Marianismo
Evelyn Stevens' essay was very significant to this area of study. However, since its publication, her argument has been debated by other researchers and critics. Although her argument addresses marianismo in Latin America at large, many of the sources she uses mainly focus on Mexican culture, thus severely limiting her frame of reference. Also, she is criticized for implying that, despite other differences among various socioeconomic classes, the ideal woman's characteristics are ultimately the same across social classes. Her critics claim Stevens ignores socioeconomic factors, saying "her description of women as altruistic, selfless, passive, [and] morally pure" is inadequate. There have been some responses in the literature to the concept of marianismo that assert that its model of/for women's behavior is very class-based. In other words, the idea that men do all the hard work, while women remain idle, on a pedestal, is a life that rarely exists, particularly for the peasant, poor and working class women that make up the majority of Latin America women. As Gil and Vazquez remind us, "most of her [Stevens's] data came from middle class Mexican women".
Carlo Maria Mariani
Carlo Maria Mariani (born 25 July 1931) is an Italian painter. His paintings are rooted both in neoclassicist theory and modernism. In the 1970s he defended his choice of medium from attacks by art critics by making parallels between the melancholy for the past of neoclassicism and the then trendy conceptual art. He received international attention in the 1980s with what was called "pittura colta" ("cultivated painting") and "la Nuova Maniera" ("The New Style") in Italy, in which he employed old subjects and styles. Among other things he depicted Andy Warhol as Napoleon and made "improved" and "corrected" versions of works by Leonardo da Vinci and Raphael.