Notes
- See, for instance, Thomas Hess and Linda Nochlin (eds), Woman as Sex Object, Har- mondsworth: Penguin, 1972; Margaret Walters, The Nude Male, London: Paddington Press, 1978; Rosemary Betterton (ed.), Looking On, London: Pandora Press, 1987; John Berger, Ways of Seeing, London/Harmondsworth: BBC Publications/Penguin Books, 1972, chapter 3.
- Simone de Beauvoir, The Second Sex, Harmondsworth: Penguin Books, (1949) 1972, p.175.
- See Carol Duncan, ‘Virility and domination in early 20th-century vanguard painting’, Artforum, vol. XII, no.4, December 1973, pp.30–39.
- Kenneth Clark, The Nude, Harmondsworth: Penguin Books, 1956.
- See Mary Sheriff, The Exceptional Woman, Chicago: University of Chicago Press, 1996.
- Gill Saunders, The Nude: A New Perspective, London: Herbert Press, 1989, p.7.
- See Sheriff, The Exceptional Woman; and Wendy W. Roworth (ed.), Angelica Kauffman, London: Reaktion Books, 1992.
- Joel attended from 1891, Cumbrae Stewart from 1901.
- Stephanie Holt, ‘Chloe, a curious history’, in Jeanette Hoorn (ed.), Strange Women: Essays in Art and Gender, Melbourne: Melbourne University Press, 1994, pp.115–34, p.117.
- Quoted in Saunders, The Nude…, p.21.
- ibid, p.117.
- J.S. MacDonald in Herald (Melbourne), 12 September 1927, p.16.
- Sheriff (The Exceptional Woman, p.32) has an interesting discussion of Irigaray's idea.
- See Pamela Gerrish Nunn, Problem Pictures, Aldershot: Scolar Press, 1996, chapter 7.
- Galina Gorokhoff (ed.), Love Locked Out: The Memoirs of Anna Lea Merritt, Boston: Museum of Fine Arts, 1982, p.132.
- Théràse D. Rosinsky claims that Utter was the only male Valadon painted naked; the artist's son Maurice Utrillo was her model when a boy (Théràse D. Rosinsky, Suzanne Valadon, New York: Universe Publishing, 1994, p.84).
- Caroline Ambrus, Australian Women Artists, Canberra: Irrepressible Press, 1992, p.81.
- Anonymous, ‘Notes: Brighton’, Studio, vol.89, 1925, pp.355–56.
- Age (Melbourne), 26 December 1928, quoted in Ambrus, Australian Women Artists, p.96.
- Anonymous, ‘Australian girl paints nudes’, Daily Guardian, 18 May 1927, p.9.
- John Shirlow, The Pastels of Cumbrae Stewart, Melbourne: Alexander McCubbin, 1921, unpaginated.
- Mark Pennings, ‘The nude as empty vessel: the art of Charles Wheeler and Norman Lindsay’ in Hoorn (ed.), Strange Women…, pp.135–51, p.135.
- Ambrus, Australian Women Artists, p.96.
- Age (Melbourne), 26 December 1928.
- Anonymous, ‘Notes: Brighton’, pp.355–56.
- See, for instance, Howard Ashton, ‘Miss Cumbrae Stewart’, Art in Australia, no.6, 1919 or RF, ‘Adelaide art shows’, Art in Australia, no.2, 1922 (both unpaginated).
- Anonymous, ‘Art and artists’, Queenslander, 24 March 1923, p.19.
- Janet Paul and Neil Roberts, Evelyn Page: Seven Decades, Christchurch: Allen and Unwin, 1986, pp.64–65.
- Janine Burke, Australian Women Artists 1840–1940, Richmond, Victoria: Greenhouse Publications, 1980, p.60.
- Lisa Tickner, ‘The body politic: female sexuality and women artists since 1970’ Art History, vol.1, no.2, June 1978, pp.236–51.