The term collage came around in the beginning of the twentieth century by George Braque and Pablo Picasso when it became a distinctive part of the modern art world, it is created by using materials such as paper, card, newspaper and magazine clippings, tissue paper and photographs placed together onto a piece of paper or canvas and stuck down to create a completely new image. Collages have also often been used in different types of art such as cubism and wood work and other types of paintings. It was first introduced around 200 BC when the invention of paper came around in China; however it wasn’t used by many people until around the tenth century when calligraphers experimented by gluing paper, while using the texts onto surfaces when they were writing their poems. The technique was …show more content…
One of her photomontages named ‘The Beautiful Girl’ was created using clippings of car parts such as the BMW logo that is repeatedly used in the background, which suggests the comparison between superficial female progressive trends and the rapid progress of the industrial trends. In the centre of the collage is an image of a woman wearing a bathing suit with parts of her body missing, such as her head which has been replaced by a light bulb and above the light bulb is an oversized cut out piece of what was considered a modern woman’s hairstyle at the time. Surrounding the image of the woman is more mechanical objects such as a tire with a boxer which has been made to seem like its coming out of the tire, mechanical car parts and an oversized hand that is dangling a pocket watch and a face of a woman that has been distorted. The reason for her distorting and removing parts of the face is her representation of how females felt about their identities at the
The concern of this piece of artwork is the importance of fertility to mankind. The artist was emphasizing the important fertility features woman have that lead to procreation and ensure mankind’s existence in the future. The emphasis on the breasts and pelvic region are related to what
In Chapter 3 of his book, “Ways of Seeing”, John Berger argues that in western nude art and present day media, that women are largely shown and treated as objects upon whom power is asserted by men either as figures in the canvas or as spectators. Berger’s purpose is to make readers aware of how the perception of women in the art so that they will recognize the evolution of western cultured art.
The essay Hair written by Maria Alderich, is an analysis of women during the 1950’s need to conform, rebel, or fit in to societies social standards and the inner conflict it caused in women’s identity. The essay is Alderich’s firsthand account of the females in her immediate family and how they use their hair styles to define themselves and represent their self-identity.
In America there was no secret that owning slaves was a big deal, it was forced labor. The rate at which they worked brought in money which allowed the owners to buy more land and slaves, therefore gaining wealth and power. I believe this picture is a famous one because it shows the price at which the power was paid for, by treating humans like property.
She repeatedly re-examines the woman’s roles in society and history, she doesn’t believe that her works have negative or explicit messages, which is why she leaves them untitled making them open to interpretation. In the late 1980’s she expanded her range to more gross subjects. I believe her works strongly support woman’s rights, which was, is still is a very important topic. She typically photographed herself in a range of costumes. To create her photographs, often times she would shoots alone in her workspace, taking on many roles such as make-up artist, director, talent, and so
This careful study of Toulouse-Lautrec’s portrayal of women allows insight into his theme for the painting. As shown earlier, these women form a striking combination of actress
Plastered on the tops of taxi cabs and magazine covers, a slim beautiful women pouts down at the littering of people bustling around. Often her head is cut out of the frame, or she is reduced to her body parts with only her chest or back showing. With long legs and a voluminous form, she is the essence of womanhood and emulates the modern women. Except, she doesn’t. Her arm brushed skin and contorted body is nothing like the average women she stares down at, and that's because she is a culmination of the male gazes influence of how a women should look and act throughout history. Womanhood has been influenced by the male gaze because women are brought up with symbols of women that are created by men. In western culture there is only male subjectivity
Furthermore, the artwork portrays the way how people conduct themselves in their daily activities and presents their common values and attitude to life. For instance, the sculpture can be related to the problem of women’s rights. Although the lady is utterly sexualized and objectified, it is done in a vulgar way of a kitsch, which makes a viewer to think about the status of woman in the modern society. In addition, utilizing recognizable celebrities as a selling point could be considered a type of self-irony and reflection on the contemporary status of art.
She has remarkably realistic features and proportions, as well as a short, but feminine hairstyle, womanly hips, and an expression of empowerment. Maybe this was not what the artist was trying to express, but the meaning changes through history, and yet, this piece can still relate to issues in society today (fig. 5).
