Jenny Saville Analysis

In relation to Brown’s work, we can see this individual expression emerging through her paintings by using reoccuring nude subjects that can be considered

This piece has a woman looking at her reflection in a shattered mirror, the bold text reads, ‘You Are Not Yourself.’ I chose to discuss this piece first because of its relevance to our most recent reading, The Last Time I Wore A Dress, by Daphne Scholinski. It encapsulates the stereotype that society has created for what is considered appropriate and inappropriate for someone to identify as a female. Throughout the book, Daphne struggles with her gender identity, she writes, “It was the doctors who came up with the idea that I was “an inappropriate female” – that my mouthy ways were a sign of deep unease in my female nature and that if I learned tips about eyeliner and foundation, I’d be a lot better off” (Scholinski 6). In our lecture about

As you begin Beauty (Re) discovers the Male Body your read of author Susan Bordo spilling her morning coffee over a shockingly sexual advisement of a nude man. Initially, I rolled my eyes and settled in assuming, I was going to read about the tragedy of how men are now being objectified and exposed in adverting like women. As I flip through the pages looking at the scantily clad images I’m not really shocked; this essay was written fifteen years ago; I see these kinds of images going to the mall. What was shocking, however, was how Bordo a published, woman philosopher born in 1947 wrote about these images. I felt myself blush as I read “it seems slightly erect, or perhaps that’s his nonerect size, either way, there’s a substantial presence

Jenny Saville’s ‘Plan’ from 1993 is a large scale (274x213cm), Self portrait, oil painting. The painting is much larger than life size. The viewer is looking up her body with the focal point being the bottom of her body but the sharpness of the painting at the top. With a very detailed depiction of her head and face and with her arm reaching

In fact, these people reference that Fernando Botero once “mistakenly” described his figures as “fat” in an interview by saying "They're fat figures, to use the favourite words." (Hilbrenner, n.d.). While many argue that it is a slip of the tongue, it strengthens their notion that Botero is essentially obsessed with fat women, not “volumetric” figures. It is also true that a significant portion of Botero’s work does portray nude women in particular. Some argue that female bodies are in fact full of features that appeal to Fernando’s volumetric manipulation. As such, it is not outlandish to explain his obsession with their

In recent generations, typical looks or ideas have dominated fashion. People write about this topic through articles, newspapers, and papers. While models style and display the most recent styles, they also represent what women should look like. Not until very recently, people have realized that not all women look like models, unless they starved themselves or worse. In the poems, “Fat is Not a Fairy Tale” and “The Pink Car”, the authors’ convey their main message of the poem as the social aspect of the world and what they believe has the characteristics of the ideal person by using imagery and personification.

In recent generations, typical looks or ideas have dominated fashion. People write about this topic through articles, newspapers, and papers. While models style and display the most recent styles, they also represent what women should look like. Not until very recently, people have realized that not all women look like models, unless they starved themselves or worse. In the poems, “Fat is Not a Fairy Tale” and “The Pink Car”, the authors’ convey their main message of the poem as the social aspect of the world and what they believe has the characteristics of the ideal person by using imagery and personification.

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.

John William Godward’s painting lone portrays how the maintenance of appearance and self preservation is a desideratum. The painting consists of a pale, curly haired brunette woman with a flower crown set on her head, looking into a handheld mirror as she strikes a pose with her opposite hand. Flowing down from her shoulders and around her waist, the sheer quality of her gown paired with the tightness of the gold ribbon wrapped tightly to accentuate her figure exudes sensuality.

While Picasso’s Demoiselles is not a true Cubist work, it was nonetheless a major step towards Cubism. It features nude figures and background that are so distorted they seem to forgo any spatial depth. The softness of classical female bodies are restructured by Picasso into

There are many companies in the world today that put an idea of this perfect female body into the heads of women. These images lead to a faulty standard men hold of women and their bodies and that women strive to become. Margaret Atwood addresses the issue of the way men view the female body by writing her essay in the viewpoints of a male so the reader can better understand how the expectation men have of the female body is unrealistic. First, she uses an allusive comparison to show the male expectation of the female body and how it is objectified as if it were a doll that comes with accessories. Next, she uses an anecdote with defamiliarization to show how the way the father views a Barbie doll and the way it portrays the female body to young girls is hypocritical. Lastly, Margaret Atwood uses insidious diction to talk about how men not only view the female body as a product but how they also use the female body as a product which can be sold amongst businessmen. In The Female Body, Margaret Atwood uses many rhetorical devices to convey how the female body is viewed through the eyes of men.

In Lucille Clifton’s “Homage to My Hips,” the author confronts society’s negative conception of the female body. Clifton explains to the readers that to be happy a person needs only one thing, confidence. Clifton’s argument and view are evident throughout the entire poem. Clifton uses a confident speaker, a free form, and a clear tone to convey her opinion on society’s view of beauty in a clear and concise way.

Hannah Wilke’s 1974: S.O.S. Starification Object Series. S.O.S. features twenty eight photographs of Wilke semi-nude and covered in chewed pieces of gum, each shaped to look like a tiny vulva, which dot her body like ornamentation or chicken pox as she models various pin-up poses. In each photo, Wilke references various fashion and beauty iconographies typical of the 1970’s. Wilke’s photo series plays off of the male gaze and attempts to, “[parody] traditional representations of ‘femininity’”

This report looks to demonstrate my capability in the area's of understanding personal and social issues in society. The research project deals directly with these capabilities as it begs the thoughts about women in society. It asks what women think about their own body but also, how society sees it. I will demonstrate in all eras how women influenced by media and the relevant ‘pin-up girl’ of the time tried to find their own identity closely linked to these role models. Such linkage being mainly through fashion that enhanced the targeted body shapes

It’s difficult to envision a world where idealized female imagery is not plastered everywhere, but our present circumstance is a relatively new occurrence. Before the mass media existed, our ideas of beauty were restricted to our own communities. Until the introduction of photography in 1839, people were not exposed to real-life images of faces and bodies. Most people did not even own mirrors. Today, however, we are more obsessed with our appearance than ever before. But the concern about appearance is quite normal and understandable given society’s standards. According to Jane Kilborne, “Every period of history has had its own standards of what is and is not beautiful, and every contemporary society has its own distinctive concept of the