Female Figure Lumpingwa Iua Limpe Analysis

In the cleavage area has vertical line as well as horizontal on the dress. The detail the artist put into making sure the dress, belt had the right amount of details to catch everyone’s eye who took time to view his figure. The vertical line on the tassel and the knot tie just right to display the left side of the figure waist line. Indicates the figure was a petite woman. The hair is wavy in the front and pulled into a ponytail at the back. I feel there were serval focal points with in the piece after reexamine the figure the three times. Each time something else stood out shifting my focus from the original focal point. There are many repeats of all the lines with in the figure. The artist only has half of the figure's feet and arms expose which displays start and stopping points for the gown. I feel the use of the white marble may display the cold hardness of the figures heart. The smooth texture of the marble gives a life like feel of the figure. The chair has legs of an animal

This sculpture is comprised of marble, and due to its large size it was easier for me to develop an impression about the piece because I can focus on specific parts in more detail. To understand the piece, a very visual and detailed perspective is needed. Judging by the way the thighs are represented, it appears as though she is striking a contrapposto pose, which makes her appear static. She has most of her weight shifted on her left leg, but not all of it The focal point of this piece I believe is her robe. It skillfully falls down her left side, while leaving other parts exposed, drawing the main attention of this piece. Few different types of shapes are displayed, except the shape of her legs and the form of the robe. The physical texture was smooth throughout the entire piece, partly due to the material it is made of. There is only this one texture, as her robe and body parts all feel the same.

It is a very large piece made from Limestone. Limestone is a sedimentary rock which means it is formed by the accumulation of sediments, and it is very hard. The statue itself is not very detailed and is pretty simplistic. It is a statue of a human body. The statue is 71 in. (180.4 cm) which is

The exhibition that focuses on contemporary artworks since 1960 will be small, containing only two pieces. The pieces are both sculptures, Violet Persian Set with Red Lip Wraps by Dale Chihuly and Nefertiti by Wendall Castle. The theme of the exhibition will be about the reimagining of the exotic female form through abstract sculpture—specifically, in-the-round, free-standing sculptures. Both Chihuly’s piece as well as Castle’s fit this theme as they depict abstract forms that can be interpreted as feminine. However, the pieces look radically different from one another and are fairly abstract. One sculpture shows a strong and regal womanly form while the other could be interpreted as the exact opposite. Both sculpture’s in the exhibition can also be seen as being inspired by the exotic and romanticized past.

The bronze head to the upper left is the commemorative head of a neighboring leader, the artist of this artwork is an unidentified African it is made of copper alloy, iron. The creation of this sculpture is said to be around the late 15th century to the early 16th century. In 1897 it was removed from the Benin Royal Palace by Captain Guy Burrows, and then sold to Lt. General Augustus Henry Pitt-Rivers it was then passed on to generations of the Pitt-Rivers, then sold to Robert Owen Lehman, in which he then gave to the MFA as a promised gift. The head to the upper right is a commemorative head of a king (Oba), the artist is also an unidentified African, and it is made of copper alloy, iron. The creation of the sculpture is said to be in the late 16th century. The artwork belonged to Armand Rateau in 1932, sold to L. Hope in 1968; it was then kept in the family until it was sold to Alexander Martin, who gave it to Robert Owen Lehman, who promised it as a gift to the MFA. All the Benin artworks at the Museum

Because it’s an Amphora, the jar has 2 handles that start about 1/3 of the way down the piece, go straight up and come back in at about a 45o-50o angle where they meet the top of the jar. As for the body, it starts with a small foot and immediately budges into a propane tank sized body. From there it thins into a neck that stays a consistent size all the way up to the mouth of the piece; the neck is about the same size as a small can of paint. To me, it seems this piece would be an expensive luxury item. The Greco-Roman-Parthian influence on the piece along with the addition of the Egyptian deity, 3D ornaments and bright and unique color seems to be the making of a costume made Amphora for a wealthy Roman buyer that was in the cult of Serapis.

