{"id":3786,"date":"2023-12-04T18:03:12","date_gmt":"2023-12-04T18:03:12","guid":{"rendered":"https:\/\/panoramacritico.com\/revista\/?page_id=3786"},"modified":"2023-12-20T15:40:05","modified_gmt":"2023-12-20T15:40:05","slug":"costurando-a-teia-de-ariadne","status":"publish","type":"page","link":"https:\/\/panoramacritico.com\/revista\/costurando-a-teia-de-ariadne\/","title":{"rendered":"Misoginia Modernista e a Invisibilidade da Mulher Artista: Costurando a Teia de Ariadne"},"content":{"rendered":"\n<div class=\"wp-block-media-text is-stacked-on-mobile is-vertically-aligned-top\" style=\"grid-template-columns:40% auto\"><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" src=\"https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/11\/capa01.jpg\" alt=\"Capa do livro com fotografia\" class=\"wp-image-3734 size-full\"\/><\/figure><div class=\"wp-block-media-text__content\">\n<p><em>Thiane Nunes<\/em><\/p>\n\n\n\n<p>Misoginia Modernista e a Invisibilidade da Mulher Artista: Costurando a Teia de Ariadne destaca artistas femininas pioneiras como Dame Laura Knight, Leonora Carrington e Baronesa Elsa. Este livro desafia preconceitos, redefine nossa compreens\u00e3o da arte moderna e \u00e9 uma leitura essencial para quem busca uma vis\u00e3o cultural mais igualit\u00e1ria e inclusiva.<\/p>\n\n\n\n<div class=\"wp-block-buttons is-layout-flex wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button has-custom-font-size is-style-outline has-medium-font-size is-style-outline--1\"><a class=\"wp-block-button__link has-vivid-red-color has-text-color wp-element-button\" href=\"https:\/\/panoramacritico.mercadoshops.com.br\/MLB-4249673996-misoginia-modernista-e-a-invisibilidade-da-mulher-artista-_JM\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Comprar!<\/strong><\/a><\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<p>ISBN: 9786589388012<br>Idioma: portugu\u00eas<br>Edi\u00e7\u00e3o: 1\u00aa <br>Ano: 2023<br>P\u00e1ginas: 274   <\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><\/p>\n\n\n\n\n\n\n<h2 class=\"wp-block-heading\" id=\"exemplo-de-galeria\">Misoginia modernista e a invisibilidade da mulher artista: Costurando a teia de Ariadne<\/h2>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-5 is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1080\" height=\"1080\" data-id=\"3767\" src=\"https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/11.png\" alt=\"\" class=\"wp-image-3767\" srcset=\"https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/11.png 1080w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/11-300x300.png 300w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/11-1024x1024.png 1024w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/11-150x150.png 150w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/11-768x768.png 768w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/11-96x96.png 96w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" data-id=\"3766\" src=\"https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/10-1024x1024.png\" alt=\"\" class=\"wp-image-3766\" srcset=\"https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/10-1024x1024.png 1024w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/10-300x300.png 300w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/10-150x150.png 150w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/10-768x768.png 768w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/10-96x96.png 96w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/10.png 1080w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1080\" height=\"1080\" data-id=\"3764\" src=\"https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/14.png\" alt=\"\" class=\"wp-image-3764\" srcset=\"https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/14.png 1080w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/14-300x300.png 300w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/14-1024x1024.png 1024w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/14-150x150.png 150w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/14-768x768.png 768w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/14-96x96.png 96w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" data-id=\"3763\" src=\"https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/13-1024x1024.png\" alt=\"\" class=\"wp-image-3763\" srcset=\"https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/13-1024x1024.png 1024w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/13-300x300.png 300w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/13-150x150.png 150w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/13-768x768.png 768w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/13-96x96.png 96w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/13.png 1080w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" data-id=\"3762\" src=\"https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/12-1024x1024.png\" alt=\"\" class=\"wp-image-3762\" srcset=\"https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/12-1024x1024.png 1024w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/12-300x300.png 300w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/12-150x150.png 150w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/12-768x768.png 768w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/12-96x96.png 96w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2023\/12\/12.png 1080w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"<p>O livro de Thiane Nunes desafia preconceitos, redefine nossa compreens\u00e3o da arte moderna e \u00e9 uma leitura essencial para quem busca uma vis\u00e3o cultural mais igualit\u00e1ria e inclusiva. Destaca artistas femininas pioneiras como Dame Laura Knight, Leonora Carrington e Baronesa Elsa.<\/p>\n","protected":false},"author":3,"featured_media":3734,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3786","page","type-page","status-publish","has-post-thumbnail","hentry","post","post-with-thumbnail","post-with-thumbnail-large"],"_links":{"self":[{"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/pages\/3786","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/comments?post=3786"}],"version-history":[{"count":11,"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/pages\/3786\/revisions"}],"predecessor-version":[{"id":3816,"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/pages\/3786\/revisions\/3816"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/media\/3734"}],"wp:attachment":[{"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/media?parent=3786"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}