Miss Minnie Clark : The Figure Of A Girl In Blue

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

Celebrated artists Elisabeth Louise Vigee Le Brun and Marianne Von Werefkin have contributed to the evolution of two different art styles and the appreciation of female artists. Le Brun’s Self Portrait in a Straw Hat exemplifies the prominence of Neoclassicism and the Rococo movement during eighteenth century France. Von Werefkin established herself as an Expressionist in her Self Portrait in the rise of the twentieth century. Both representational pieces provide the viewer with a candid insight into the temperament of each artist, reflecting their artistic influences and the time period in which the artworks were created. Consequently this has affected their application of colour, tone and composition, creating two distinctive self portraits.

Good Evening my fellow neighbors. Most of you know me and for the ones who do not, I am Mabel Dodge. I am the daughter from a family in Buffalo and had what was considered the best education for girls in the nineteenth- century. Instead of going to college, I got married, became a mother and soon, a widow. Later, I traveled abroad and soon married a Boston architect, Edwin Dodge who I later realized the passion I had was no more- so I divorced him. I became bored and began to crave art, the beauty and inspiration! A “salon” in Florence, Italy that I created for the purpose of attracting the most up- and- coming artists in Europe, had me become well known and even a muse for one of Gertrude Stein’s image poems. I reluctantly joined Edwin my husband at the time, who was eager to come back to the United States. I settled in an apartment on the lower Fifth Avenue which most of you have been in for my “evenings” of controversial debates.

In the essay “Don’t Look Now: The Male Pin-Up” by Richard Dyer, the author analyzes how male and female models look at the spectator. His argument is that men are always photographed in an active manner, and the women are just there sitting passively. Men do this because they cannot be feminine in any manner or otherwise they face a backlash from society. His goal in this essay is to reveal this cultural phenomenon to the reader by stating what the model’s look represents and the activity of models in images. Throughout this essay I will be analyzing how Dyer explains these concepts to inform the reader.

Every girl growing up always use to play dress up in clothes as a childhood past time for fun. Cindy Sherman used that passed time as a way to create art with photography and is known for her talent of this act and taking self-portraits of it. Her ideas come stereotypes of women throughout past and present society. These self-portraits are known to “confront and explore the representations of women in society.” (Jankauskas).

The pieces Ann Whitley Russell, done by an unknown artist in around 1820 and Lady Frances Knowles, also done by an unknown artist, in the mid-late 17th century are both examples of portraits that portray the sitters in diverse yet insightful ways to viewers. Both Ann Whitley Russell and Lady Frances Knowles are works of art composed of oil paint on canvas. Although these portraits are different, the aspects of space, color, and composition are all important elements that must be considered while comparing the woman in these two pieces.

Knowing the sex of the artist introduces the preconceived notion of how the artist may view the opposite sex. In this painting, because I know the artist is a male when viewing the subjects of the painting I understand why they are painted in the way they are. His gender influences my

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.

The romantic era was a time in history that had altered how people viewed art, literature, and music, having its own significant style. Many people were known throughout the world for their contributions to the romantic era. Robert Scott Duncanson and Mary Edmonia Lewis were two important artists of the romantic era. The first American artist who will be spoken about is, Robert Scott Duncanson. Duncanson was a self-taught African American painter that was known mainly for his landscape paintings, but also for his portraits and murals. The following artist who will be spoken about Mary Edmonia Lewis. Lewis was known as the first “colored sculptor” in her time. In this paper, it will be discussed how these two artists overcame many obstacles

In the first example, a painting done by Norman Rockwell, a girl is portrayed as “more kittenish than hoydenish” the girl and her appearance are described as “soft and tentative”. She is with a boy who is awkward, she touches just his hand and that is only to tell his fortune. The girl “looks into his eyes with confidence and no assumption of consequences to her boldness”. The girl described, was the first step away from “Mary Pickford” yet is still far away from “Flapper”. In the cover the next year, the boy and girl are shown again, this time already contrasting from the Mary Pickford type; the boy and girl share a closeness - “he is standing close in an attitude of embrace” where last time there seemed to be a line drawn in-between them. The girl’s appearance is beginning to change as well, “her dress is beginning to be tomboyish” she wears a sweater and a skirt opposed to a one piece dress and it is no longer soft and delicate. The girl has a “glance backward at the young man- awkward boy no longer- is more conscious of possible consequences of this exciting intimacy”. The stark differences in the looks that each girl is giving is enough to show the changing behavior of this new generation

