whitney Chadwick, Mirror Images: Women, Surrealism, and Self-Representation, The MIT Press, 1998, p. 12.
20 Roland Barthes, Sade, Fourier, Loyola, Hill & Wang Pub, 1976, p. 10.
1 Vasari, quoted by Whitney Chadwick in Women, Art, and Society, London: Thames and Hudson, 1990, p. 34.
2 马尔维萨伯爵(1616—1683)，诗人、律师、教育家兼收藏家，写过多部关于博洛尼亚绘画的著作，其中最著名的就是Felsina Pittrice，Felsina是伊特鲁里亚语“博洛尼亚”之意。这是一部马尔维萨为当时博洛尼亚的艺术家们撰写的传记合集，是研究巴洛克时期博洛尼亚艺术家最重要的原始资料。
3 里多尔菲(1594—1648)，意大利画家，他的著作Meraviglie dell' Arte是一部记录威尼斯绘画艺术的百科全书式著作，里面共有150多篇当时威尼斯艺术家的传记。
4 Leon Legrange,Gazette des Beaux-Arts,1860.
5 詹姆森(1794-1860)，英国女作家、艺术史家，其著作Sacred and Legendary Art被很多学者认为是19世纪上半期最重要的艺术史著作。
6 艾利(1818-1877)，美国女作家、历史学家，其著作Women Artists in All Ages and All Countries是19世纪介绍女艺术家以及她们的艺术成就的最重要的著作之一。
(?)利蒙特(1834-1916)，美国女艺术史家、建筑史家，其著作Women in the Fine Arts from the 7th Century BC to the 20th Century中包括从公元前7世纪到20世纪初一千多位女画家和女雕塑家的小传。
8 Germaine Greer, The Obstacle Race: The Fortunes of Women Painters and Their Work, Tauris Parke Paperbacks: New York, 2001, p. 68.
9 Kathleen Russo, Phd, Florida Atlantic University Presented in 1996, Amsterdam,http://www.batguano.com/VigeeSPpapertxt.html.
10 D. Dederot, Salons; J. Seznec et G Adhemar, Oxford, 1767, vol. III, p. 34
11 ibid. P.250.
12 Letter of March 1728, from the Abbe Conte toMme de Caylus, quoted by Pallucchiniin"Per la Conoscenza di Guila Lama",Arte Veneta, 1970, p. 161-2.
13 Introduction to The Landauter Collection of Kathe Kollwitz: Prints and Drawings, Museum of Art, The University of Connecticut, 1968, unpaged.
14 Kollwitz, quoted by Alessandra Comini and Hildegard Bachert in Kathe Kollwitz, ed. Elizabeth Prelinger, National Gallery of Art I992, p.76.
15 Diary of September 29, 1910, The Diary and Letters of Kaethe Kollwitz, ed. Hans Kollwitz, trans, Richard and Clara Winston, Chicago: Henry Regnery Company, 1955, p. 57.
16 Julia Kristeva, Powers of Horror: An Essay on Abjection, in Art in Theory: 1900-2000, eds. Charles Harrison & Paul Wood, Blackwell Publishing, 2002, p. 1138
17 Kristeva, Powers of Horror: An Essay on Abjection, Leon S. Roudiez trans., New York: Clumbia UP, 1982, p. 2.
18 ibid.
19 Elizabeth Gross,"The Body of Signification", in John Fletcher and Andrew Benjamin eds, Abjection, Melancholy and Love: The Work of Julia Kristeva, NewYork: Routledge, 1990, p. 90.
20 Kristeva, Powers of Horror: An Essay on Abjection, Leon S. Roudiez trans., New York: Clumbia UP, 1982,页码待确定
21 Jitta Kollwitz,"The Last Days of Kathe Kollwitz", The Diary and Letters of Kaethe Kollwitz, p.197.
22 Kollwitz, Diary of March 19th, The Diary and Letters of Kaethe Kollwitz, p. 88.
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