Louise Bourgeois Cell XXV Analysis

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.

The cupid to the left of the painting, just above the men, is holding his finger to his mouth as if he has a secret. He is clearly referring to the affair between the two. Two other symbolism in The Swing, that makes the art work in a way undercover and opened at the same time, is the loss of her shoe and naked foot, a popular symbol of lost virginity. Also the man embracing her with his hat in hand was back then, in the eighteenth-century often used to cover the genitals of a detected

of a figure from a single moment in time. All of the male sculptures appear in the nude

From my observation at the Met, this sculpture is inside a medium glass and space. Also, it is by itself in the glass. It is a three-dimensional sculpture created by modeling and merging hard materials. Next to it there are other deities (Vishnu, Parvati, Ganesh etc.) and sculptors from the Chola Dynasty. The other works near it complements the sculpture as I have stated above they are from the same time period so, they are related to each other some way and

This sculpture is comprised of marble, and due to its large size it was easier for me to develop an impression about the piece because I can focus on specific parts in more detail. To understand the piece, a very visual and detailed perspective is needed. Judging by the way the thighs are represented, it appears as though she is striking a contrapposto pose, which makes her appear static. She has most of her weight shifted on her left leg, but not all of it The focal point of this piece I believe is her robe. It skillfully falls down her left side, while leaving other parts exposed, drawing the main attention of this piece. Few different types of shapes are displayed, except the shape of her legs and the form of the robe. The physical texture was smooth throughout the entire piece, partly due to the material it is made of. There is only this one texture, as her robe and body parts all feel the same.

The statue is a Roman reproduction of a Greek work. It shows Venus, the goddess of love, standing bare-breasted and clutching a piece of cloth draped around her hips. At her feet, there is a dolphin that, practically, adds support to the piece and artistically makes an allusion to Venus's birth from the sea. As the notes from the Getty Museum explain, the statue is derived from a very popular Greek statue created by the sculptor Praxiteles around 350 B.C. The statue was so popular that it was copied by many artists.

The man carrying the basket is what I believe to represent him. The ribbon seems to be tying him to what many people want him to believe is symbolized by the basket. The flowers represents those who are against him and want him to think a certain way. The woman in the background represent his personal beliefs. That help him stand despite what everyone else wants him to think or create in his art.

Starting with Bastet, this free-standing statue hails from Late –Ptolemaic Period (664–30 B.C) from Egypt. Medium used was bronze, precious metal and black bronze inlays. The dimensions are H. 5 cm (4 1/8 in.); W. 3.2 cm (1 1/4 in.); D. 3.9 cm (1 9/16 in.). This statuette was donated to the Museum by George and Florence Blumenthal in 1934 and is on view at The Met Fifth Avenue in Gallery 134.

features of this art work is that people dress the sculpture up in a variety of things. Anyone from

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 statue is miniature, only six inches tall and made of bronze. The figure is seemingly slender with a closed-off form; almost the whole body is bunched together, in a protective stance. The whole form of the beggar, including her head, is covered by a thick cloak, rendering the age of the figure unknown. Only the two hands of the figure are exposed, with one hand outstretched with the palm facing up and the other hand lying firmly on the ground. The arrangement implies the form is reaching for help, with her head bowed in shame not wanting to reveal her identity. The woman, although little is known about her identity, is depicting the plights of poverty and the aftermath war (Russian Beggar Woman, Later Sculpture Gallery, ARTH 200, Spring

One particular work stood out to me the most, and that was Sarah and Augustus. Sarah and Augustus is a relief sculpture, or denim drawing, that is created from various types of denim pants and zippers. I was drawn to this piece because of the of its duality of the mother and her son. In the drawing the mother is literally torn apart by her internal struggles. On either side her son, Augustus, seems to have different expressions. One side he appears to be somber as he clutches onto his mother’s hair and stares into the viewer, while on the other he appears to be shocked or curious about something that is unknown to the viewer. The mother, on the other hand, seems to be happy on one side, while concerned on the other. I believe that something happened in these two lives that caused them to lose something very important, possibly their home, because of their financial troubles. The mother is struggling financially, but, even though it seems like all is lost, she keeps pretending like everything is okay for her son. That is why she was smiling on the left side and her son appears upset. The right side represents the harsh reality in which she is upset and her son is dazed and confused by the entire situation.

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

First, the lecturer exposes that someone else than Rembrandt introduced a change in the colors of the painting: the collar that the woman wears in the portrait was in fact of a different color in the original painting, and thus intended to represent a material different than fur. In conclusion, all of the pieces of clothes that the woman wears in the painting are consistent and do not belong to different social strata. The person who introduced the change tried to make the painting look like it depicts someone from a high