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    <loc>http://www.alice-price-reframing-art.net/cities</loc>
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      <image:title>Cities</image:title>
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    <loc>http://www.alice-price-reframing-art.net/work</loc>
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    <lastmod>2026-06-12</lastmod>
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      <image:title>Research, Teaching and Commentary</image:title>
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      <image:title>Research, Teaching and Commentary</image:title>
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      <image:title>Research, Teaching and Commentary</image:title>
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      <image:title>Research, Teaching and Commentary</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/55a52ee4e4b0cfa99454163e/1436964180775-MCQUL8FHT6PRP0PX6X35/Klimt+Judith-I+1901.jpg</image:loc>
      <image:title>Research, Teaching and Commentary - Gustav Klimt, Judith I (Judith and Holofernes), 1901</image:title>
      <image:caption>Klimt portrays the heroine without the weapon she used in the biblical account and removed from the urgent need to save her people. Instead of being a warrior, she is a seductress in an erotic fantasy. What does the viewer make of the gorgeous jewel tones that visually function like neck cuffs and bondage straps, binding the flesh to the picture plane?</image:caption>
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      <image:title>Research, Teaching and Commentary - Robert Venturi Vanna Venturi House 1963 to 1964</image:title>
      <image:caption>Stairs define space, use and circulation.  </image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/55a52ee4e4b0cfa99454163e/d0f6fd74-b825-4deb-87d7-cfe9a20ba389/Screenshot+2026-06-04+at+11.41.50.png</image:loc>
      <image:title>Research, Teaching and Commentary - Formation of Empire</image:title>
      <image:caption>Cover Image: Lahore artist (unidentified), Maharaja Ranjit Singh in a Bazaar, ca. 1830–1840. Opaque watercolor on paper, 18 × 21 cm, 2022.252, Metropolitan Museum of Art, Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022. Photo © Ashmolean Museum, University of Oxford.</image:caption>
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      <image:title>Research, Teaching and Commentary - Challenges to Empire</image:title>
      <image:caption>Cover Image: Amrita Sher-Gil, Two Girls, 1939, oil on canvas, 89 x 129 cm, private collection, image courtesy The Estate of Vivan Sundaram.</image:caption>
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      <image:title>Research, Teaching and Commentary - Mapping Impressionist Painting</image:title>
      <image:caption>COVER IMAGE: Nicolae Grigorescu. Andreescu à Barbizon. n.d. Oil on canvas, Height: 61.5 cm (24.2 in); Width: 46 cm (18.1 in), National Museum of Art, Romania. https://en.wikipedia.org/wiki/File:Nicolae_Grigorescu_-_Andreescu_la_Barbizon_2.jpg Mapping Impressionist Painting in Transnational Contexts edited by Emily C. Burns and Alice M. Rudy Price. Routledge, 2021. ORDER This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries. The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies’ concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term. This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.</image:caption>
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      <image:title>Research, Teaching and Commentary - Reframing Anna Ancher</image:title>
      <image:caption>Anna Ancher, Interior, Brøndum’s Annex, c. 1920. Link to Google Art Project file Reframing Anna Ancher: Danish Symbolist, Modernist and Independent Artist.” Ph.D. Dissertation. Temple University, Tyler School of Art. http://search.proquest.com/docview/1548981937. (Spring 2014) Historical analysis of artist Anna Ancher distorted her formal innovations and misidentified the cultural context due to a significantly biased lens, dominated by the written records of her husband and keyed to the goals and aspirations of the Modern Breakthrough. The chronological approach of my thesis facilitates examination of Ancher’s art in tandem with shifts in modernism and important relevant contextual developments beyond the immediate art colony in Skagen. Ancher never fully embraced any single modernist tendency, but through most of her life, a significant body of her painting conversed with the most recent discussions of what was new, experimental or innovative. Photographs and painted portraits of the artist indicate both her awareness of shifting fashions from the urban centers and of the associated change in gender roles, design concerns and normative expectations that accompanied the sartorial variations. Ancher kept abreast of cosmopolitan developments in art, theory and culture.</image:caption>
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      <image:title>Research, Teaching and Commentary - Make it stand out</image:title>
      <image:caption>Exhibition poster in Ribe, DK featuring Bertha Dorph’s portrait of Bertha Wegmann.</image:caption>
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      <image:title>Research, Teaching and Commentary</image:title>
      <image:caption>Transnational Impressionism students critiquing classmates exhibition concepts and posters.</image:caption>
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  <url>
    <loc>http://www.alice-price-reframing-art.net/about</loc>
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    <lastmod>2026-06-03</lastmod>
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      <image:title>About</image:title>
      <image:caption>Kystmuseet Denmark, September 2013</image:caption>
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      <image:title>About - Make it stand out</image:title>
      <image:caption>Exhibition poster for “Lifetime: Mature Women in the Arts”</image:caption>
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