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Sylvia Sleigh (Llandudno, Gwynedd, Wales, 8 May 1916—24 October 2010, New York, NY) was a Welsh-born naturalised American realist painter.〔(''New York Times'' obituary )〕 After studying at the Brighton School of Art, she had her first solo exhibition in 1953 at the Kensington Art Gallery. She married Lawrence Alloway, a curator and art critic, before moving to the United States in 1961.〔''"An Unnerving Romanticism:" The Art of Sylvia Sleigh and Lawrence Alloway'' (Philadelphia: Philadelphia Art Alliance, 2001).〕 The following year, Alloway became a curator at the Solomon R. Guggenheim Museum.〔〔(【引用サイトリンク】url=http://www.dictionaryofarthistorians.org/allowayl.htm )〕 Around 1970, from feminist principles, she painted a series of works reversing stereotypical artistic themes by featuring nude men in poses that were traditionally associated with women. Some directly alluded to existing works, such as her gender-reversed version of Jean Auguste Dominique Ingres's ''The Turkish Bath'' (1973), which depicts a group of art critics, including her husband Lawrence Alloway (reclining at the lower right).〔(Nude awakening, Frances Borzello, ''The Guardian'', November 2, 2002 )〕 ''Philip Golub Reclining'' (1971) similarly appropriates the pose of the Rokeby Venus by Diego Velázquez.〔Penny Dunford, ''A Biographical Dictionary of Women Artists in Europe and America Since 1850'' (Harvester Wheatsheaf/Prentice-Hall, 1990).〕 This work also presents a reversal of the male-artist/female-muse pattern typical of the Western canon and is reflective of research into the position of women throughout the history of art as model, mistress, and muse, but rarely as artist−genius.〔Frances Borzello, ''Seeing Ourselves: Women's Self-Portraiture'', 1998.〕 For example, throughout her career, she painted over thirty works that feature her husband as her subject. While somewhat idealized, Sleigh's figures remain highly individualized.〔(Amy Ingrid Schlegel, "A Tribute to Sylvia Sleigh (1916–2010)," Obituaries, College Art Association )〕 Other works equalize the roles of men and women, such as ''Concert Champetre'' (1976), in which all the figures are nude, unlike its similarly composed namesake by Titian (earlier credited to Giorgione), in which only the women are unclothed. As Sleigh explained, "I feel that my paintings stress the equality of men and women (women and men). To me, women were often portrayed as sex objects in humiliating poses. I wanted to give my perspective. I liked to portray both man and woman as intelligent and thoughtful people with dignity and humanism that emphasized love and joy."〔(Love and joy ), official website〕 Likewise, her painting of Lilith (1976), created as a component of ''The'' ''Sister Chapel'', a collaborative installation that premiered in 1978, depicts the superimposed bodies of a man and woman to emphasize the fundamental similarities between the two genders.〔Andrew D. Hottle, ''The Art of the Sister Chapel: Exemplary Women, Visionary Creators, and Feminist Collaboration'' (Farnham, Surrey: Ashgate Publishing Limited, 2014), 160.〕 Sleigh was a founding member of the all-women, artist-run SOHO 20 Gallery (est. 1973) and later joined A.I.R. Gallery (est. 1972). She painted group portraits of both organizations. Between 1976 and 2007, Sleigh painted a series of 36-inch portraits which feature women artists and writers, including Helène Aylon, Catharine R. Stimpson, Howardena Pindell, Selina Trieff, and Vernita Nemec.〔(Andrew D. Hottle, "Sylvia Sleigh," in ''Women's Caucus for Art: Honor Awards for Lifetime Achievement in the Visual Arts, 2011'' (Women's Caucus for Art, 2011), 26. ) Retrieved 09/02/2014.〕〔''Parallel Visions: Selections from the Sylvia Sleigh Collection of Women Artists'' (New York: SOHO20 Gallery, 1999).〕 In a 2007 interview with Brian Sherwin, Sleigh was asked if gender equality issues in the mainstream art world, and the world in general, had changed for the better. She answered, "I do think things have improved for women in general there are many more women in government, in law and corporate jobs, but it's very difficult in the art world for women to find a gallery." According to Sleigh, there is still more that needs to be done in order for men and women to be treated as equals in the art world.〔("Art Space Talk: Sylvia Sleigh" ), ''Myartspace'', 24 November 2007. Retrieved 16 May 2008.〕 During the last two decades of her life, Sleigh purchased or negotiated trades of over 100 works of art by other women and exhibited her growing collection at SOHO 20 Gallery in 1999.〔 These included paintings, sculptures, and prints by Cecile Abish, Dotty Attie, Helène Aylon, Blythe Bohnen, Louise Bourgeois, Ann Chernow, Rosalyn Drexler, Martha Edelheit, Audrey Flack, Shirley Gorelick, Nancy Grossman, Pegeen Guggenheim, Nancy Holt, Lila Katzen, Diana Kurz, Marion Lerner-Levine, Vernita Nemec, Betty Parsons, Ce Roser, Susan Sills, Michelle Stuart, Selina Trieff, Audrey Ushenko, and many others. In 2011, the Sylvia Sleigh Collection was donated to the Rowan University Art Gallery and forms the core of its permanent collection.〔(Andrew D. Hottle, "Sylvia Sleigh: Artist and Collector," in ''Groundbreaking: The Women of the Sylvia Sleigh Collection'' (Glassboro, NJ: Rowan University Art Gallery, 2011). ) Retrieved 26 August 2013.〕 The Women's Caucus for Art posthumously honored Sleigh in 2011 as a recipient of the organization's Lifetime Achievement Award.〔 ==References== 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Sylvia Sleigh」の詳細全文を読む スポンサード リンク
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