Mary Steven Cassatt was an American painter and printmaker. A woman who entered the international art world where male dominated and women settled down with getting married, being a house wife, and being a mother during the nineteenth century. On the other hand not so much with Mary, she was a strong and stubborn woman who was passion for arts. Many of her influence during her career life were from focusing on women’s daily life, and even from public’s opinion.

Throughout its long history, art has evolved from images splattered onto cave walls into brilliant paintings done by easily recognizable artists such as Pablo Picasso. Recently, contemporary artwork has been making its own name in the world of art by introducing many new techniques and styles of art. One of these artists is Elizabeth Huey. Huey has been one of many artists who have changed the style of artwork over the last few decades. Instead of being full of biblical references, Huey’s artwork represents an observation of something she saw, and then added her own personal characteristics to it. These characteristics are demonstrated in her painting titled “The Superintendent”, along with several other paintings done by her in the past decade.

At this time, Georgia had to end her painting career and became more isolated. Despite this isolation and old age, she agreed to several interviews and her strong personality shined. She was referred to as “gracious, generous, and a charming hostess, whose interests lay in practical rather than hypothetical matters (Lynes, 2006, pg. 3).” O’Keeffe was also described as “lively, witty, inquisitive, and up-to-date on current events (Lynes, 2006, pg. 3).” During these interviews she was often straight to the point with her answers, was a careful listener, and never seemed to be “caught off guard” never revealing too much about herself (Lynes, 2006, pg. 5). Her interviews showed her open and accepting manner on many issues but also revealed her displeasure about the way some of her work had been perceived. In her interviews “she did pointedly deny any influence photography had on her work (Lynes, 2006, pg.4).” She was also displeased when in her interview “…she railed against feminists who, since the Whitney show, had adopted her as their heroine and had increasingly invaded her privacy with frequent, unannounced visits (Lynes, 2006, pg. 4).” Although, she had been a supporter of women’s rights, the sexual interpretations of her work also seemed to irritate her as she declared that the ideas that feminist’s had about her work was wrong. “Although it is clear that she had learned from Stieglitz what she knew about both endeavors, after his death in 1946 she acknowledged him less and less as a force in her life and art or in American art in general. This denial through omission in the 1950s and 1960s was no doubt one element in her ongoing effort to define herself as a loner and pioneer who single-handedly had achieved success through hard work and perseverance (Lynes, 2006,

Da Dandy (1919, fig. 1) is an example of an early photomontage done by Hannah Hoch that comments on the “new woman” and that proves to show that Hoch aimed to enlighten the majority that the “new woman” is not the final representation of gender equality and neither is an explanation of what defines gender roles. This photomontage portrays four overlapping women and the head of one man on top of a disintegrated background colored in red, beige and blue. The main focus of the photomontage are the women dressed in trendy clothes that

There is some disparity between the way critics and philosophers like Judith Butler view Cindy Sherman's work and the way that Cindy Sherman speaks of her photographs. It may be the disparity that exists between many modern artists, who often operate on an intuitive level, and the philosopher critics who comment upon them from a theoretical perspective or a pre-established framework. On one level, Cindy Sherman may only be playing "dress-up" (as she herself admits) in her famous History Portraits (1989-90) (Berne, 2003). On another level, however, her "dressing-up" may be indicative of a deeper problem in modern gender identity theory which is the problem of "becoming" woman (Butler, 1994) or, as Judith Butler sees it, the problem of performativity. In the History Portraits, Sherman may certainly be said to be "performing" and perhaps even attempting to "become" the male and female characters she represents in her work. Indeed, it is upon such a premise that philosopher critics and gender theorists find her work so engaging. This paper will examine Cindy Sherman and her History Portraits in relation to Judith Butler's gender theory, the portrayal of the self, and how gender identity has changed throughout the course of modern history. It will examine representations of womanhood from Romantic Idealism to Post-Modernism and will also