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Artemisia was one of the first women artists to have an international recognition. However it did not come easy because she was born in a time period when women were not considered equal to men. Being an artist was not something a woman was supposed to do. Although her talent was much greater than most male artists of her era, she was brushed aside just because of her gender. “Gentileschi’s gestures are far more expansive than many contemporary or later self-portraits by male artists of themselves working in oil paint” (Chare, 2009). However, because of her sex she was ignored deliberately. During 16th century male artists were considered to be specialists. Female artists were nothing but insignificant exhibitions. Men were the decision …show more content…
She had a youthful uneasiness drawing this painting. When all other male painters during that time portrayed Susanna as flirtatious, Artemisia looked at her with a female viewpoint and depicted Susanna as helpless and startled. This was her reflection on her own life during the time period about how she felt in the world of men: timid and distressed. However her perspective changed at the age of 19 when she was raped by her teacher who was also her fathers’ coworker: Agostino Tassi. At trial, Tassi humiliated her by saying that she slept with many other men before him. Gentileschi had to go through torture and examination by midwifes of her virginity to prove that her testimony was valid. Tassi further humiliated her by saying that Artemisia was not a skillful artist and did not even understand the laws of perspective. Finally, Tassi was found guilty when a former friend of his testified that Tassi confined to him about his exploits with Artemisia. Soon after trial Artemisia married a painter and moved to Florence, where her paintings flourished. The trial changed Artemisia’s life. She was a victim of the male dominant society and an example of how women were
This paper will discuss the well published work of, Pomeroy, Sarah B. Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity. New York: Schocken, 1975. Print. Sarah B. Pomerory uses this book to educate others about the role women have played throughout ancient history. Pomerory uses a timeline to go through each role, starting with mythological women, who were called Goddesses. She then talks about some common roles, the whores, wives, and slaves during this time. Pomerory enlightens the audience on the topic of women, who were seen as nothing at the time. Men were seen as the only crucial part in history; however, Pomerory’s focus on women portrays the era in a new light.
Sandro Botticelli's Painting, The Birth of Venus Sandro Botticelli (1444-1510) was a Florentine painter. Almost all of Botticelli’s life was spent in Florence. His genre of painting was based around mythological ideals and also religious subject matter. Botticelli painted in a highly personal style characterized by elegant execution, a sense of melancholy, and a strong emphasis on line; details appear as sumptuous still life’s. His paintings like The Birth of Venus, were a great impact on the Humanist art movement.
Tobias Fischer-Hansen and Birte Poulse. From Artemis to Diana: The Goddess of Man and Beast. Denmark. Collegium Hyperborem and Museum Tusculanum Press. 2009.
Fantham, Elaine, Helene Peet Foley , Natalie Boymel Kampen, Sarah B. Pomeroy, and H. Alan Shapiro.Women in the Classical World. Oxford: Oxford University Press, 1994.
The article “Why Have There Been No Great Women Artist” by Linda Nochlin and “Life on the Edge: Artemisia Gentileschi, Famous Woman Painter” by Elizabeth Cropper both discuss the same major theme. Both articles discuss the place that women have in the art community. I agree with Nochlin. I believe there have been great women artist, but have only been held back. My points can be expressed and explained with understanding of the different experiences between men and women, and also the thought of what actually makes art great.
I like the picture Touch by Janine Antoni on page 81. The first element to describe this picture is its form. Its form is a video snapshot and not a painting. The texture element of this picture is a TV screen or paper and ink from a printer. The clouds give the realistic texture of moisture as well as the ocean the texture of water. The color element in this picture is lots of blue in the sky and water. It has blue-green in the water. There is brown in the sand. There is white and gray in the waves and clouds. The space element is open to where the viewer knows there is more to this picture especially on the right and left. The line element in the picture is the horizon and the tight rope the woman is walking together in the same direction.