Furthermore, he ‘experimented with prints for…subject matter…more undercurrent…under the radar’ (Burlingham in McQueen, 2014) in the art world. Grasset had used the medium since the 1880s and here, by using it for art and not for commercial purposes, he is reinventing printmaking. It is a move away from the Academic tradition of the ‘original artwork’ and creates a more egalitarian art for the masses. In ‘La Vitrioleuse’ and ‘La Morphinomane’, he presents us with ‘two examples of the Parisian female archetypes that are commonly illustrated as afflicting French society’ (Levesque, 2014) and they represent a marked move away from his previous depictions of women. Here, he ‘refuses to use the…woman as a mere ornamental motif…his model is the contemporary…Parisian woman’ (Plantin in Roos Rosa de Carvalho and Vellekoop, 2013: p110). However, his view is a misogynistic one as he demonstrates the dangers of society giving women freedom. These prints are part of the Art Nouveau movement and both depict women with wild, natural hair and arabesque
Major moments in his artistic life have been facilitated by his use of the female body, showing that Duchamp made this journey with the help of the female form by both using the male gaze on the female form and at the same time using the female form to challenge conventional views on gender, all which is just as complicated and confusing as Duchamp’s work.
Although Potter’s work is at times autobiographical, her aim is to present common female perspectives related to the internal psyche. Potter draws on her own life experiences as well as the experiences of women friends to build identifiable narratives in the work. There are several groups of figures in Potter’s production, each with distinctive formal qualities and each using different materials or modeling methods. Although each group of figures has a different focus, all address the social and personal pressures experienced by women. The group of multi-coloured underglazed porcelain figures display more individual characteristics through details such as facial expressions, apparel or other trappings. Using humour and gentle satire, Potter sets up a vignette in each of these pieces. The women are seen performing rigorously to maintain the appearance of youthful beauty and the perception of “doing it all” with ease. Another set of figures includes attire embossed with nature motifs such as leaves and flowers - suggesting the natural cycle of growth, change and mortality inherent to all life. A group of figures without heads or facial identity places attention directly on the body speaking to the pervasiveness of body image angst in our culture. These forms exhibit physical cracks signifying aged skin, but also are indicative of stress fractures in the veneers employed to hide age. Ever present in
Some of the female artists profiled in this unit are all united in their quest of projecting a unanimous theme of reclamation of the female sexuality and identity. They conveyed the impression that female sexual objectification was no longer for male or societal consumption but for a purpose for women to feel empowered. They also had an immerse understanding of genderism and the power it has; especially under societal pressures. Thus, female artists came to understand the ideology of individualism and therefore pursued the art of liberation and identity that no longer tolerated under the scope of muscularity.
In both Oscar Wilde’s The Picture of Dorian Gray and Margaret Atwood’s The Handmaid’s Tale there is an emphasis on the impact of youth and beauty on the lives of the protagonists. It could be argued that these Gothic texts glorify the value of these themes, however an alternate reading supports the view that these texts primarily highlight the ‘dangerous’ implications of a society in which these values are idolized. The emphasis on the themes of youth and beauty is a key characteristic within the gothic literary tradition. For example, in significant gothic novels such as Frankenstein, the antagonist is treated with disdain as a result of his appearance, leading him to become a “murderer”. Similarly evidence is also found within Faustus through the portrayal of ‘Helen’; she leads Faustus to commit the ultimate sin of sexual intercourse with a demon.
From the macabre description of New York and some of his inhabitants and the thermodynamic of some of Bellows paintings, the symposium proceeded under a different note that still analysed the body in relation to movement, in particular the female body in commercial art. Professor Jennifer Greenhill presented her paper Commercial Illustration’s Immaterial Bodies which focused on the commercial artist Coles Phillips and this imagery for the mass press where design is vital to attract any potential buyers. It was illuminating to discover this artist and some of his most characteristic works created with a fade-away technique where the body of women disappears in the background so dematerialising their bodies. Prof Greenhill provided an excellent overview of the artist as well as his technique and showed many eye-catching images that are still incredibly powerful in terms of graphic and design. Coles Phillips was a lawyer, a painter, but most importantly a graphic designer and his preferred technique was the watercolour; his pictorial technique consists in