Analysis Of ' Paris By Night '

When one gazes at the posed risqué photos that the photographer E. J. Bellocq took during the Storyville era many questions arise as to, who the female models were, where did they work, and why? Storyville was a legalized red light district in New Orleans. Storyville was the answer to the ongoing crime problem in New Orleans back in the late eighteen to early nineteen hundreds. After the closure of Storyville, the so called embarrassment was almost wiped from history. Bellocq’s photos, a couple of rundown buildings, and very few tales about Storyville are left today. Natasha Trethewey gave these forgotten women a voice in her collection of poems Bellocq’s Ophelia. She granted her readers a gaze into a forbidden world in a time that is long

In representing female subjects, both Pablo Picasso’s oil painting Les Demoiselles d’Avignon (1907) and Édouard Manet’s A Bar at the Folies-Bergère (1882) manipulate the formal techniques of composition and perspective to create new ways of seeing their subject, emulating their contemporary society’s shifting views of women and the individual. Les Demoiselles depicts five naked prostitutes, flaunting their bodies, and some wearing tribal masks. In comparison, A Bar at the Folies-Bergère represents a female, who may also be a prostitute, tending a bar. The depiction of previously ‘hidden’ female subjects alone was an innovation of the perception of the artist, however, the formal treatment in representing these subjects was an important break from tradition.

She uses photography to document and probe into the often darker side of French agriculture and food production since changes that developed after WWII. Her lens is investigative, and unlike many women photographers, Legros shoots images that are both poignant and thought provoking. Legros’s images appear muted in color and convey a more or less emotionless, cold world. The French countryside images depicted in her works appear similar to what might have been found in Huxley’s Brave New World: idyllic scenes, which carry ghastly

To begin with, Maggie Greenwald’s Josephine Monaghan is the classical oppressed woman in western films. She is kicked out by her own family for having an illegitimate child with her family’s photographer and labelled a ‘whore’ by her own father. This reflects the traditional gender roles assigned to females since birth. After the attempt of prostitution by strangers in which she miraculously escapes from, Josephine’s goal is to simply survive. The decision Josephine makes after the series of unfortunate gender-based experiences reinforces the idea that even for a manly woman, Hollywood’s classical representation of women is still relevant.

The curators of the exhibition “Vienna’s Shooting Girls: Jewish Women Photographers” were Iris Meder and Andrea Winklbaeuer. These independent further promoted the feminist notion of successful women and equity in the workforce and skilled trades. Their technique in presenting the photographs was not radical; however some of the material they chose to present was risqué. Meder and Winklbaeuer captured the individuality of the photographers with the selected pieces and chose works with natural positions in contrast to stiff, old-fashioned poses that museum-goers were acclined to seeing on the walls. This revival of female empowerment in German culture stands as a memory

“Still I will proudly declare that there is something queer about it.” This also gives the story an air of mystery and suspense. The author continually mentions a figure hiding in the pattern behind the wallpaper and as the story progresses the figure takes the form of woman. “But in the places where

The paintings Venus of Urbino by Titian and The Nightmare by Henry Fuseli both have a prostrate woman as the focus of the piece. The women in the pieces are both seen in overtly sexual poses, which has allowed for critics over the centuries to call both pieces explicit. The idea of female sexuality that is shown in the two pieces portrays dissenting opinions of the concept. These different opinions seem to reflect the popular ideas and art movements of the era in which they were created. While Titian seems to portray the expression of female sexuality as something positive, Fuseli’s interpretation is much darker.

Paintings within the traditions of the ideal nude present the female body as a work of nature and Woman as an eternal creature operating outside of concrete references to society and culture. Hence the nudity speaks a mystic language that easily legitimizes the male dominance and masks their hypocrisy. When women are not painted in this fashion, their luxurious toiletries can work in similar way to reduce her threat by delegating to her the task of being decorative next to her male companions. Whether fully exposed or sumptuously wrapped, her body is there to charm and to inspire the man. Baudelaire discovers the magic of clothing as an essential feature of modernity and claims that, Woman, when forming an "invisible unity" with her dress, performs the role of a stupid idol "dazzling and bewitching" that is no difference from the ideal nude in her lack of human emotions (Baudelaire 501-02). But in Woman with White Stockings, Courbet refuses to subject his woman figure to either of the conventions. The woman in the painting is not a display of physical harmony or the pure beauty because her nudity is incomplete. The stockings and the red shoe captures a curiously erotic yet undoubtedly commonplace moment of activity, and her performance of the action confers her with subjectivity that denies the objectification necessary for an unproblematic reading of the nude. Yet her concealing is also incomplete: there is no costume of the sort that Baudelaire admires to complement the "general harmony" in Woman. On the country, the stockings are meant to be in conflicts with her body. They are not an elegant envelope that adds "sparks to the fire" (Baudelaire 501), but rather exhibit an almost vulgar quality that, in her act of dressing and undressing, simultaneously belongs to and remains away from her. The iconography leaves Courbet's temporary viewers

