Windowsill examines the role of the window in art history as a methodological lens to reframe the power dynamics related with the gaze through a feminist perspective. Building on Andrea Del Lungo’s concept of the window as a literary hypersign, this research extends the idea to visual art, exploring how the window mediates private and public spaces while shaping social and aesthetic perceptions of the world.
A case study of Josephine Nivison (1883-1968), frequently depicted by her husband Edward Hopper (1882-1967), highlights the tensions between confinement and resistance inherent in the window motif. This analysis reveals Josephine as an underestimated and self-effacing artist and proposes to highlight her role and person in art history, demonstrating the broader implications of her work. Windowsill invites us to redefine the window as an aesthetic, social and political tool, emphasizing its capacity to challenge dominant narratives in art history and foster inclusive perspectives.