INTRO TO THE EXHIBIT
Burne-Jones, Edward. The Depths of the Sea. 1886. Watercolor on panel. Wikipaintings.
Collier, John. Lilith with a Snake. 1892. Oil on canvas. Wikimedia commons.
Hunt, William Holman. The Awakening Conscience. 1853. Oil. Wikipaintings.
Waterhouse, John William. Hylas and the Nymphs. 1896. Oil. Artstor.
MYTHOLOGICAL WOMEN
Alma-Tadema, Sir Lawrence. Antony and Cleopatra. 1883. Oil on canvas. Wikipaintings.
Burne-Jones, Edward. The Wine of Circe. 1863–9. Watercolor. Artstor.
Cabanel, Alexandre. Cleopatra Trying Out Poison to the Condemned. 1887. Oil on canvas. Wikipaintings.
Cezanne, Paul. Medea. 1882. Watercolor. Artstor.
Draper, Herbert. The Golden Fleece. 1904. Oil on canvas. Wikipaintings.
Moreau, Gustave. Cleopatra. 1887. Watercolor. Artstor.
Moreau, Gustave. Helen at the Scaean Gate. N.d. Oil on canvas. Artstor.
Moreau, Gustave. Helen Glorified. 1887. Watercolor. Artstor.
Sandys, Frederick. Medea. Oil on panel. 1866–1868. Wikipaintings.
Rossetti, Dante Gabriel. Helen of Troy. 1863. Wikipaintings.
Waterhouse, John William. Circe Offering the Cup to Ulysses. Oil on canvas. 1891. Wikipaintings.
Waterhouse, John William. Circe Invidiosa. Oil on canvas. 1892. Wikipaintings.
BIBLICAL WOMEN
Beardsley, Aubrey. Salome with John the Baptist's Head : Studio, No. 1. 1898. Artstor.
Corinth, Lovis. Salome and the Head of John the Baptist. 1899. Artstor.
Klimt, Gustav. Judith and the Head of Holofernes. 1901. Oil on canvas. Wikimedia commons.
Klimt, Gustav. Judith II (Salome). 1909. Oil on canvas. Artstor.
Oppenheimer, Max. Salome. 1912. Artstor.
Riedel, August. Judith. 1840. Oil on canvas. Wikimedia commons.
​
Moser, Koloman. Judith and Holofernes. 1916. Oil on canvas. Wikipaintings
Print Sources
Dijikstra, Bram. Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture. New York: Oxford University Press, 1986. Print.
Huvenne, Paul, and Kees van Twist. Foreword. Femmes Fatales 1860–1910. Wommelgem: BAI, 2002. Print.
van Os, Henk, Jacqueline Bel, Kristien Hemmerechts, Marianne Kleibrink, Eddy de Klerk, Sijbolt Noorda, Christien Oele. Femmes Fatales 1860–1910. Wommelgem: BAI, 2002. Print.
Kelly, Meaghan. "John William Waterhouse's eroticized Hylas and the Nymphs." Victorian Web. Brown University, 2004. Web. 29 November 2013.
Ruskin, John. Sesame and Lilies. 1865. Project Gutenberg. Web. 10 November 2013.
Taylor, Mara. "Rossetti's dreaming women: Three pictures of visions and imagining." Victorian Web. Brown University, 2006. Web. 1 December 2013
Hoffman-Curtius, Katherin. "Constructing the Femme Fatale." Women and Death: Representations of Female Victims and Perpetrators in German Culture 1500–2000. Google Books. Web. 6 December 2013.
Image Sources
Online Sources
Me, circa the first
time I asked why there are so many
paintings of naked women and none
of naked men.15+ years later, I'm still figuring it out.
.WITCHES + DEVILS
Burne-Jones, Edward. The Beguiling of Merlin (Merlin and Vivien). 1870–1874. Wikipaintings.
Hacker, Arthur. The Temptation of Sir Percival. 1894. Wikimedia commons.
Rops, Félicien. The Temptation of St. Anthony. 1878. Wikipaintings.
Sandys, Frederick. Morgan le Fay. 1864. Wikimedia commons.
Waterhouse, John William. La Belle Dame Sans Merci. 1893. Artstor.
Waterhouse, John William. The Magic Circle. 1886. Wikipaintings.
FANTASTICAL FEMALE FIGURES
Burne-Jones, Philip. The Vampire. 1897. Wikimedia commons.
Draper, Herbert. Ulysses and the Sirens. 1909. Wikimedia commons.
Leighton, Frederic. The Fisherman and the Syren. 1856–1858. Wikipaintings.
Munch, Edvard. Vampire. c.1893. Artstor.
Rops, Félicien. The Absinthe Drinker. 1877. Wikipaintings.
Waterhouse, John William. The Siren. 1900. Wikipaintings
I created this exhibition as my final project in Dr. Linda Reeder's course European Women in the Nineteenth Century in my sophomore year at the University of Missouri. When we were presented with the option to create a digital history exhibit in lieu of a traditional research paper, I jumped at the opportunity.
About this
Project
I love investigating the imagery of history and delving into the nature of visual trends and representation. The opportunity to create a digital exhibit allows just that. Translating between the verbal and the visual is what I love to do, whether in my work for Hoot Design Co., the MU Multicultural Certificate Program, or in my coursework as an Interdisciplinary studies major at the University of Missouri.