How Have Female Figures Played a Role in Art History Essay

A review of the world’s great artists conjures familiar images: Michelangelo’s Sistine Chapel; Vincent Van Gogh’s Starry Night; Pablo Picasso’s The Tragedy. There are many more, of course: Monet, Moya, Warhol, Rembrandt, Kandinsky. What is immediately noticeable, however, upon any brief study of art, is the significant absence of women as heralded artists—not only in our ancient pasts, but even today, amongst valiant efforts for gender equality.

Gender roles of diverse cultures have differed immensely throughout history. The evolution of gender roles first began in the Paleolithic Age and then began to transform with the transformation of the Paleolithic Age to the Neolithic Age. Women in Mesopotamia, India, Greece, China, and Rome were not treated as equals and viewed as inferior to men. Cultures like Egypt and Persia had similar laws for women and treated them with more respect out of any of the other cultures.

In ancient Greece, around 500 B.C.E, the culture was revolving around gods and goddesses. The lifestyles and actions of the people of Greece had an interdependence with the common belief of Hellenism. By understanding that many Greeks looked to their gods and goddesses in most aspects of their life, we can better understand how Greek culture worked as a whole. This can be seen specifically in Athens Greece. In Athens they looked to the Goddess Athena in particular because she was their patron Goddess. During this time a sculptor, named Phidias, sculpted a grand statue called the Athena Parthenos. The Athena Parthenos was viewed as an actual incarnation of the Goddess Athena, and symbolize victory in wars that ultimately create peace and harmony.

“Art is the most intense mode of individualism that the world has known.” -Oscar Wilde. Women are wild, sensitive, magnificent, mysterious, and above all: individual. Art’s many different medias allowed artist throughout the ages to capture women at both their strongest and most vulnerable points. It has the power to capture a woman: as a naïve, young girl clutching her brother as they are painted into a lasting portrait, a golden statue of an angel sent down to Earth to help a saved man take his first steps into an eternal life with God, to the powerful goddess, Artemis, transforming a hunter into a deer and having his hunting dogs tragically attack him. The six pieces of art chosen express the individuality of each women who has walked, walks, and will walk the earth.

In the Renaissance period women are almost invariably shown as completely passive and as an object for contemplation. The reclining female nude in the Renaissance raises questions of the male gaze more often than any other artistic stereotype. Female nudes were only an open acknowledgement of not only male desire but also the right males had to express that desire. A woman’s feelings when looking at such images of members of their own gender were never discussed or asked until recently.

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 addition, I will examine the differences between male and female sexuality and how each tended to be perceived and treated by society. Then, I will look at prominent female artists and their personal experiences and beliefs on feminism and the female in their art focusing on how it tended to be received along how male artists responded to it. Mainly, I will be analyzing the clash of sexualized images in art, focusing on the differences not only between male made art versus female art, but the differences in the women’s art community, as well. What are the reasons and goals for women to use a “sexualized image” of women in their art versus

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 clothes on the faïence figurine is the main importance of the empowerment of women. Dr. Christopher L.C.E. Witcombe explains on his website, “Www.arthistoryresources.net” the meaning of the figurine and how it contributes to the empowerment of women. First, she is wearing a crown on her head, which symbolizes she has a high status. Women back then weren’t viewed as equals to men. So, for a woman to have a higher status than a man means she has power to her. The dress she is wearing is tightly fitted on her body, and her chest is exposed. This illustrates, a woman who is in charge of her own body. The firmness of the breast suggest that the woman is young. With this in mind, not only does she have a high status and power, she has youth too. The choice of clothing in which you wear symbolizes the status that you are. In the case of “The Snake Goddess,” her clothing represents the power that she has.

Nanette Salomon, a very well known feminist writer, wrote the article, “Judging Artemisia: A Baroque Woman in Modern Art History.” The article opens up with a discussion about the 2001-2 exhibition of Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy. The author explains that three things are unusual here: the fact that two famous artists were presented at the same time, that they were related as father and daughter, and the fact that the woman was better known than the man. Her intent in this article is to look at the effects of this trope (figure of speech) in the past and in the present.

Artist and people viewing the art work have always had a fascination with the female nude. Even when I was a child my attention was captured by the nude art not because I was a kid and I saw a nude lady , but it forced me to wonder more about why the female nude was so amazing as a tool for art and why this is repeated so many times throughout the centuries. One female nude painting in particular was the subject of controversy and exposed the syncretism and or the power of the female nude painting.

This period housed many depictions of the Virgin Mary, including Cimabue’s Enthroned Madonna and Child. Mary was seen as the perfect example of feminine virtue, showing chastity, piety, humility, and maternity. Images of the Madonna, or Mary, whether sculpture or painting, encouraged women to live up to her. Mary wasn’t the only woman that was looked up to in Renaissance art. Women could be portrayed as witches, saints, temptresses, or members of the working class, and their image would still be an encouragement to dress and behave properly. (Jacobs)

but more so her fertility. Not only do the hydra and drapery help the statue to stand, function

In many works of art throughout history, female breasts have been featured prominently and in the nude. The symbolic meaning credited to the breast was usually associated with fertility and nourishment, both spiritual and physical, and in the wider sense, with life. Eroticism, nourishment, abundance, expression, feminine power, as well as feminine subservience, are different contradicting themes of the breast played out in time.

James Joyce's A Portrait of the Artist as a Young Man presents an account of the formative years of aspiring author Stephen Dedalus. "The very title of the novel suggests that Joyce's focus throughout will be those aspects of the young man's life that are key to his artistic development" (Drew 276). Each event in Stephen's life -- from the opening story of the moocow to his experiences with religion and the university -- contributes to his growth as an artist. Central to the experiences of Stephen's life are, of course, the people with whom he interacts, and of primary importance among these people are women, who, as his story progresses, prove to be a driving force behind Stephen's art.