Shirley Goldfarb (American, 1925-1980), Rouge et Jaune (Red and Yellow) (1961), Lithograph, A. P., signed in pencil, Gift of Gregory Mausrovsky to the William and Uytendale Scott Memorial Study Collection of Works by Women Artists, 2006.1.104.
1 media/2006.1.104_BMC_f_4_thumb.jpg 2020-06-25T15:15:11+00:00 Esme Read dd6ffc8b12ade875e94a3b39793298d8e4cb3bde 25 4 In the nearby print Best Friends, Nancy Spero illustrates a sexual scene liberated from a gender binary. Genitals are hidden, suggesting sex identification belongs to the subjects rather than the viewer. Moving away from figural representation, Goldfarb’s brief gestural lines of red and yellow spill over one other, blurring occasionally into orange. Like the subversion of a traditional wo/man binary in Best Friends, there is a blending of colors in Rouge et Jaune, bringing something neither red, nor yellow, but in-between, to the surface. plain 2020-08-10T15:55:25+00:00 nonrepresentational art United States The William and Uytendale Scott United States Esme Read dd6ffc8b12ade875e94a3b39793298d8e4cb3bdeThis page is referenced by:
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Checklist of the Exhibition
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Checklist of Rare Books in the Exhibition
- Robert Burton (English, 1577–1640) The Anatomy of Melancholy: What it is, with all the kinds, causes, symptomes, prognostickes & seuerall cures of it. In three partitions, with their severall sections, members & sub-sections. Philosophically, medicinally, historicallly, opened & cut vp. Printed in English Oxford: Printed for Henry Cripps, 1638, fifth edition
- Johann Caspar Lavater (German, 1741–1801) Physiognomy, or, The corresponding analogy between the conformation of the features, and the ruling passions of the mind. Printed in English London: Printed for H.D. Symonds, not before 1790
- Johann Caspar Lavater (German, 1741–1801) The Pocket Lavater, or, The Science of Physiognomy: To which is added, An inquiry into the analogy existing between brute and human physiognomy, from the Italian of Porta. Printed in English Hartford: Andrus & Judd, 1832
- Charles Le Brun (French, 1619–1690) Expressions des Passions de L’Ame. Printed in French Paris, 1727
- Cesare Ripa (Italian, 1560–1645) Iconologia di Cesare Ripa Perugino, caure. De’Sti. Mauritio e Lazzaro: Nella quale si descriuono diuerse imagini di virtù, vitij, affetti, passioni humane, arti, discipline, humori, elementi, corpi celesti, prouincie d’Italia, fiumi, tutte le parti del mundo, ed altere infinite materie: ... Printed in Italian Siena: Appresso gli geredi di Matteo Florimi, 1613 Purchased with Seymour Adelman fund
- Cesare Ripa (Italian, 1560–1645) Iconologia di Cesare Ripa: Divisa in tre libri, ne I quali si quali si esprimono varie imagini di virtù, vitij, affetti, passioni humane, arti, discipline, humori, elementi, corpi celesti, prouincie d’Italia, fiumi, & altire materie infinite vtili ad ogni stato di persone. Printed in Italian Venice: C. Tomasini, 1645
- Hartmann Schedel (German, 1440– 1514) Liber Chronicarum (Nuremberg Chronicle). Printed in Latin Nuremberg: Anton Koberger, 1493. Deposit of Phyllis Goodhart Gordon (BMC 1935)
- Otto van Veen (Dutch, 1556–1629) Amorum emblemata, figuris aeneis in cisa. Antuerpiae: Venalia apud auctorem, 1607
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Gender
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Prints, such as the enlarged reproduction of a woodcut from the Swiss physician and alchemist Leonhard Thurneysser’s book Quinta Essentia (1574) seen here, could function as teaching tools, diagraming the four temperaments as gendered attributes of bodies. The temperaments developed masculine and feminine associations that reinforced the idea that melancholic and phlegmatic temperaments were more appropriate for women, and the choleric and sanguine temperaments were better suited to men.
Read in a contemporary light, this illustration also suggests that the potential for all temperaments (and genders) resides within a single body. Prints in this section nuance the four humors as not strictly masculine or feminine. Like gender, the temperaments are fluid. These prints further suggest that issues of labor, class, race, and sexuality are inherently tied to gender performativity and thus temperamental interpretation.
