Visar resultat för..."Fanny Hills"

It all started with The World is Full of Married Men, the debut novel from global multi-million copy bestseller and literary superstar, Jackie Collins.Includes a brilliant introduction from Fanny Blake, talking about what this book and Jackie means to her!'Jackie's books were like nothing else I'd read, showcasing a world a million miles away from my own' FANNY BLAKE'Jackie Collins’s daring, unapologetic stroke of the pen, combined with her glorious wit, has single-handedly given creative license to new generations of authors and storytellers.' COLLEEN HOOVERThere have been many imitators, but only ever one Jackie Collins.  With millions of her books sold around the world, and thirty-one New York Times bestsellers, she is one of the world’s top-selling novelists. From glamorous Beverly Hills bedrooms to Hollywood movie studios; from glittering rock concerts to the yachts of billionaires, Jackie chronicled the scandalous lives of the rich, famous, and infamous from the inside looking out.'A true inspiration, a trail blazer for women's fiction' JILLY COOPER‘Jackie shows us all what being a strong, successful woman means at any age’ MILLY JOHNSON‘Jackie will never be forgotten, she’ll always inspire me to #BeMoreJackie’ JILL MANSELL‘Jackie’s heroines don’t take off their clothes to please a man, but to please themselves’ CLARE MACKINTOSH‘Legend is a word used too lightly for so many undeserving people, but Jackie is the very definition of the word’ ALEX KHAN‘What Jackie knew how to do so well, is to tell a thumping good story’ ROWAN COLEMAN‘Jackie wrote with shameless ambition, ruthless passion and pure diamond-dusted sparkle’ CATHERINE STEADMAN‘Here is a woman who not only wanted to entertain her readers, but also to teach them something; about the world and about themselves’ ISABELLE BROOM‘Lessons galore on every page… about feminism, equality, tolerance and love’ CARMEL HARRINGTON‘Jackie is the queen of cliff-hangers’ SAMANTHA TONGE‘For all her trademark sass, there is a moralist at work here’ LOUISE CANDLISH‘Nobody does it quite like Jackie and nobody ever will’ SARRA MANNING‘Jackie bought a bit of glitter, sparkle and sunshine into our humdrum existence’ VERONICA HENRY‘Jackie wrote about Hollywood with total authenticity, breaking all the rules and taboos’ BARBARA TAYLOR BRADFORD‘Collins was saying that women didn’t have to centre round men, either in books or in life’ JESSIE BURTON

Despite the increased visibility of Victorian women artists in museum exhibitions and historical studies, the art produced by Victorian women has been viewed through a restrictive lens. Scholars have focused on works produced for the marketplace, but have overlooked art created and displayed outside of established venues and institutions of higher learning. Drawing upon sketches, paintings, and photographs, Intrepid Women: Victorian Artists Travel is a groundbreaking study that examines the art that women produced whilst traveling, as well as the circumstances that took these artists - both amateurs and professionals - far beyond the reaches of the traditional Grand Tour. Traveling throughout the British Empire, including the Middle East, India, Canada, and North Africa, and even to the Americas, the artists adapted to new climes and foreign cultures partially by documenting the unfamiliar through their art, sometimes at great physical risk. This volume of essays offers fresh evidence that through their travel and art, women extended both geographic and social boundaries. Each author presents evidence that women overcame institutional as well as cultural obstacles to improve their artistic skills and to use their art to convey worlds most British citizens would never see for themselves.

Were late nineteenth-century gender boundaries as restrictive as is generally held? In Redefining Gender in American Impressionist Studio Paintings: Work Place/Domestic Space, Kirstin Ringelberg argues that it is time to bring the current re-evaluation of the notion of separate spheres to these images. Focusing on studio paintings by American artists William Merritt Chase and Mary Fairchild MacMonnies Low, she explores how the home-based painting studio existed outside of entrenched gendered divisions of public and private space and argues that representations of these studios are at odds with standard perceptions of the images, their creators, and the concept of gender in the nineteenth century. Unlike most of their bourgeois contemporaries, Gilded Age artists, whether male or female, often melded the worlds of work and home. Through analysis of both paintings and literature of the time, Ringelberg reveals how art history continues to support a false dichotomy; that, in fact, paintings that show women negotiating a complex combination of professionalism and domesticity are still overlooked in favor of those that emphasize women as decorative objects. Redefining Gender in American Impressionist Studio Paintings challenges the dominant interpretation of American (and European) Impressionism, and considers both men and women artists as active performers of multivalent identities.

Despite the increased visibility of Victorian women artists in museum exhibitions and historical studies, the art produced by Victorian women has been viewed through a restrictive lens. Scholars have focused on works produced for the marketplace, but have overlooked art created and displayed outside of established venues and institutions of higher learning. Drawing upon sketches, paintings, and photographs, Intrepid Women: Victorian Artists Travel is a groundbreaking study that examines the art that women produced whilst traveling, as well as the circumstances that took these artists - both amateurs and professionals - far beyond the reaches of the traditional Grand Tour. Traveling throughout the British Empire, including the Middle East, India, Canada, and North Africa, and even to the Americas, the artists adapted to new climes and foreign cultures partially by documenting the unfamiliar through their art, sometimes at great physical risk. This volume of essays offers fresh evidence that through their travel and art, women extended both geographic and social boundaries. Each author presents evidence that women overcame institutional as well as cultural obstacles to improve their artistic skills and to use their art to convey worlds most British citizens would never see for themselves.