{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/87364"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/87364","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Artistic Patronage at the Court of Queen Charlotte","abstract":"\"Charlotte supported all types of visual culture, but especially of the so-called \"\"minor arts,\"\" such as engraving, embroidery, transparencies (illuminated paintings), wax modeling and miniature painting, fields which were traditionally open to or dominated by women. My dissertation demonstrates that Charlotte did not promote hierarchical distinctions prevalent in the larger art world, such as that between oil painting and the minor arts. Her patronage supplemented the limited opportunities available to women artists in other institutions and to create new career possibilities for women. The growth of such specifically feminine artistic patronage and production has, however, gone almost unnoticed by Georgian art historians. My dissertation supplies the history of one such circle: the alternative center for female creativity provided by Charlotte and the English court.\"","abstract_html":""Charlotte supported all types of visual culture, but especially of the so-called ""minor arts,"" such as engraving, embroidery, transparencies (illuminated paintings), wax modeling and miniature painting, fields which were traditionally open to or dominated by women. My dissertation demonstrates that Charlotte did not promote hierarchical distinctions prevalent in the larger art world, such as that between oil painting and the minor arts. Her patronage supplemented the limited opportunities available to women artists in other institutions and to create new career possibilities for women. The growth of such specifically feminine artistic patronage and production has, however, gone almost unnoticed by Georgian art historians. My dissertation supplies the history of one such circle: the alternative center for female creativity provided by Charlotte and the English court."","abstract_has_math":false,"creators":["Strobel, Heidi Anne"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"Art History","degree_department":null,"school":null,"contributors":["O'Brien, David"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-28T15:52:55Z","date_published":"2015-09-28T15:52:55Z","updated_at":"2026-07-22T22:26:30Z","subjects":["History, European"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3044233"],"render_values":[{"text":"(MiAaPQ)AAI3044233","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/87364","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["O'Brien, David"]},{"key":"dc:creator","label":"Author","values":["Strobel, Heidi Anne"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-28T15:52:55Z","10000-01-01","2002"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art History"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["History, European"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/87364","(MiAaPQ)AAI3044233"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["\"Charlotte supported all types of visual culture, but especially of the so-called \"\"minor arts,\"\" such as engraving, embroidery, transparencies (illuminated paintings), wax modeling and miniature painting, fields which were traditionally open to or dominated by women. 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My dissertation demonstrates that Charlotte did not promote hierarchical distinctions prevalent in the larger art world, such as that between oil painting and the minor arts. Her patronage supplemented the limited opportunities available to women artists in other institutions and to create new career possibilities for women. The growth of such specifically feminine artistic patronage and production has, however, gone almost unnoticed by Georgian art historians. My dissertation supplies the history of one such circle: the alternative center for female creativity provided by Charlotte and the English court.\"","Made available in DSpace on 2015-09-28T15:52:55Z (GMT). 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