Summary Of Man Ray's Disarming Venuses

“The Decorated Body” is an essay written by France Borel - an anthropologist who studies tattooing, piercing, plastic surgery, and other alterations. “The Decorated Body” was featured in the Parabola in 1994.

The main focus of the painting intended by Titian is a nude woman, Venus, looking straightforwardly at the audience. The young woman’s nipples are erect; with her left hand covers her pubic area, the sexuality of this painting is unquestionable. She is completely naked except for the ring on her little finger and the bracelet around her wrist. It is clear that the intention of this painting is to evoke sensual feelings in its audience.

In representing female subjects, both Pablo Picasso’s oil painting Les Demoiselles d’Avignon (1907) and Édouard Manet’s A Bar at the Folies-Bergère (1882) manipulate the formal techniques of composition and perspective to create new ways of seeing their subject, emulating their contemporary society’s shifting views of women and the individual. Les Demoiselles depicts five naked prostitutes, flaunting their bodies, and some wearing tribal masks. In comparison, A Bar at the Folies-Bergère represents a female, who may also be a prostitute, tending a bar. The depiction of previously ‘hidden’ female subjects alone was an innovation of the perception of the artist, however, the formal treatment in representing these subjects was an important break from tradition.

Often times in literature the body becomes a symbolic part of the story. The body may come to define the character, emphasize a certain motif of the story, or symbolize the author’s or society’s mindset. The representation of the body becomes significant for the story. In the representation of their body in the works of Marie de France’s lais “Lanval” and “Yonec,” the body is represented in opposing views. In “Lanval,” France clearly emphasizes the pure beauty of the body and the power the ideal beauty holds, which Lanval’s Fairy Queen portrays. In France’s “Yonec,” she diverts the reader’s attention from the image of the ideal body and emphasizes a body without a specific form and fluidity between the forms. “Yonec” focuses on a love not

In Chapter 3 of his book, “Ways of Seeing”, John Berger argues that in western nude art and present day media, that women are largely shown and treated as objects upon whom power is asserted by men either as figures in the canvas or as spectators. Berger’s purpose is to make readers aware of how the perception of women in the art so that they will recognize the evolution of western cultured art.

Take a step into a plastic surgery center, and the inevitable will be seen. Self-conscious women will line the waiting room chairs, waiting for their own version of the “perfect body.” In “The Perfect Body is Possible,” written by Hannah Termorshuizen, it makes quite a mockery of women everywhere. The speaker addresses plastic surgeons everywhere about how it is their “calling card” to give women the proper body, even introducing herself as a fellow plastic surgeon, with years of experience. With a sarcastic and witty voice throughout the article, the author effectively reveals the satire with outrageous claims. Since the perfect body is not possible, the author has made that very clear on why it is not by showing that it is, by taking on the persona of a plastic surgeon reaching out to other surgeons to continue to work on women. Recently, society is trying to push the movement that there is no such thing as the perfect body. The author has taken it upon herself to satirically show a surgeon that believes in the perfect body, and how it is possible, by means of plastic surgery.

When if first viewed this piece, it was directly clear which gender was being represented in the piece. From our study in class I knew that red had been used to represent women and so that was my guess, which was confirmed by the title. I like how the artist used the stepping lines to mimic the different parts of her body. While the ones on her torso almost represent the skeletal system that would be inside the larger women. While the lines on her face almost build a skull like shape. I was wondering what she was carrying because based on the body language of the figure it does not seem heavy. This makes me think if it is like the archaic smile, which represents something else, and not the direct action that is being depicted in the piece. I also created meaning with some of the line but I was wondering about the pants like bands. I do like the patterns and they remind me of the leggings that some people wear to add something different to a simplistic dress. I was also curious if the size of the women also represented her status and her ability to reproduce like the “Venus of Willendorf”. Which this piece had more humanistic qualities than the “Venus of Willendorf”; I found myself and comparing the two pieces in the specific area of the image of the female body that was used in these in each piece. I think this was easy to question and find a need to understand why this figure was

