{"title":"自然界中的女性:贝蕾妮丝·德沃松的双联画","authors":"Darlene Miller-Lanning","doi":"10.2979/BRI.2010.15.1.54","DOIUrl":null,"url":null,"abstract":"In this essay, the author uses interviews and many other sources to review three large-scale diptychs by the artist Berenice D'Vorzon in terms of personal experience, environmental awareness, and Judaic thought. In her discussion of Tick Island Genesis, Lilith Swamp Diptych, and Two Aspects of Shekhinah, the author explores D'Vorzon's creative dialogue with Hudson River School landscapists, Second Wave feminists, and Abstract Expressionist painters.","PeriodicalId":108822,"journal":{"name":"Bridges: A Jewish Feminist Journal","volume":"18 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2010-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Female in Nature: Diptychs by Berenice D'Vorzon\",\"authors\":\"Darlene Miller-Lanning\",\"doi\":\"10.2979/BRI.2010.15.1.54\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In this essay, the author uses interviews and many other sources to review three large-scale diptychs by the artist Berenice D'Vorzon in terms of personal experience, environmental awareness, and Judaic thought. In her discussion of Tick Island Genesis, Lilith Swamp Diptych, and Two Aspects of Shekhinah, the author explores D'Vorzon's creative dialogue with Hudson River School landscapists, Second Wave feminists, and Abstract Expressionist painters.\",\"PeriodicalId\":108822,\"journal\":{\"name\":\"Bridges: A Jewish Feminist Journal\",\"volume\":\"18 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2010-04-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Bridges: A Jewish Feminist Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2979/BRI.2010.15.1.54\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Bridges: A Jewish Feminist Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2979/BRI.2010.15.1.54","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
在这篇文章中，作者使用采访和许多其他来源来回顾艺术家Berenice D'Vorzon在个人经历，环境意识和犹太思想方面的三幅大型双联画。在她对Tick Island Genesis, Lilith Swamp Diptych和Shekhinah的两个方面的讨论中，作者探讨了D’vorzon与哈德逊河学派风景画家，第二波女权主义者和抽象表现主义画家的创造性对话。
In this essay, the author uses interviews and many other sources to review three large-scale diptychs by the artist Berenice D'Vorzon in terms of personal experience, environmental awareness, and Judaic thought. In her discussion of Tick Island Genesis, Lilith Swamp Diptych, and Two Aspects of Shekhinah, the author explores D'Vorzon's creative dialogue with Hudson River School landscapists, Second Wave feminists, and Abstract Expressionist painters.
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