{"title":"Pat Douthwaite的多重选择","authors":"Kyla P. Mcdonald","doi":"10.1080/14714787.2020.1715830","DOIUrl":null,"url":null,"abstract":"The Scottish painter Pat Douthwaite (1934–2002) has often been dismissed as a ‘troubled’ artist, known for her dark and nightmarish scenes. Her unique style, however, remains unparalleled in Scottish post-war painting. Focusing on her paintings of women from the 1960s to early 1980s, this article explores Douthwaite’s examination of the self and the construction of womanhood through her production of covert self-portraits.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"14 - 29"},"PeriodicalIF":0.0000,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1715830","citationCount":"0","resultStr":"{\"title\":\"The Multiple Selves of Pat Douthwaite\",\"authors\":\"Kyla P. Mcdonald\",\"doi\":\"10.1080/14714787.2020.1715830\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The Scottish painter Pat Douthwaite (1934–2002) has often been dismissed as a ‘troubled’ artist, known for her dark and nightmarish scenes. Her unique style, however, remains unparalleled in Scottish post-war painting. Focusing on her paintings of women from the 1960s to early 1980s, this article explores Douthwaite’s examination of the self and the construction of womanhood through her production of covert self-portraits.\",\"PeriodicalId\":35078,\"journal\":{\"name\":\"Visual Culture in Britain\",\"volume\":\"21 1\",\"pages\":\"14 - 29\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-01-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/14714787.2020.1715830\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Visual Culture in Britain\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/14714787.2020.1715830\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Visual Culture in Britain","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/14714787.2020.1715830","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
The Scottish painter Pat Douthwaite (1934–2002) has often been dismissed as a ‘troubled’ artist, known for her dark and nightmarish scenes. Her unique style, however, remains unparalleled in Scottish post-war painting. Focusing on her paintings of women from the 1960s to early 1980s, this article explores Douthwaite’s examination of the self and the construction of womanhood through her production of covert self-portraits.