Analysis Of Nancy Parsons In Turkish Dress Portrait

Angela Carter’s ‘The Bloody Chamber’ attempts to change this ideal by re-establishing the feminine narrative through her story. Although the view of female as a commodity is far older than psychoanalysis, psychoanalytic theory has consistently re-enforced the ideals of women as objects and of a lower status than men (Loftus). In ‘The Bloody Chamber’ Carter works to discredit the concept of the female as a commodity. When reflecting on the Marquis’ previous wives, the narrator of ‘The Bloody Chamber’ references the portrait model saying “her face was common property” (pg. 5). From the surface, this is an allusion to the fact that she allowed herself to be painted,

The slave is compositionally arranged in front of the Mistress in a predominant position, however as noted in our text this week, most of the slaves placed in the foreground of a painting in this era were done so in humor, to tease or to make them look immature (Pohl 278). As the title suggests, this slave has been dressed up by her Mistress in her Mistress’s clothing as a way for the Mistress to make fun of the slave, teasing her with a taste of wealth and upper class. Cany Peale’s previous career in fancy-goods gave her the understanding of what was in fashion

In the essay “Don’t Look Now: The Male Pin-Up” by Richard Dyer, the author analyzes how male and female models look at the spectator. His argument is that men are always photographed in an active manner, and the women are just there sitting passively. Men do this because they cannot be feminine in any manner or otherwise they face a backlash from society. His goal in this essay is to reveal this cultural phenomenon to the reader by stating what the model’s look represents and the activity of models in images. Throughout this essay I will be analyzing how Dyer explains these concepts to inform the reader.

“People can take what they like out of the work”-Saville (YouTube, 2017). The female nude is one of the most prominent themes in the history of art and has been subject for many masterpieces such as botticelli's The Birth of Venus and Manet’s Le Dejeuner sur I’herbe. Saville's treatment of the female nude is undeniably like no other from the centuries before her.

Reclining nude female is a common subject matter in art history since the Venetian Renaissance, Titian’s Venus of Urbino painted in 1538 is one of the earliest reclining nude female in painting history. It described a beautiful young female laying on her bed with her sleeping dog, on the back ground is her maids looking for cloth or her in the cassone. Manet’s Olympia that painted in 1865 is a painting with a similar composition, A nude young female who was suggested a prostitute, behind her is her black female maid holding a big bouquet of flower which is possibly from her customer. On the same part of the composition, there is an animal as well, but this time it is a cat. Titian and Manet’s reclining nude female have a same composition and subject matter, however They are very different in art history, both stylistically and culturally.

17th and 18th century American colonial life was not easy for women, they were overworked and underappreciated. Women were married young and quickly took on all the household responsibilities, including bearing children. Husbands, quite literally, owned their wives and because of this women had no control of their earnings, property, inheritance, or anything else (Portland State University, 2001). Though, despite all the hardships women had to go through, some overcame the challenges and still found a way to become strong women with remarkable talents. Two women who exemplify this are Henrietta Johnston, an amazing painter whose portraits were unadorned to the eye but were created using an exceptional type of medium for her time and Anne Bradstreet whose poetry showed the love she had for her husband and the intimate feelings of a colonial women (Academy of American Poets, n.d.; Encyclopedia Britannica, Inc., 2016; Poetry Foundation, 2015; Sarudy, B. W., 2013). Johnston and Bradstreet both took on the typical domestic roles but still found a way to display their talents. Though, how did these roles effect the work they created?

Even though some artists, as Berger claims, tried to resist this tradition, they couldn’t overcome the cultural tradition of female objectification that has continued to the present. These artists failed to create a different view in culture because of the media and how the perception wouldn’t change in the eyes of men. One famous artist who tried to resist this awful trend was an artist name Rubens. In his portrait of his second wife, the painting named Helene Fourment in a Fur Coat, he tried to portray the same message with a different image.The image is of a women with no other clothing other than a fur coat looking shameful. The middle-aged looking women in the painting was wearing a big brown fur coat. The difference between a regular “nude”

Nanette Salomon emphasizes that there are different ways to make sense of the changes in Artemisia’s three “Susannas”. One explanation may be that Artemisia’s work show progressive naturalism or realism which can be attributed to her development as an artist.

Mrs. Richard Skinner’s dress is very form fitting and looks quite confining, this is how most women dressed at this time. This is symbolic of the confining lifestyle that Mrs. Richard Skinner and many other women of this era lived. Copley was notorious for illustrating wealth through clothing pieces and fabrics. It is evident that Mrs. Richard Skinner is dressed in a lavish gown which demonstrates that the subject is indeed wealthy. This technique allows anyone looking at this painting to pick up on this queue, even without knowing the subject’s true identity.

The reading claims that nudes throughout artistic history have been an important source of beauty and controversy. Nudes began to spike during the Baroque period as they were used for the more expressive and emotional arts of the time. In the nineteenth century, nudes became more common, yet became more sensitive. Artists would train by drawing nudes of ancient Greek statues and figures from myth. However, many artists would then move on to create works depicting prostitutes or peasant naked women. This would not please patrons as they were extremely societally taboo. However, this did not start artists from making them, as they moved into the twentieth and twenty-first century. This shows the importance of artistic nudes and their impact

During the Regency era appearance was extremely important. If a woman arrived at a party under or overdressed she would be mocked and ridiculed for days by other women. Since propriety was valued as well, those who were dressed scandalously would be avoided by others to safeguard their reputation. Appearance was also and indicator of social status and wealth, which determined whether or not a person was

For example let’s reimagine The Moorish Bath by Jean-Leon Gerome. The scene in this image is a palace rather than a bathhouse. Our African attendant now fully dressed, is the head of the palace, and our the nude redhead is her servant. Here the empress readies her attendant for a day’s work. To show her subordination, the redhead is completely nude, faceless, and is placed in a non-confrontational pose. The surrounding area around her is also dim and darken, so that the light touches the empress rather than the servant. Standing above her, the dark-skinned woman displays her power over the redhead, she controls the situation. Being fully dressed now her gold and black garment denotes her high social status. Our eyes are then caught by the power

Throughout history, specifically in ancient Rome and Greece, people admired painting to the point where it was taught to every son of respectable families, yet forbidden to the slaves. This goes to show how this form of art in particular was considered fit only to those of high social class. Although it was reserved for the educated and cultured, painting attracted everyone and pleased them equally. In particular, “[n]ature herself delights in painting.”(Alberti 64) Alberti persists in showing us how painting is of nature; he first references nature by saying that Narcissus was the inventor of painting. In the myth of Narcissus, nature plays the role of the artist who paints a portrait so beautiful that Narcissus cannot take his eyes off of it. To further convince the reader of the pleasures painting gives, the author recounts a personal anecdote of how gratifying and relaxing painting can be.

Orientalist imagery, particularly of the Ottoman empire, featured prominently in the French Neoclassicist artist Ingres ' works. Western gaze on the Orient permeates his creations of sultry women lounging around the harem, waiting for their sultan to arrive. The Orientalism of the female nudes in the paintings The Grand Odalisque (1814) and The Turkish Bath (1863) is evident. The Orient occupied the "Other" in the eyes of the west (Said 44) and became a subject of fascination for Ingres (Shelton 212). Ingres created ethereal, exotic images of the Ottoman Harem and thus, established his role as an Orientalist.

Media demonstrates certain beauty standards that women are expected to meet, similar to Dorian Gray’s obsession with youth and beauty to conform to society’s ideals. Dorian Gray idealizes Lord Henry, therefore he is influenced by Lord Henry’s view on his passion for youth. Henry exemplifies that, “ for youth [he] would do anything