SUMARY (Inglés)
 
 
This thesis comes from the need to argue the possibility of a female dandy artist in the development of dandyism. Although it emerged as an attitude during the XIX century, it has been developed during the XX century, when, specially between the wars, we find this vital and aesthetic attitude in the selection of artists of this study: Baroness Elsa von Freytag-Loringhoven (1874-1927), Djuna Barnes (1892-1982), Florine Stettheimer (1871-1944) y Romaine Brooks (1874-1970). We wont do just research on the possibility or not of a woman dandy, but the confirmation from the original texts that dandyism, from his own foundation, made men and women equals, women who did not follow the bourgeois normative, and it developed itself against the idea of two different genders. An against gender where the dandy, the man-artist of modern life, is a woman in certain aspects, and the female dandy, the woman-artist of modern life, is a man in certain aspects. That´s why the female artist will split up the dichotomy between the two genders and also, they will break through the distinction between those objects that would be considered art and those which not, because their art will be just, and only, their own life, their own self-construction, their aristocratic self-as-art, prefabricated and decided will inaugurate some kind of actions that we will read as the performace protohistory, a gender which origins we find in this theatrical ways of living. It will be this metaphysical rebellion, this accumulate negativity first and open out afterwards, the one that will let us include these female dandys into the modern autonomy frame, and autonomy that wanted to overthrow the bourgeois “normative”.