Paul Gaugien Women

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.

The violent clash of patriarchal Europe with the Americas and other parts of the world during the colonial period directly caused a degree of cross cultural diffusion that is evident within art. During this period of immense change, european artists sought to innovate and take a modern approach to their work, breaking away from the established mold. Abigail Solomon-Godeau write of one such artist from this period, Paul Gauguin, not only for his experimentation into expressionism but for the relation to which he viewed the native people of Tahiti, regarding them from a primitivist lens, appropriating much of their culture, and the sexualization of women.

Artist and people viewing the art work have always had a fascination with the female nude. Even when I was a child my attention was captured by the nude art not because I was a kid and I saw a nude lady , but it forced me to wonder more about why the female nude was so amazing as a tool for art and why this is repeated so many times throughout the centuries. One female nude painting in particular was the subject of controversy and exposed the syncretism and or the power of the female nude painting.

In the Renaissance period women are almost invariably shown as completely passive and as an object for contemplation. The reclining female nude in the Renaissance raises questions of the male gaze more often than any other artistic stereotype. Female nudes were only an open acknowledgement of not only male desire but also the right males had to express that desire. A woman’s feelings when looking at such images of members of their own gender were never discussed or asked until recently.

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

Culture can shape a person’s identity because it is something that directly affects all people. People who grow up in a culture that is quite different from that experienced in the home or local community may feel isolated and may struggle to forge an identity. At times it is necessary to make some concessions in order to belong. Very often new arrivals to Australia find themselves struggling with the demands that their original culture places upon them as well as the pressures of Australian culture.

When I think of the word “cultural identity”, I think of myself, and what makes up who I am as a person. My cultural identity influences everything about me, from the moment I wake up, to the minute I rest my head on my pillow at night. My culture influences the way I eat, speak, worship, and interact with people. However, I am not only affected by my own culture, but others’ culture as well. I am fortunate to have an extremely rich heritage, and I couldn’t be prouder of my cultural identity.

Stuart Hall’s Cultural Identity and Diaspora focuses on the current issues of identity, cultural practices and cultural representations. He analyses the visual representations of Afro-Caribbean’s and challenges the notions of identity from African and European places. Hall then goes on to explain how Caribbean cinema has chosen to both, refute and embrace European influence. He presents two different forms of thinking about cultural identity. In the first position, Hall defines ‘cultural identity’ in terms of one, shared culture, which people with a shared history and ancestry hold in common. The first model uses “stable, unchanging and continuous frames of reference and meanings’ to present the idea of shared culture, history, and ancestry rooted beneath ‘more superficial imposed ‘selves’” (Hall, 223).

At first glance, the similarities between Vincent van Gogh and Georgia O’Keeffe appear minimal at best. A young van Gogh died penniless and largely unknown in a remote backwater in the south of France, while O’Keeffe lived out a long and illustrious life as one of the most famous artists of the early twentieth century. Where O’Keeffe was the object of admiration and fascination, van Gogh was the object of pity and derision. Where O’Keeffe was heralded in her lifetime for capturing the spirit of the desert landscapes of her beloved New Mexico, van Gogh was a was a man without a country, driven by destitution and illness to wander Europe in search of peace and some measure of stability. Despite their differences, however, O’Keeffe and van Gogh share vital similarities. Both van Gogh and O’Keeffe used art to advocate for the inclusion of the disenfranchised and the forgotten (namely, the poor and the ill in van Gogh’s oeuvre and women in O’Keeffe’s); both revolutionized how the natural world is seen; both are characterized by aesthetic styles which are highly sensory and sensual, representing psychological and physical states in such groundbreaking ways that they change the modern world’s understanding of what it means to be human.

Expounds on the connection between Gericault's depiction of severed heads and limbs and the call of romantic modernists for artistic and political renewal. Gericault's contempt

It is not easy to find what make people’s identity. The causes are sometimes visible and are sometimes invisible. People often say features of appearance can be identity such as skin colour, hair colour, eyes, and body frame. Other people, however, might say languages, lifestyles, beliefs, and families make identity. In the world, the differences of these things such as appearance and beliefs have been discriminated. Especially, Indigenous people often have been invaded their cultures and lands in the world and because of this, the number of Indigenous people have decreased. The main focus of this essay is Australian Aboriginal people’s identity. Dudgeon, Wright, Paradies, Garvey, and Walker (2010, p. 6) stated: ‘Aboriginality is about descent, culture, upbringing and life experiences. Thus there are many elements which impact on forming Indigenous identity. This essay will discuss that Indigenous Identity is influenced by various surroundings including government, family and cultures. Firstly, it will introduce the author and the book details and background. Secondly, this essay will explain family member impact on identity development. Thirdly, it will also describe the connection between identity and kinship ties. Then, it will explain the connection between identity and Cultural Interface. Finally, it will define the impact of land right on identity.

Stuart Hall defines identity as an ‘already accomplished fact, which the new cultural practices then represent’. We should think instead of ‘identity as a ‘production’ which is never complete, always in process, and always constituted within, not outside, representation’ (Hall 1994 p.392). An individual’s sense of belonging to a particular group, thinking, feelings and behaviour can also be referred to as identity. One’s cultural image can construct identity; such features as hair, skin tone and height. History shapes our identity.

would situate ourselves in history.” (100) in the essay led me to start the analysis of Gauguin’s

“Primitivism” was a cultural attitude that arose in Europe during the late 19th and 20th century in opposition to the increasingly decadent and materialistic European culture. Rather than an artistic movement, “primitivism” is a European conception of foreign civilizations and lands as “simple”, less developed, and naive. This is an important distinction to make, because “primitivism” was defined in the eyes of the Europeans who saw foreign civilizations as unsophisticated, indicating that the concept of “primitivism” is heavily biased in the view of the Europeans. Paul Gauguin and Henri Matisse were two artists that were highly influenced by the concept of “primitivism,” and some similarity can be depicted in their works such as the use of female nudes, vivid colors, and artistic techniques. However, their definition and methods of achieving “primitivism” differ heavily, due to the fact that the vagueness of “primitivism” allows it to be a self-defined concept. These similarities and differences can be seen through the two works of art The Spirit of the Dead Watching by Paul Gauguin, and The Blue Nude by Henri Matisse, and the way they depict women in each of the pieces.

In chapter three maalouf states, “Identity isn’t given once and for all: it is build up and changes throughout a person’s lifetime.” The essence of Maalouf’s argument is our identity changes over time and different components are added everyday, changing our identity as a whole. He gives a great example of an African baby born in New York, compared to if it was born in Lagos,