António Soares dos Reis and Augustus Saint-Gaudens: an artistic friendship

António Soares dos Reis and Augustus Saint-Gaudens enjoyed a close friendship in Paris (1868-70) and Rome (1871-72), about which little is known. There are no extant letters between the two sculptors and few references to their relationship in published or archival sources. Some conclusions may be posited through their training, shared experiences, and mutual friends. This paper traces the time that the two artists spent together through the lens of Saint-Gaudens, an artist of French-Irish parentage who would become the leading American sculptor of his day. It examines concurrent work on Soares dos Reis’s O Desterrado (1872) and Saint-Gaudens’s Hiawatha (1871-72; carved 1874)

The Femme Fatale in Vogue:Femininity Ideologies in Fin-de-siècle America

This article explores how marketing influences ideologies of femininity. Tracing the evolution of femme fatale images in Vogue magazine in 1890s America, we develop a typology around four archetypal forms of the femme fatale that prevailed during this period. In doing so we respond to calls for more critical historical analyses on femininity. While studies on masculinity ideologies proliferate, there is a paucity of research on dissonant representations of femininity in popular culture media. The femme fatale, often a self-determined seductress who causes anguish to the men who become involved with her, is an intriguing and enduring challenge to traditional notions of femininity. Thus, in studying the femme fatale in her historical context and revealing the multiplicity of feminine ideologies contained within this trope, we contribute to a deeper understanding of marketing’s role in both reflecting and reinforcing societal assumptions, attitudes and problematics around gender norms.</p