ABSTRACT
Since Lefebvre (1974), who considers the city to be a social production where diverse practices and experiences operate that are unleashed both by every inhabitant’s desire for action and by the possibility of fulfilling them, other authors have come to serve as referents for reading and thinking about works of art, and for examining the play of social relations and cultural experiences that renovated spaces and representations. I will attempt to analyze daily life in a selection of images painted by women during the second half of the nineteenth century, moving from the particular, from specific circumstances, to the more general. The aesthetic frame of reference is the genre painting, which is liberated from the hierarchy of the arts, running through various tendencies of the Realist movement and Impressionism, with expressive interpretations that place emphasis on moral melodrama, social critique, and the modern collection of moments from daily life.
