Music And Emotionism In Gertrude Joel's 'Susie Asado'

Alice Neel and Egon Schiele were some of the most daring artists of their time. Neel was especially known for her uncaring attitude of what was “in” at the time, while Egon Schiele was similarly known to paint some of the most bold nude figures of his time. Both painted what they wanted, not a thought towards what was socially acceptable. They both focused on painting people around them, or in Neel’s case, random people on the street, and Schiele was often compared to Picasso in his obsession with self-portraits. Either way, while Alice Neel and Egon Schiele were from opposite sides of the planet, they shared a remarkably similar style of painting and rendering of the subjects in those paintings.

In Jean-Honoré Fragonard painting The Happy Lovers (appendix: fig. 1), viewers are able to get a glimpse into the light-hearted, playful Rococo period. The Happy Lovers is a 35.5 x 47.75 in. oil painting, that was created between the years 1760–5 in France for an unnamed aristocrat; however, it can now be found in the Norton Simon Museum in Pasadena, California. The Rococo period was a result of artists resisting the stiff monarchy, and desiring open expressionism–this was particularly emphasized through nature. The two great artists from this period are Fragonard and François Boucher, Fragonard’s teacher. A result of Boucher teaching Fragonard, specifically in the continuation of pastoral, Boucher was a great influence. This is obvious when The Happy Lovers is compared to Boucher’s The Bird Catchers (appendix: fig. 2). Both paintings include subjects of women holding bird catchers and doves, ultimately symbolizing woman’s ability to control relationships. More specific to The Happy Lovers, the woman dangles the cage above the boy, who is carrying a dove, a symbol of Venus–the goddess of love. However, in the bottom left quadrant of the painting there is an even larger cage with more doves, hinting at the idea that women can easily capture many men. This further expands the sensual intention Fragonard creates. In placing this scene within a secluded landscape, Fragonard emphasizes the flirtation and secretiveness between the two lovers–creating an unstructured, blissful

A review of the world’s great artists conjures familiar images: Michelangelo’s Sistine Chapel; Vincent Van Gogh’s Starry Night; Pablo Picasso’s The Tragedy. There are many more, of course: Monet, Moya, Warhol, Rembrandt, Kandinsky. What is immediately noticeable, however, upon any brief study of art, is the significant absence of women as heralded artists—not only in our ancient pasts, but even today, amongst valiant efforts for gender equality.

Modernity and the Spaces of Femininity was written by Griselda Pollock in 1988, and later published in The Expanding Disclosure in 1992. Griselda Pollock is an art historian, and writes this article for fellow art historians. This is an article written to show the different approaches to femininity in the late 19th century, mainly dealing with the field of art. This article shows how during this time period there were women artists, but due to the gendered ruled ideas attached to art history, these women are largely ignored by art historians. Pollock thought that these women artists are primarily overlooked due to the fact that they are judged by the same standards that are affixed to the work of their male counterparts. But she argues

Pollock is known as one of the most influential scholars of modern, avant garde, postmodern and contemporary art. “Griselda Pollock continually challenges the dominant museum models of art and history that have been so excluding of women’s artistic contributions and articulates the complex relations between femininity, modernity, psychoanalysis and representation.” (Boundless, 2015) She is known as a major influence in feminist theory, gender studies and feminist art history. Griselda Pollock’s approach to art history and criticism utilises the central tenets of Marxism critical approach to society and culture, extending the existing framework of historical materialism to compose new feminist analyses of sexuality and gender identity. Pollock embraces the Marxist assertion that society is structured by relations of material inequality, but contends that society is equally structured by sexual inequality and gender divisions. Pollock determines that the exclusion and denigration of female artists in art history is a product of the patriarchal structure of bourgeois ideology. Despite women being involved in art making, twentieth century art history continues to define the artist and the artwork as a masculine phenomenon. As art and culture is marketed and produced by a culture industry that exists to perpetuate and reinforce bourgeois culture, hegemonic art history and criticism actively works to justify this

The Mexican Artist Frida Kahlo is best known for her profound artwork and iconic likeness to the artist. She explores the ideas of gender, nationality, class, politics, etc. The emotional intensity and imaginative aspects of her artwork led many to label Frida as a surrealist. Although accepting this label, Frida distinguishly noted that her paintings are not of dream worlds, like other surrealists, but of her own reality. Frida Kahlo’s “The Broken Column” has influenced how I view myself and the world around me through its depiction of spiritual tranquility and physical anguish.

