Eva Gonzale's A Loge At The Theater Des Italiens

Steinberg’s essay, “The Philosophical Brothel,” of 1972 was a new account of Picasso’s masterwork, Les Demoiselles d’Avignion [Fig. 13]. Steinberg roots his analysis of the painting in its relationship to the viewer. Steinberg extends the role of the viewer until it is he who completes the painting as the male solicitor of the women in the painting: “The picture is a tidal wave of female aggression; one either experiences the Demoiselles as an onslaught, or shuts it off. But the assault on the viewer is only half of the action, for the viewer, as the painting conceives him on this side of the picture plane, repays in kind.”98 The horizontality of the flatbed picture plane, and the new content it allows, makes the viewer’s role an active

Even in today’s age, the subject of the paintings (often nude, German women) were somewhat shocking due to the aggressive, almost violent lines. The emotions evoked by these pieces parallel the uneasy, tense times of early 20th century Germany, which drove the artists to break free of the conformist aesthetic of the time, and paint the world through their eyes.

Edna seeks occupational freedom in art, but lacks sufficient courage to become a true artist. As Edna awakens to her selfhood and sensuality, she also awakens to art. Originally, Edna “dabbled” with sketching “in an unprofessional way” (Chopin 543). She could only imitate, although poorly (Dyer 89). She attempts to sketch Adèle Ratignolle, but the picture “bore no resemblance” to its subject. After her awakening experience in Grand Isle, Edna begins to view her art as an occupation (Dyer 85). She tells Mademoiselle Reisz that she is “becoming an artist” (Chopin 584). Women traditionally viewed art as a hobby, but to Edna, it was much more important than that. Painting symbolizes Edna’s independence; through art, she breaks free from her

This analysis explains why it is that classical European painting developed its particular technical “features-of composition, color, perspective, brushwork and the manipulation of narrative”, which in Bryson’s case focuses on the gendered gaze, far from gone seen everywhere today through media or in contemporary works. Hal Foster also examines the term that has become so important in contemporary discussions of painting and of visuality; tying into the modern advertising and social media, which is "the Gaze." Tracing the concept of the Gaze through the works and definitions of others as well as diving into The Four Fundamental Concepts of Psycho-analysis where vision is still theorized from the standpoint of a subject placed at the center of a world. The gaze is something much more than a stare or a glance, but a full on addiction and utter obsession. The author discusses the subject's visual experience; where the subject resides, under the Gaze and in the practice of painting, the impacts of

The post-modernist Julie Rrap is a contemporary artist whose focal point rests on the basis of femineity and the way the female identity is represented historically within art. She is a feminist who accuses the ‘male gaze’ of instigating a predatory activity that is accustomed with the norm of society. She relates this norm to existing social structures that are attributed with a patriarchal society, where women were nothing more than sexual objects. All in all this term, the ‘male gaze’ evaluates the predatory voyeurism of society, where the male is the active subject and the female is a passive object of representation.

Despite evident differences in the compositional elements of Picasso’s Les Demoiselles and Manet’s A Bar at the Folies-Bergère, both utilise a composition with a shallow plane to distort visual perception in their work. This distortion promotes the spectator to revaluate the way they perceive these female prostitute subjects. Picasso’s treatment of paint and use blocked colours in Les Demoiselles creates the sensation of a flat, two-dimensional image, signifying a radical break from traditional modes of representation. The lack of depth in the painting pushes the figures of female prostitutes on top of each other, layering the stark angles and sharp forms that make up their bodies. In addition, this layering on such a large scale (243.9 cm × 233 cm) creates a feeling that the figures are pushing beyond the boundaries of the work and imposing themselves onto the spectator. Furthermore, the stances of the prostitutes, who are dramatically flaunting their bodies with arms raised and torsos presented openly, fills the frame, refusing the spectator to accesses to other areas of the image. Instead the female figures dominate the attention of the viewer, in some ways empowering these figures who previously lacked representation. These formal elements of composition all come together in Les Demoiselles to challenge the spectator’s ways of viewing the females in the work.

