“Art is the most intense mode of individualism that the world has known.” -Oscar Wilde. Women are wild, sensitive, magnificent, mysterious, and above all: individual. Art’s many different medias allowed artist throughout the ages to capture women at both their strongest and most vulnerable points. It has the power to capture a woman: as a naïve, young girl clutching her brother as they are painted into a lasting portrait, a golden statue of an angel sent down to Earth to help a saved man take his first steps into an eternal life with God, to the powerful goddess, Artemis, transforming a hunter into a deer and having his hunting dogs tragically attack him. The six pieces of art chosen express the individuality of each women who has walked, walks, and will walk the earth. The painting Udney Maria Blakeley (1830), by Thomas Sully, was the first painting that came to mind when assigned the project: the painting has fascinated me both as a child and an adult due to the beauty of both the woman in the painting, but also from my deeper understanding of art now. Thomas Sully used the wet medium of oil on canvas, and included the woman in the foreground of the painting holding a rose in a vase in her right hand. There is a deep contrast between the women dressed in a white gown, and the darker background of the painting. Due to the highlighting along the left side of her face, and the shadowing on the right, it can be assumed that she is facing, or even looking straight at the
This book is written by Peter Newman, while Timothy Beatley, and heather Boyer were the coauthors. Together they examined the idea of a resilient city in 2009. The book defined resilient as lasting, making it through a crisis, something that requires inner strength and resolve, and having strong physical infrastructure and built environment. The book later states that the main roadblock in the way of resilience is fear, and throughout the book they give many examples where fear lead to a cities downfall. They also suggest that because of our resources depleting rapidly we should really be acting now in order to make a change in order to save what is left of them.
Prehistoric and ancient artists represent men and women in various ways and the works of art tell an altered story, which reinforces old-fashioned gender roles. Additionally, representations of prehistoric and ancient genders illustrate the social standards of their specific periods. The views of gender presented by the works of art are still recognizable, despite all individual’s current sensibilities and views today. An individual’s contemporary view is of gender and gender rules illustrates the significant social progress that the human culture has made. Although the Woman of Willendorf and Kouros/Statue of standing Youth artworks were created at different times, the genders can still easily be depicted within the artwork.
The image I chose for this paper is titled A Rose. The image is a painting painted in oil on a canvas and was painted by Thomas P. Anshutz. The painting was produced in Pennsylvania during 1907. I researched this image on ARTstor by using the term realism and then I narrowed down my search by selecting a filter to return paintings as well as setting the geography filter to North America. The painting belongs to The Metropolitan Museum of Art’s collection and is on display in the American Wing in the gallery of Images of Woman from 1880 to 1910.
First, almost all the present figures are philosophers, the elite, in other words. Moreover, remarkable figures like Plato and Aristotle were placed exactly in the center of the fresco, matching the vanishing point and giving a sense of gravity to their importance more than the rest. Second, women are not, if any, included in this state gathering, a masculine notion that would last for centuries. Women’s absence does not merely happen in state policy making, but also happens in things related to knowledge and art. It should be
The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink
I was drawn to this time period as well as these two sculptures. As I researched both sculptures I was fascinated by how much respect the people of that time had for their women. Not only for what they could do for them, but also for what they looked like. They didn’t see the weight and size as a grotesque thing; but more as a thing of beauty. In
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
Talking about Miranda Priestly as a boss we can clearly see that she is a very harsh boss with very high expectations regarding her workers and is therefore very hard to please. The character of Miranda expresses female power in the labour market which shows that women can be very successful in their work place and can reach the highest working positions if they are given the chance. Miranda is portrayed as a very demanding woman and is impossible to please due to her very high expectations; people are not usually comfortable around her due to how strict she is. She has alot of strengths such as the ability to perform exceptional work with outstanding results which makes her very successful in her field as well as being able to separate her
Appreciation of art is like the appreciation of a novel. One may read a title of a novel and be amazed and curios but will never appreciate it fully if the novel is not read from cover to cover. For any piece of art, one needs to learn about the artist, the story behind the piece and the purpose of the piece. In addition to learning about the work, as a woman, I find myself leaning more towards the appreciation of the work of women artists who use their talent and skills to express themselves and/or the causes they stand for. For this assignment I chose the work pieces of Believe +doubts =sanity by Barbara Kruger, By the light 2013 by Shinique smith and untitled 2002 by ellen Gallagher.
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.
This question sent me into a deeper study and I found that African women face a similar problem. I want to discuss this by taking a look into African traditional art about women, what modern art is being portrayed regarding women today, and the struggles women artists face today.
In many works of art throughout history, female breasts have been featured prominently and in the nude. The symbolic meaning credited to the breast was usually associated with fertility and nourishment, both spiritual and physical, and in the wider sense, with life. Eroticism, nourishment, abundance, expression, feminine power, as well as feminine subservience, are different contradicting themes of the breast played out in time.
When one thinks of art and religion, one may think of gender role defiance and non-conformism. While this may be generally true in present times, it was not always this way. Women and men have had distinctly different places in society, these places often being unequal. Generally most well-known works throughout the ages have adhered to and represented what society regarded as the proper gender roles for men and women. This is represented in three works of art which will be discussed: Hamlet by William Shakespeare, The Courtier: Book 3 by Baldassare Castiglione, and Luncheon on the Grass by Eduoard Manet. While these three forms of art come from different times and are of different mediums, they are connected in that they follow and represent the gender roles of their time.
According to Helen Frankenthaler, “There are no rules. That is how art is born, how breakthroughs happen. Go against the rules or ignore the rules. That is what invention is about.” Throughout history, female artists were seldom granted the same opportunities as their male counterparts, yet they refused to adhere society’s rules, and, in turn, they were able to invent powerful, unique art. Whether within the 20th century parameters-which often offered much more creative freedom to women such as working rights, dress style, and voting rights- both Frida Kahlo’s surrealism and Gabriele Munter’s figurative art found new ways to challenge society’s expectations of women and their art.
Louise Nevelson’s work was groundbreaking for female artists. At a time when only men created large scale works, her sculptures spoke volumes to the feminist movement. Her works initiated an era in which women's history became suitable subject matter for monumental artistic representation. She is credited with triggering the examination of femininity in art and challenging the vision