Jaguar Half Mask Essay

The woman has a featureless face, and a white parallel pattern represents the flowing raffia skirt. The woman is running, depicting movement. The horns are shown in a twisted perspective. The small white dots on the body of the woman represent body paint. The work has earthy colors, like white, gold, and beige, and is painted onto a medium-brown rock. The work takes up a fairly large space on the rock it was painted on.

Double pieces that have lasted over thousands of ages to offer scholars with references to human existence during the Paleolithic period are the Woman of Willendorf figure and the Lion Man of Hohlenstein-Stadel. Each figure is condensed with amazing features, even though they are not thorough to the level of realism. The Woman of Willendorf is one of the best instances of the small ‘Venuses’ that have been uncovered meaning that her persistence was a part of a ethnic set of views about women and fertility. The Lion Man, is a more exclusive artifact that recounts to the complex figures that are recognized from other cultures within which the related mythologies that have been revealed. The Lion Man has no known mythology that is obtainable in known written history to this day. The two pieces propose the unknown about the Paleolithic era, recognizing a sagacity of religion and rituals that were part of the lives of those who lived during that era and enlightening recent scholars on some aspects of the people during that time.

A close look at this work of artistry, the design is the anatomy of a triangle and closely resembles a woman’s private area, the genitalia. That existence said, for way too long woman was meant to marry, have children, be a woman of the house, and adopt their husband’s rules. Clearly this would be a case of stereotyping.

The Venus of Willendorf is one of the oldest and most famous early images of a human. She represents what use to be the “ideal woman” with her curvy figure and the emphasis on fertility seen in the features of her sculpted body. This paper will analyze the Venus of Willendorf sculpture in terms of its formal analysis.

The article also acknowledges how the sculpture is a unique find in art especially in terms of how well the sculpture has been preserved and how the damage to the sculpture were minimal as compared to other similar discovered Venus sculptures. Arenas acknowledges how there are also numerous interpretations and explanations on how the arms of the Venus de Milo actually look like or what they are actually doing. The article also presents sultrier take on Venus de Milo, seeing her in all her seductive glory. Through the eyes of Arenas, there is more human, yet otherworldly perspective of Venus de Milo, one which matches romanticized women in mythology. Arenas also envisions the sculpture in relation to feminine charm and how it and the sculpture represents a severed phallus come to life. This represents social and carnal anxiety as well as longing, potency and also impotence.

Feminist scholars would be attracted since most beauty standards are to be skinny and have a hourglass figure. But in this sculpture it portrays a woman that is a bigger size and does not have a hourglass figure. So feminist scholars would think that during that time that was the beauty standard for the people.

The main focus of the painting intended by Titian is a nude woman, Venus, looking straightforwardly at the audience. The young woman’s nipples are erect; with her left hand covers her pubic area, the sexuality of this painting is unquestionable. She is completely naked except for the ring on her little finger and the bracelet around her wrist. It is clear that the intention of this painting is to evoke sensual feelings in its audience.

I took an interest in this specific piece as it reminded me of the Venus’ which are explained in the textbook. The Venus’ are thought to be made in order to appreciate a woman’s sexual being which I believe is what this piece attempts to achieve. The actual woman, who is made of metal seems to be elderly as the lines on her face and angry demeanor suggest, holds out her arms who are dripping water. What makes this piece all the more interesting is that there are screws which seem to form a necklace on her. I believe the artist depicts her in such a way that she resembles mother nature. Standing atop of a large tree whose prominent roots take place in the pool of water which drips from her hands, explain to me how she is meant to give life to that around her. But mother nature is no longer youthful, being completely nude explains not only her sexuality but also how she has aged and the distraught on her face hint at her anger with all the destruction around her. To make that point even clearer the screws in her neck explain how man made structures are now tearing into what she once was. Both art pieces left a profound effect on me, even though they were not both explicit in that

Description/Source: This artifact shows a ceramic bowl that was used by the Mayans in everyday life for pottery making and used in everyday art.

The most prominent key that supports this idea is that she has a smirk on her face that is reminiscent of archaic smile that is seen in works such as the Peplos Kore (Figure 3) in the archaic period (Kleiner 112). This hint of a smile not only draws the viewer in, but displays that she is aware of a viewer watching her in a private setting, since she is nude, which then led to the fact that she instinctively covers her genital area in a way that creates a more sensual experience for the viewer (Kleiner 143). Another notable feature is the usage of contrapposto, the figures weight is seemingly shifted to her right leg, allowing for her left knee to gently bend, adding to the display of realistic pose of her body. She is also posed in such a way that has been given a name known as the modest Venus, which involves a nude female discreetly covering her private areas with one hand (Lapatin). The sculptor, Praxiteles, paid close attention to the composition and rendering of the goddesses’ form which was left to be a mesmerizing display, muse, and inspiration for generations to come.

It was determined that the women in the portrait was most likely a freeborn, upper-middle class citizen of Rome. The portrait seems to have been a part of a funerary monument, a conclusion which was drawn due to the pattern of cleavage observed at the back of her head and the sides of her face. It was also observed that there was a

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

To the right of the painting is Nymph, also known as "The Hours", Greek goddesses of the seasons. She has on a very elegant dress and holds a robe out for Venus which is decorated with red and white daises, as well as yellow flowers of some sort, and blue cornflowers. These are all flowers of spring time which is appropriate for the theme of birth. The Nymph also wears garland which is also decorated with roses. The Nymph seems to be welcoming not only Venus, but the season of spring as well. This open arms welcome is very comforting to view.

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

The fixation is set on her in the center of the painting due to the triangle of light used to create a focal point for the viewer. Surrounding her on both sides are the linear equivelants of past and future. From the left we see her creators helping her along with strength and the force of the wind. To the right we see her handmaiden ready to usher her into the world, where she will be clothed and no longer represent innocence. Both exhibit two very different forms of love and caring to Venus.