Nobody will talk about us when we are dead. Loss and invisibility of the feminine artistic heritage
<p>The real LPHE, which entered into force in 1985, establishes as main objectives the knowledge, conservation and transmission of the common cultural heritage. Regardless of the evolution of the concept of cultural heritage in these years, there is a part that continues to present special pro...
| Main Authors: | , |
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| Format: | Article |
| Language: | English |
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Universidad Complutense de Madrid
2018-12-01
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| Series: | Anales de Historia del Arte |
| Subjects: | |
| Online Access: | http://revistasculturales.ucm.es/index.php/ANHA/article/view/61623 |
| Summary: | <p>The real LPHE, which entered into force in 1985, establishes as main objectives the knowledge, conservation and transmission of the common cultural heritage. Regardless of the evolution of the concept of cultural heritage in these years, there is a part that continues to present special problems: the one generated by women throughout history and up to the present.</p><p>In the case of artistic heritage, in the last three decades that have passed since the implementation of the Heritage Law, the gender gap in museum institutions has not only decreased, but has become broader: they are saved, they conserve and exhibit a number of works created by women inferior to that of correspondence and the contrast with the reality of each historical moment, while they continue to acquire more works by men artists of the women artist. This does not mean a serious problem for the concept of heritage of our present, but for the heritage that we will bequeath to future generations, that the parts of the works that have had in the past or currently have a significant weight in the artistic panorama more difficulties to conserve.</p> |
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| ISSN: | 0214-6452 1988-2491 |