Irving Penn: The Goddess Couture Model

Will you want a app for Smartphone’s to make it easier for customers to place orders online?

With the photographs she takes of herself, she impersonates various characters and shows us the numerous roles women play in our world. In her pictures she depicts women as housewife, sex symbol, lover, victim, monster and more, and causes us to reflect upon how we perceive women.

In 1783, Louise Élisabeth Vigée-Lebrun (1745-1842) exhibited her work at the French Royal Academy Salon, her capacity for painting portraits was widely appreciated aside from one that shocked the French people, the Marie Antoinette “en gaulle”. In the Marie Antoinette “en gaulle”, the young woman’s hair is adorned with an extravagant wide plumed hat and her fingers are delicately constructed around a rose bouquet. Vigée-Lebrun’s portrait depicts Marie Antoinette in a loose muslin dress that the public assumed she wore to bed at night. Despite Vigée-Lebrun’s widely growing fame and fortune, the informal depiction of the Queen received an upheaval of opposition from critics at the Salon due to its subject matter and the fact that the Queen held the absolute decision in being portrayed this way. Marie Antoinette “en-gaulle” is a portrait that powerfully captures the Queen in her most natural and free style. However, the portrait was not in agreement with the 18th century perception of women’s modesty and the laws of the French monarchy. The Salon’s reaction to the portrait Marie Antoinette “en-gaulle” reflected poorly on the Queen’s judgment and composure, giving evidence to her rebellious regard for the etiquette of the French Court; therefore, Marie Antoinette held the desire to distinguish her personality from courtly duties and executed it in placing her trust in the talents of Vigée-Lebrun.

The design included luxury and perfection with additional of avant-garde vision of the future, creating the minimalism designs (Figure 3). The philosophy could be found from the way an item is designed which is having all ages to work together in the company, traditional techniques and craftsmanship such as screen-printing, tie-dyeing as well as latest technology. The philosophy had created a modern image of luxury that pushed the boundaries and become unconventionally fashionable (Graves, 2012, p.139). Her designs are not predictable nor obvious, different and wrong, creating collections to allow women to be feminine and alluring without having to revert to a masculine form to suggest intelligence or autonomy (Lovinski, 2010,

Her body is arranged the way it is, to display it to the man looking at the picture. The picture is made to appeal to his sexuality. Although the models are beautiful, the images produced are distortions of reality. Her function is to sell a product. Her humanness is irrelevant-only look is important. She is a woman made “perfect” in the eyes of man. In his article “Sex Sells”, Steven Heller argues that the advertisement stimulates human libido. The industries use women as a symbol of sex to portray false images in order to sell their products. Similarly another study by Dodd et al (1989) explores that the photos of women tend to focus more on their bodies

Her goal is simple: To create a series of images which function is to enhance and reveal flaws. These so-called "anti-portraits" highlight flaws while maintaining the innate beauty of her

The wall behind the piece is white with no surrounding posters or objects. This helps the piece stand alone and not have any distractions or influences. One display aspect that the artist might not

Moving forward, Dyer begins to unpack the active/passive concept of images of models. Often male models are caught in the act doing hegemonically masculine things such as: baseball, mowing the lawn, grilling, painting, etc. When not caught in the act, the male model contorts his body in a way that shows off his muscles and emphasizes the potential for action. In contrast, women never do an action. They’re always sitting on a stool waiting for people to look at her. To look is to be active and to be looked at is to be passive. Men must remove any sense of passivity in their pose and look to continue to uphold their masculine identities.

I am an arts administrator from Columbia University interested in the Registration Assistant/Department Coordinator position at MoMA PS1. I found this opportunity at the New York Foundation for the Arts. I hold an M.A in arts administration and a bachelor in visual arts and economics.

The Old Market Woman, is a marble statue that dates back to the Early Imperial period, which also known as the Hellenistic period. Artists became fascinated with the idea of childhood and old age, instead of beauty and masculinity. More become interested in seeing a statue that has characteristics that catches the viewer 's eyes. We are naturally attracted to beauty as humans. What the artist of The Old Market Woman did, though was they had taken that beauty that we are attracted to, and transforms it into reality and then uses it to tell a story. The use of realism relates strongly to the religion that the Woman of this statue believed in.

Central Idea: Casati was a woman who was exotic and flashy and designers today are influenced by her lifestyle.

The magazine starts to use female model, celebrity or performer’s photograph to be the front cover since 20th century, and these girls be called ‘Cover Girl’. This essay will discuss the article of ‘The Social Anatomy the Romance-Confession Cover Girl’, which is about there have some unrelated and sinful verbal context surrounding the romance-confession magazine’ s cover girl. There will answer the question of why and how the cover girl will be perceived, although they have the negative context around them in this essay. There will use Gerbner ‘s theory of analysis of mass mediated public message, the social role of the confession magazine, Hokinson’s theory which in the Media, Culture and Society and others to analysis the the question as

The image attached is a painting - An Allegory of Venus and Cupid - by an artist named Agnolo Bronzino, who was inspired by Michelangelo in the 16th century. Painted in 1540-50, it is regarded as one of the greatest paintings ever made. It is known as “Venus, Cupid, Folly, and Time” as an allegory for a various range of symbols from a mythological world. I will be using John Berger’s idea of the self-scrutiny of a female to discuss this work of art, and contrast my findings with Kenneth Clark’s ideology.

The man is like a little boy who needs to be comforted by his mother. The fact that he is looking down and she is looking to the camera highlights the power of the woman. The myth of the bourgeoisie idea, about the masculinity and power of men, is under attack and being destroyed by the femininity. Barthes saw myth as serving the ideological interests of the bourgeoisie (Barthes 1974, 206). There is also a homoerotic meaning on the look of the man. Is common to relate the image of a well-sculpted and very good-looking man with a homosexual, so the man is feminized. Ironically, Versace chooses to change the bourgeoisie idea doing the opposite thing that it should be, and there is knowingness about this between the brand and the

The straightforward approach the image gives allows for an immediate assumption from the content of the image. The white background of the picture allows for a center focus, another reason for this bland choice of color is so it doesn’t distract the audience from