Edgar Degas,one of the most obsessed painters when it comes to the female body in the entire history of art, producing almost six hundred images of ballet dancers alone and many nude works. This book examines these two aspects of the artist's body of work. The majority of works provide an insight to the varied selection of Degas' ballet dancers, on stage ‘Dancers on Stage, ca.1883’ (page 26), at rehearsal ‘The Rehearsal, 1874’(page17) or in their dressing rooms ‘Dancer adjusting her tights, ca.1880’(page 59), and Those of his nudes,washing ‘Woman In a Tub,1884’(page 77) or drying themselves ‘After the bath:Woman drying herself, 1890-95’(page 108) and of a women combing their hair ‘Nude Woman coming her hair,1879-83’( page 88).The variety of

The fear of expressing sexuality forms a prominent driving factor in Helene’s failure to find a common ground in her femininity and matronly roles, resulting in her oppressing the future generations of black women. As established previously, being the “daughter of a Creole whore who worked” at a brothel not only created Helene in poverty but also in tabooed sexual expression (17). As such, Helene struggled for the rest of her life with the ‘Madonna or Whore Complex’, where she perceives that to counteract the lowly promiscuity of her mother she must remain chaste (in the sense of stifling sexual and feminine expression) and matronly. Her grandmother exacerbates this complex through “counseling [Helene] to be constantly on guard for any sign

Jeff Wall’s photograph, Changing Room, condemns his audience with a seeming perplexing image at first glance. In order to eradicate any confusion, a close analysis is appropriate to truly understand what exactly is going on in this photo. As seen in the image, a woman appears to be the predominate focus of the shot. By examining further detail, we can assume she is in a dressing room based on the curtains running from ceiling to floor through the center and the replica of the dress she is currently wearing in the left side of the frame with her personal belongings right below it. What is so intriguing about the picture is what varnishes the upper half of the woman's body. The mystifying schema that embellishes her upper torso conveys the impression

In the section designated “bodies” a painting by the artist Amedeo Modiglini is displayed. This female nude is titled Reclining nude. Like some of the other nude that were being painted after the idea of romanticism influenced art Modiglini’s nude didn’t follow the rules of classical painting. The nude is lying horizontal across the entire painting with her hands and feet cropped from view. This cropping put the viewer very close to this nude woman in a very sexual and provocative position. The contrast of the light and dark really brings her right out at you.

“a large number of women’s writings about the city are androgynous figures: independent and hard-pressed working-class women, artists’ models or writers, if not deviants and misfits, outside the conventional bonds that define femininity. These female protagonists are women without family, often

This goes beyond genitalia and extends into multi-faceted identities, each gender containing certain expectations put in place by their peers and society as a whole. Men were knowledgeable and women were modest. Men desire women and women desire men, no exceptions. Based upon her/his memoir excavated by Michel Foucault, Barbin’s very existence rejects this notion of the two-sex binary, thus resulting in her struggle to fit the mold of a refined female by nineteenth century standards. Inherently, Barbin poses a threat to the natural order and is a danger in the eyes of her nineteenth century peers, just as Marie Antoinette had been before

The oil seems to be heavily thick around the object surrounding the subject. The oil is glaze so lightly around the subject so she can produce a radiant effect. Parallel to the “Virgin”, whom the subject is exhibited as angelic virgin young women with a perfectly rich light shade dress and white glossy pale skin the Erato is highlighted as a warm pale skin tone erotic white women with a slim body with wavy dark black hair staring at the sky. The subject is a place in the middle of the portraits and she’s standing in the forest of Mont grand Hubert naked. She’s surrounded by dark green and light orange hue and by many different plants and greenery, there’s a deep dark green, light gleaming through the top branches and the shadows of the trees creeping down on her. There’s no living animal, which shows that there were never a living creature making the forest a hidden wonders unlike the virgin whose in a familiar setting. The Erato seems like a lost soul searching for adoration, however she seems at ease with nature while the “virgin” is perceived as a disgrace if she’s not covered up. The “Virgin” portrait displays of a pure woman are shown fully covered by the source of law that is authorized by God. These two portraits show that there two types of women a pure and an unclean women. Nonetheless the Erato concentrated on showing purity, which comes from the soul, not from the body while the “Virgin” is pure in the physical ideal of the eyes of