Berger, John. "Images of Women In European Art." Motives for Writing: Robert Keith Miller. Bostoni McGraw Hill 2002. 373-90
This particular statue of Artemis that I came across was hard for me to distinguish at first. In the statue, she looks to be a young girl and not a goddess. The one distinguishable aspect of this statue that after I read the informational card gave it away it was her was the deer next to her. One of Artemis’ many attributes are animals, in other paintings and sculptures she might be seen with a deer-skin cape or a bow and arrow to show that she is the goddess of the hunt.
Throughout the centuries women have been adored, worshipped, admired, treasured, and for many very important. So, since the beginning of time artists have favored and used females as their muse and the things the women represent, whether it be a fertility idol, a mother goddess, reflecting a role or status of the women in their societies, or to simply be viewed upon for their beauty. The cultural identities of women in ancient art all revolve around the theme of fertility, sexuality, goddesses, and motherhood and the art exhibit, Cultural Identities of Women in Ancient Art will reveal ad describe this theme throughout the span of time and around the world, from prehistoric time though medieval Christendom.
In a famous fresco painting called the school of Athens with an interpretation in a book called “Understanding Rhetoric: A Graphic Guide to Writing (Elizabeth Losh, 2014)”, The Authors painted a different version showing Aristotle and Plato are shown in different ways. In the books version the authors changed the color, the body language, and even add themselves to the painting. Books always have interpretations of famous paintings and even change it up a bit to fit the book needs but just because they change the painting doesn’t mean they change the main focus of the painting. The Painting “The School of Athens” is paint as a Fresco painting. Fresco meaning it an oil painting painted on a wall. The interpretation painting given of the School of Athens in “Understanding Rhetoric: A
In his tragedy Iphigenia in Aulis, Euripides portrays Iphigenia with qualities that were especially uncommon for the women of Greek literature. Although a majority of the tragedy is centered around Agamemnon’s struggle to make a seemingly impossible decision, the significance and beauty of this tragedy is highlighted near the end of the tragedy when Iphigenia chooses to sacrifice herself to Artemis for the greater good of Greece. This act of selflessness highlights qualities such as courageousness, selflessness, and loyalty that many famous Greek writers often chose to associate with men rather than women. Ultimately, Euripides uses Iphigenia’s final dialogue to argue that women of the time, just like men, were capable of making extraordinary sacrifices and significant contributions that were just as important in maintaining the overall prominence of Greece as the glorious
Despite her artistic reputation, her strong personality, and her numerous good relationships, however, Rome was not so lucrative as she hoped. Her style, tone of defiance, and strength relaxed. She painted less intense works; for instance, her second version of Susanna and the Elders (1622).[9] The appreciation of her art was narrowed down to portraits and to her ability with biblical heroines. She did not receive any of the lucrative commissions for altarpieces. The absence of sufficient documentation makes it difficult to follow Artemisia's movements in this period. It is certain that between 1627 and as late as 1630, she moved to Venice, perhaps in search of richer commissions. Evidence for this is that verses and letters were composed in
Meyer, Jargen C. “Women in Classical Athens in the Shadow of North-West Europe or in the Light from Istanbul”. Women’s Life in Classical Athens. www.hist.uib.no/antikk/antres/Womens life.htm. Accessed: March 10, 2012
On the field trip to the Washington County Museum of Fine Arts in Hagerstown, Maryland I chose a painting of Still Life from the Smith’s gallery, painted by a nineteenth-century American artist, Robert Spear Dunning who lived from 1828 to 1905.
Clothed in her riding-dress, she must have looked very out of place to the Turkish women, she postulates. Yet the women were astonishingly polite and civil, she commends. Whereas back home a woman dressed in odd garb would have been met with odd looks and disdain, she says, here she was received with interest and good manners. Ladies and their slaves were sprawled out on cushions and carpets, distinguished by their dress. She compliments the women’s beauty, comparing their bodies to those of goddesses drawn by Italian painters Guido Reni and Tiziano