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.

The use of symbolism and imagery is beautifully orchestrated in a magnificent dance of emotion that is resonated throughout the poem. The two main ideas that are keen to resurface are that of personal growth and freedom. Furthermore, at first glimpse this can be seen as a simple poem about a women’s struggle with her counterpart. However, this meaning can be interpreted more profoundly than just the causality of a bad relationship.

In the second stanza the speaker sees “senoras”. Describing the women as “senoras” in contrast to “women” immediately tells the reader that the speaker is more familiar and comfortable with the ladies in the other room. This is a difference that we might have missed if not for the juxtaposition within the poem. In the third and fourth lines of the second stanza the poet mentions how the senoras “stir sweet milk coffee”, while “laughter whirls”, giving the reader an impression of the relaxed home environment filled with excitement and noise, but also contrasts with the first stanza’s black coffee and quiet environment. The symmetry almost coerces the reader into comparing the bland, bitter blank coffee with the sweet, creamy coffee of the other room, and so Mora develops a sharp distinction between the two and what they are symbols for. “Sonrisas” means smiles, and that is pen ultimately how Mora contrasts the two worlds she lives in, by the “smiles” in each room. The last lines of stanza two describe “smiles” that are “trapped” within the “dark, Mexican eyes of the “senoras”. These smiles typify the sincerity of the home experience in contrast with the insincere smiles of the professional world. Juxtaposing these smiles, on the page, and in our minds, achieves the contrast that

The post-modernist Julie Rrap is a contemporary artist whose focal point rests on the basis of femineity and the way the female identity is represented historically within art. She is a feminist who accuses the ‘male gaze’ of instigating a predatory activity that is accustomed with the norm of society. She relates this norm to existing social structures that are attributed with a patriarchal society, where women were nothing more than sexual objects. All in all this term, the ‘male gaze’ evaluates the predatory voyeurism of society, where the male is the active subject and the female is a passive object of representation.

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

Frida Kahlo is a world-renowned Mexican painter known for her shocking self-portaits filled with painful imagery. Her artwork was seen by many as surrealist and socialist, but she refused the labels put on herself. Until today, her works have been able to exude the same playful and wild feel as before (Fisher n.p). Her legacy as a painter has attracted prominent people like Madonna who has confessed her admiration for the painter. Not only that but fashion designers are frequently inspired by her iconic Tijuana dresses while her paintings have been priced at more than three million dollars (Bauer 115).

Sylvia Plath wrote “Mad Girl’s Love Song” in the early fifties while she was an undergraduate college student. The poem is written in the villanelle poetic form of which it reflects not only the rigorous fixed format, nineteen-line with two repeating rhymes and two refrains but also the melancholic tone and rhythm of the traditional dance song—in vogue in Italy and France during the sixteenth century—in which its roots lie. The title itself offers a plausible explanation for choosing the villanelle poetic form, which strict metric certainly helps to convey the sense of torment and alienation that emerges from the refrains repeated throughout the poem. A rising crescendo from one stanza to the next builds

Frida Kahlo’s “The Two Fridas” is a manifestation of heartbreak, inner human pain, rejection of colonialism, and emotional journey. An oil on canvas made in 1939 in the midst of Frida Kahlo’s divorce from Diego Rivera, this painting embodied Frida Kahlo’s progression at this time in her life, dealing with what she is and what she wishes to be; as well as setting out how she wishes to do it. An ode to melancholy and overcoming adversity, “The Two Fridas” is a universal, eternal reminder of human capability.

Girl before a Mirror, an oil on canvas painting by Spanish artist Pablo Picasso, shows two sides of a girl; one which is illustrated with a dark tone and one with a vibrant colorful tone. This painting is bright; colors are at full intensity and are arranged next to their complements, producing a visual relationship between shape and form. Forms are used to draw the viewer’s eye across the canvas where circular shapes, repeating throughout the work, are compensated by the pattern of diagonal lines of the background. The viewer observes the girl’s profile and full frontal image, looking into a mirror and noticing a different image of herself. In order to achieve this effect, Picasso uses a range of formal elements that highlight the