The material used for this sculpture says a lot about the time in which it was made. The early dynastic period you see a lot of sculptures being carved from limestone and light sandstone. The Pre- dynastic and early dynastic periods also carved their statues from wood and ivory. This is still true for sculptures of the later time period but is most common among the lower level elite class and the slavery class. This is not often seen carried out in the creation of royal sculptures as they upgraded to harder to obtain and harder to carve stone; such as greywacke, gneiss, calcite, and diorite. There are some cases in which harder stones were used for non-royal sculpture, but it was rare. During the Old Kingdom period is when you start to see variation in the type of stone used. Sculptors

When if first viewed this piece, it was directly clear which gender was being represented in the piece. From our study in class I knew that red had been used to represent women and so that was my guess, which was confirmed by the title. I like how the artist used the stepping lines to mimic the different parts of her body. While the ones on her torso almost represent the skeletal system that would be inside the larger women. While the lines on her face almost build a skull like shape. I was wondering what she was carrying because based on the body language of the figure it does not seem heavy. This makes me think if it is like the archaic smile, which represents something else, and not the direct action that is being depicted in the piece. I also created meaning with some of the line but I was wondering about the pants like bands. I do like the patterns and they remind me of the leggings that some people wear to add something different to a simplistic dress. I was also curious if the size of the women also represented her status and her ability to reproduce like the “Venus of Willendorf”. Which this piece had more humanistic qualities than the “Venus of Willendorf”; I found myself and comparing the two pieces in the specific area of the image of the female body that was used in these in each piece. I think this was easy to question and find a need to understand why this figure was

The article, “Looking at Women” by Scott Russell Sanders published in The Norton Reader, 13th edition, embarks on a journey to find out why men look at women. Sanders starts off with his personal encounter as adolescence were he was told not to look at women out of lustful desire, because women would not want to be stared at like that. He also wondered from his early college days, were his bunkmate had pictures of nude women and he and others would endlessly stir at these pictures. Sanders questions whether women enjoy being looked at by men and how should men look at women. He uses quotes from people and facts to find answers to these questions. He also analyses the problem from global perspective. He wonders why women try so hard to look good. He concludes with the fact that women like looking good, but they sometimes don't like it when men stare at them. Sanders opines in his thesis that " to be turned into an object – whether by the brush of a painter or the lens of a photographer or the eye of a voyeur, whether by hunger or poverty or enslavement, by mugging or rape, bullets or bombs, by hatred, racism, car crashes, fires, or falls – is for each of us the deepest dread; and to reduce another person to an object is the primal wrong” (188).

Knowing the date it was painted and where it was painted is important as the vase on its own cannot help us identify and understand its historical context. We can assume that at this time the traditional pattern-based technique to vase painting had not yet kicked in, or it was not well recognized in China. However, the lack of the artist's name, we cannot determine when the painter was active and the possible reason he/she did not employ certain forms. Its form is a blank slate without any decorations except the black dripping glaze (earthenware with a black glaze). This is an 8th-century piece as most pottery during this period were increasingly round-faced and rotund, reflecting a change from the 7th-century

In this sculpture it is representing the highest level Africans of European Society. The bronze is creating an atmosphere of royalty. African women are queens. The iconography of this statue displays the earrings as apart of African American culture. Every feature of this statue is exhibiting the culture of African American culture; such as the hair, the hair-wrap it is a symbol courage and true homeland of Africa. Also, including, the resistance to loss self-definition. The arm bracelet. By contrast, her eyes tell a story of pain and happiness that is slowly growing.

From far away, one could see the skill of Rodin being displayed fully by seeing the texture of the statue. The texture is dark, but the outside layer is shiny, by looking at this, one could conclude that the material that Rodin used was bronze cast, and the way he architect the statues is magnificent.

The artwork is a realistic portrait of a women. It is abstracted with asymmetrical balance with exotic and vibrant colors. As if the women is sitting in the corner with two

This sculpture is of a women breast feeding her child. The face of the two people is elongated, as well as the breasts of the mother. This is common to all African Art because they wanted representation of what is being expressed. In this particular sculpture, a supernatural power is being called upon. The power has been asked to protect the mother and child, and to

The figure stands in a calm and balanced manner but not symmetrical. There is a pink wig, which has been aligned on the left side of the mannequin alone. The legs are well balanced though in a different scale from the upper part of the body. The enlarged part of the art shows the weight and significance of the section of the soundsuit and therefore in our case the upper part shows the power and control it has on the rest of the body. The upper part holds all the beautiful things of life represented by the beautiful metal flowers, ceramic birds and the pink wig. The upper part has the brain that controls all the activities of the body (Orlando Museum of Art’s,