The primary focus of this section is to explain the “act of painting.” Flack begins her book with notes on the creative process and what it means to be an artist. Everything from the perception of color to confronting a blank canvas is addressed in this section. Audrey Flack briefly touches on the spiritual

“Painting is silent poetry, and poetry is painting that speaks.” - Plutarch. As Plutarch once said, painting is poetry because it sends a deeper message of what is represented. Every place has its artists some known some not that known, this essay has the purpose of noting Jessica Monroe, a local artist from the Valley who’s work, on my point of view, should be more recognize by other people.

In the paper I would like to focus on a painting that is almost 120 years old, however it appears provocative even today - in the world of contemporary art, where there seems to be no room left for astonishment. What I find so special about this beautiful painting is the technique and the artist’s vision of the scenery. Even though the second half of the 19th century was the time of rebelliousness in the art world, Henri Matisse managed to find his own niche and create his own style of painting. While “Still Life with Oranges II” appears as a primitive piece of work that neglects canonic rules of proportion, shade and volume, it opens doors to the personal world of the artists, where there is a place for imagination and flirting with the audience. Bright colors and swirls of brush strokes celebrate life and create an uplifting mood, which we often under appreciate in a painting.

Though one important concept to take in the tone this forum was open it developed an avenue for activist to continue working. An example of this is that of the development of the feminist movement. In which within the US rather than simply to give it an opinion it served to provide a dispute to such as including the Gorilla Women who fight against the way women are portrayed in media. Another example within this can then be Yoko Ono, “Cut Pieces” in which she hopes to express to her public and there view towards her as nothing more than a sexual object. Overall through both of these examples we see that the point of this format above all is simply to make the audience aware. Because of the political climate with Cuba Tania Bruguera is not only a revolutionary artist but as well provides a voice. Within her art whether in Chicago, Cuba or Colombia she creates performance arts that serve to question others and elements form their environments. In this case we are going to focus on two of her works with reference to Cuba. Although this format is hard to known when it became present in Cuba we see that it hold a voice for its

Kizito Umunakwe 9/12/15 The work of art focuses on the artist’s personalities and their ability to bring life to the art they create. Throughout history there have been many interpretations of one’s art, some even can tell who the sex or gender is, by looking at a painting. Most times, men are the ones given credit for the painting; women are rarely given credit when it comes to art. Throughout history, women were not acknowledged by men, they were believed not to be “genius” therefore making them inferior to men.

Alessandra Sulpy had an exhibition of collective works categorized under the “Non-memories of the Deuce” and “Bland Intruders”. Her works revealed symbolic references to the idea of a female icon, representations of the past and present; while incorporating urban/pop culture and high contrast within each piece.

Painting portraits, portraits of women, youth and loved ones became more popular than scenery. Here, women are no longer mythological creatures and have stepped out into everyday life, although there is still an air of idealism around them. (Fig. 2)is a work of this period with an emphasis on the female element.

Van Gogh stares at guests with such solemn eyes that seem to be all colors at once. Claude Monet takes you to the French country side that are covered in swaying pastures of yellow wildflowers and haystacks. The relaxed posed of Renoir’s nude female models shows the realistic ideas the impressionism artists had for the future of art. They painted the true colors of the world around them and present them to us as we pass through the hallways. There is a muffled quietness in the exhibit as everyone observes the sound the paintings reflect as though trying to here the gentle breeze in Monet’s painting of water lilies. Everyone gathers to gaze at George Seurat’s meticulous work that covers an expansive wall which barely contains the impressive effort. Cameras flash trying to capture the unique and awe-inspiring talent and dedication that made Seurat famous but none are able. No one can truly capture the detail and dedication that all artists put into their work through photos, you have to stand right in front of it to come

Guiard paints her dress in a bright blue color that emphasizes all the attention and focus on herself. By painting her dress a bold and bright color in contrast to the dark and dull background, she highlights the subject of her art piece, which are women. Not only does the color of her dress bring the attention to her, but the emerald green chair she sits on also captivates the attention of the viewers. In this self portrait, the only bright and bold color used are the blue on her dress, the green on the chair and red on the chair on the right. These colors are used in areas surrounding the three women in the painting. She is presenting the idea of women empowerment, through her selective choice of putting color only around the three