La Source: Hippolyte Petitjean

I think about how the world had betrayed this women. They made this woman plump and empty, she does not even have a face. This statue is nude showing everything to the naked eye, she does not have a desirable body. This sculpture shows how much a woman was respected back in the day, which was very little.

Amelie's face, clothes, hat, and the background consists of colorful patches and blotches that somehow produces a contrast and makes the painting look spontaneous. This painting is shocking to me because the use of non-naturalistic colors and loose brushwork contributes an unfinished look. It is arranged by creating an energetic tense effect. Moreover, the elements of art in Women with the Hat are line, shape, space, color, texture, and tone. The lines of the painting are natural and soft. As well as the shapes,the lines are curved and organic. The shapes are very circular, their rounded nature focuses on the humanity and softness of a woman. The surroundings of Mitasse's painting are light, therefore the space is positive. The colors are bright and vibrant reds and greens and different types of blues. Amelie's nose shines with a yellow dot Pinks and greens are found in the background of the painting. The bright colors are kept in balance with the black outlines of Amelie and her clothing. The texture of this whole painting shows the rough brush strokes. Also, the patches of color on the background shows the different strokes and texture used which gives the painting a sense of

Antoine Watteau’s La Perspective (View through the Trees in the Park of Pierre Crozat) uses many elements of the Rococo style of painting to instill a sense of intimacy. In this painting, members of the elite society gather unceremoniously in a wooded clearing. The people make casual exchanges as they mingle in the park. Trees and foliage dominate a majority of the painting. A small white building can be seen in the background through a clearing in the trees. Watteau uses color, composition, setting, and pose in the painting to create intimacy.

It appears other minute details of the marble statue of Aphrodite have been damaged or lost, for example, the heat and base of her feet. Nonetheless, one can certify it is the statue of Aphrodite because of some of the figures that have been placed at her side. The characters beside the statue appear to represent icons commonly linked to Aphrodite. The dolphin symbolizes the birth of the goddess from the sea, and maybe that’s why people believed that she controlled animal fertility. Since the nose has broken off, it appears that the head is a mystery as to its finer and greater details.

The sculptures and paint show details how society viewed and interpreted women body, sexuality, and maternity. In addition, revealed that these women were protected from threats around them with ornaments. Civilizations since early times, believed that we were in permanent threat from forces we do not see or cannot explain and because of it, we protected ourselves with artificial elements in a form of jewelry, crowns or caps. This idea has been continue from one generation to the next to the point that in modern societies some of us still use this type of protection in our bodies (e.g., small cross, divine images, tattoos, etc.).These pieces of art also indicate that humans believed in gods with superpowers and they are looking over us constantly. Humanity also believes in dark forces or demons trying to makes us do things that would upset the good gods. Some of the differences between these sculptures and paint are the material in which each one of them were created. The first figure, the Woman of Willendorf was carved in limestone, the second piece, the portrait of Queen Tiye was carved in wood and the last piece, the Virgin and Child Icon was created of tempera on a wood. You can also notice how the details on their faces and bodies changes throughout the time and years. The woman of Willendorf figurine offers details of a voluptuous nude women’s body but there is not face, or feet. Queen Tiye statue shows the face of a woman in detail closed to the gods but without any body parts and lastly The Virgin and Child Icon, is an expression of divinity of the views, reflections and beliefs from the gospel. Because communities started to innovate on the art of carving and painting, populations began to discover and/or create art with the objective of expressing different purposes of our daily lives, such as the beauty of a woman’s body, or to commemorate an ancient

The piece is a red-figured, wine bowl that is attributed to the Niobid Painter. It was made in Athens, Greece around 460-450 BC, and found in Altamura. Puglia, Italy (British Museum). There are two scenes on top of one another that occur in the piece. The top scene is the creation of Pandora. She is standing rigid while five of the gods are standing around her. Athena is about to put a wreath on her head. The scene below displays a frieze of dancing and playing satyrs. Because the vase is round it isn’t possible to see all the figures in the piece. But looking at the piece from the front, six gods are portrayed in the top scene. The gods in the scene from left to right are: Zeus, Poseidon, Athena, Pandora, Ares, and Hermes. The gods in the piece are identifiable because of distinguishable traits that certain characters

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.