The artist depicts an initial confusing and weirded-out thought for the viewer at first glance, but as one deeply examines the art, the subject matter begins to become more clear. The vision being shared in this non-objective painting has a context of placing one in the standing of Mr. Man by gaining height and freedom from the (white) bars that are rising on each level that represent conflict which traps one in a “cage” of misery. The unbalanced symmetry of having the left side take up more space with little action, and the right side being smaller with the action unraveling, makes the viewer break down each composite perspective. For the left side, the mysterious female muse, Moon-Face, has an unproportional face that is almost blushing with shades of light pasty orange, with the mouth wide open. The energetic mood is amplified by the tone of yellow that is splashed in the mouth, representing a loss of words or at a state of disbelief. The female’s lower half is created with tints of red that enhances the curves on her body, as if chiaroscuro connects the light and dark contrast to show outline of the breasts, stomach, and hips in

In this essay we will be looking at the ways contemporary artists represent the body. And how we no longer look to art for idealist portrayals of the human form. Through contemporary art the body has become a territory and vessel, which can transmit ideas within our society. We will be exploring theories surrounding this topic, particularly notes from Mulvey's 'The Gaze' and Leo Bersani's 'The Freudian Gaze'; where they have successfully pinpointed why society's depiction of the human body has become romanticised and idealised. We have decided to analyse the work of Jenny Saville and the way in which she paints series of her grotesque and yet entirely realistic self portrait.

It is this author’s judgment that a specific photographic artwork of Man Ray is not a legitimate link between George Hodel and Elizabeth Short’s murder given that there are discrepancies when analyzing Short’s body and Man Ray’s artwork. On the other hand, there may be a link between surrealism as a link to Short’s murder. However, it is a weak link that seems to be based on pure speculation, forcing readers to make conclusions without first inquiring George Hodel’s legitimacy, or lack thereof, as a surrealist. The overarching argument here is that while George Hodel may have killed Short, neither Man Ray’s artwork nor the movement known as surrealism seem to be a legitimate connection to Short’s murder.

In the year 1992, a contemporary British artist, Jenny Saville, painted one of her famous paintings of the human body in its raw natural form. The painting by Saville is regarded as one of her self-portrait depictions of her “ugly” body named “Branded.” The painting is an oil based medium of the artist’s obese and disproportional body on an 84 x 72inch canvas. The painting displays the image of a large nude woman and highlights the imperfections of her body figure.

In “Venus of Urbino,” Titian formed a good composition that balances somewhat the delicate static character of the reclining Venus with a consistent dynamic component. The painting

This formal art analysis will compare and contrast the line, color, light, and composition of "Gertrude Stein by Pablo Picasso and “The Toilet Of Venus" by Francois Boucher. The formal qualities of these paintings provide a classically orientated approach to the individual subject, which provide similar methods of composition and line. However, Picasso tends to chose earthy color tones in contrast to the brightly colored image provided by Boucher of Madame de Pompadour. More so, Boucher provides a much more lighted environment for his subject, which is dissimilar to the muted light of Gertrude stein in an interior setting. In essence, a comparison and contrast to the line, color, composition, and lighting will be formally analyzed in

The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.

The era of Mannerism is renown for its increasingly complex works of art, much like the High Renaissance before it, and the discipline of sculpture is no exception. Out of this period comes more intricate poses, forms, and emphasis on the illusion of movement which is perhaps most evident in Giambologna's "The Rape of the Sabine Women". His sculpture depicts a young man attempting to carry a struggling young woman as he stands over the contorted body of an older man, either the woman's husband or father. What is interesting about this work is not only the realistic human forms and perceived chaos of the moment, but also the lack of a dominant side from which this sculpture would be viewed. In order to achieve these features, Giabologna utilizes a combination of various textures and diagonal lines to create the complete illusion of muscle, flesh, energy, and multiple focus points.