It is widely speculated that this is a representation on Margarita Luti, the mistress and model of Raphael. While others insets that it is Hypatia, the first woman philosopher. It is believed that when

The hidden use of gender difference between female and male roles hidden in the painting. The history it trying to tell within its frame. So let me explain to you what the La Grande Jatte is all about through my perspective on the artwork. The first detail that caught my eye about Georges Seurat’s painting was influenced by the science of color and optics to use pointillism. Seurat utilizes this blending technique through his use of shadows.

The fresco meaning is unclear it might be an initiation of rites in to the cult of Dionysos. I do think it’s a religious initiation is for the woman entering women hood or marriage. The ritual ceremony was to prepare the privileged girls and get them ready psychological for the transition of marriage. Dionysus was well liked among the Roman woman. He represented their sensual and spiritual hopes. There is nature in the fresco that represents psychological state for rebirth and regeneration.

The central theme of the painting is love and marriage, and if done properly, sensuality and fertility will be brought forward. The nine figures in the painting are based on mythological text. The painting is meant to be read from right to left beginning with Zephyr, Chloris, and Flora. On the far right, the greenish-blue figure Zephyr is reaching out to the Greek nymph Chloris. Overcome by lust and desire, Zephyr followed Chloris and raped her. To prove that he was sorry for his sin, he married her and declared her Flora; the goddess of flowers (as indicated by the flowers emerging from Chloris’ mouth). The flowers Flora is throwing symbolize springtime and fertility. Flora also seems to be holding her stomach indicating a possible pregnancy. The oranges in the background not only represent fertility but also are an ode to the Medici family symbol. The oranges are scarce over the heads of Zephyr and Chloris but seem to increase in amount as the painting gains more

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.

Completed between 1538-1539, this oil on canvas painting was painted for Guidobaldo della Rovere, the duke of Urbino, from which its name originates. This piece displays a voluptuous nude woman lying on a bed, seductively enticing her viewers. While reclining with leisure and carelessness, her beautiful creamy skin highlights soft pinks and porcelain whites; attracting the idea of purity. In her right hand, the Venus is holding a small bouquet of red roses that accentuates the intense contrast between the deep red and the white linens. Her entire body’s pose is relaxed and calm. With her legs crossed slightly at the ankles she is inviting the viewer to assume she is welcoming her future mate while still remaining slightly timid. With her left hand suggestively placed between her thighs and barely covering her groin, darkness appears beneath her hand. Some may view this as a controversial implication of the impurity because of the freeness of her sexual form; however it is most likely that the intent of this shadowing is to insinuate the presence of pubic hair and allows the artist to break the consistent lightness of her body with a slight darkness. While viewing the placement of her hand, the viewer will undeniably take note of the ring on her pinky finger, one of the few items she is wearing. Her chin is tilted towards her shoulder, allowing the light to highlight the rosiness in her

This is an artwork known as The Loves of Paris and Helen by Jacques- Louis David it was painted in 1788 during the Neoclassicism period. David took great trouble over the details of this painting to show the physical attraction between both Helen and Paris. We see a statue of Aphrodite, goddess of love and beauty in the back placed on a column with wreaths of myrtle hanging from the columns as a symbol of Aphrodite. When examining the

At first glance at the Dance at Le Moulin de la Galette, your eyes seem to be drawn straight to the women. As if they were the center of the work due to the woman’s light colored dress compared to her companions around her. This then creates a movement throughout the painting sort of allows for it to tell a story. Your eyes are drawn to the women at first but then you wonder who are they with which draws your eyes to the men at the tables and then you continue to the background which then ends with the little girl and boy in the left corner. The colors he uses enlighten the painting and consist of greens, blues, oranges, pinks and even reds. He mixes the colors to create a cool feeling/looking painting. The