Wallada’s freeing mobility can be viewed outwardly—by the way she dresses and her demeanor. Located in the museum called The House of Sefarad in Córdoba, Spain, lies a painting of Wallada, along with four other influential women from Andalusia, titled, The Famous Women of Al Andalus (Fig. 1). The painting was created in 2006 and the artist, Jose Luis Muñoz (1969-), used graphite, tempera, acrylic, gold leaf and oil on wood to create the painting. This image is Muñoz’s visual representation of Wallada. One skewed information on this painting, however, is the words displayed on Wallada’s chest. These words are the poetry that Wallada wore proudly on her right and left sleeves of her robe (“I am, by Allah, fit for high positions”) instead, it is placed on her chest. By placing these words on her chest, the viewer is able to visibly see her …show more content…
Her humble background and strong demeanor as a woman encouraged other women to be comfortable with their own bodies and feel free with their mobility. On March 26th, 1091, Wallada took her last breath and left the world, yet her legacy still lives on forever as she already left her mark. She inspired many women, one of them being her student, who wrote satires about her after her death. Including Wallada in the anthology would help readers understand what life was like in Andalusia as well. There are so many poets from countries that us as students are familiar with, that we tend to ignore writers from countries that are foreign to us. Those voices become lost and forgotten as time moves on. Wallada has such a distinct and impactful voice, that it cannot be forgotten. Arguably, she is one of the most influential Andalusian poets of her time—defying the rules of society and moving freely wherever she goes. She is a true feminist icon and would be a perfect addition to the
Guillermo González Camarena was a Mexican electrical engineer who was the inventor of a color-wheel type of color television, and who also introduced color television to Mexico,
The painting I chose today is called ‘Fidelia and Speranza’, part of Putnam collection, by Benjamin West and was painted in 1776. The Fidelia and Speranza painting is Oil on canvas painting. ¬¬¬¬¬¬¬¬The current location of this painting is in the Timken Museum in San Diego, California. Benjamin West worked mainly in London, Roma, and Philadelphia. Benjamin was an American- British painter and was born in October 1738 and died in March of 1820; born in Pennsylvania but lived his entire life in England from the year of 1763. This painting has dimensions of about 54 by 43 inches. Fidelia and Speranza mean Faith and hope.
The central focus on the table, in the painting, is what it appears to look like a book of Sor Juana. Sor Juana Inés de la Cruz, is a huge Mexican, feminist icon. During the seventeenth century, while the Spanish still occupied mexican territory, The catholic church had a significant amount of power. Sor Juana challenged the church by being a controversial figure at the time by her being a well-educated woman, nun, and poet/writer, during a time where men were
A quick read of Ana Castillo’s poetry will provide a reader with a good knowledge of the style she uses. The style used in “Seduced by Natassja Kinski” and “El Chicle” is conveyed vividly. A key ingredient to Castillo’s style is imagery. Castillo uses imagery to portray the environment, object movements, emotions, and everything else that is of utmost importance. Also important to Castillo’s style is her choice of words.
Barbara Carrasco is an artist and muralist based in Los Angeles. Her works range from pen and ink drawings, to paintings, to posters and countless murals. Her artwork has been exhibited nationally and internationally. Barbara Carrasco is considered to be a renegade feminist. Her art is known for critiquing, dominant cultural stereotypes involving socioeconomic, race, gender and sexuality.(Revision history statistics "Barbara Carrasco" 2017)She is known for bringing awareness to the Chicano art movement and their sexist attitudes sometimes seen in Chicano art. Barbara Carrasco works in advocating to change treatment of women. I decided to do my research paper because I believe that there's a difference between how a Chicano depicts and paint images and how a Chicana depicts and paints images. As a Latina woman, learning about Barbara Carrasco
In this work, the colors and shapes come together to form the depiction of a woman in a chair gazing out at the landscape beyond a window. This subject matter relates to Picasso’s infamous relationship with women and may serve as a depiction of one of the many women he was linked with. The painting depicts the woman with a dual omniscient and introspective vision. Picasso develops this dichotomy through the depiction of a wayward eye gazing out the window and a larger ubiquitous eye glaring directly at the viewers. In constructing such a contrast, the painter is able to convey the personality...
In conclusion, we see how this boundary between genders is amorphous yet binding as it perpetuates the male dominant societies in The House on Mango Street and Woman Hollering Creek in various forms, enclosing women within its walls. For women “[t]o survive the Borderlands”, they “must live sin fronteras (without borders)/ be a crossroads”(Anzaldua 38,39-40).
Did you know tobacco and alcohol use cause over 475,000 deaths in the U.S. annually? To assist young people in avoiding these harmful behaviors, the D.A.R.E. program enhances the knowledge and awareness of the hazards regarding dangerous substances throughout a ten week program. The acronym D.A.R.E. stands for drugs, abuse, resistance, and education. D.A.R.E. ensures the safety of adolescents in various situations and instills beneficial strategies, techniques, and tips to aid young people in making responsible decisions.
Diego Rivera and his wife Frida Kahlo are an important aspect of the Hispanic World and well-known names in Latino art. Rivera and Kahlo knew many famous painters such as Duchamp, Siqueiros, Orozco and Picasso. Picasso became a great friend of the family. Kahlo has influenced many places in Mexico. There are many land marks not only in Mexico but around the world. The Frida Kahlo Museum is located in Coyoacan Mexico in her Casa Azul home (blue house), this is the same place Kahlo was born, grew up, lived with her husband Rivera and died (Gale, 1996). The museum holds collections and embraces the personal effects of both artists shining light on the way of life for affluent Mexican writers and artist during the first half of the century. The Dolores Olmedo Museum at Hacienda La Noria is another museum-house from the 16th century monastery, includes many of Kahlo’s famous paintings such as “The Broken Column,” “Luther Burbank,” and holds a large amount of Rivera’s works of art (Gale, 1996). Rivera’s murals of his wife Frida, himself, and various members of their family and friends can be found at the Secretariat of Public Education (where he met his wife), the Mexico City’s National Palace, the Museo de la Alameda, and the Palace of Fine Arts (Gale, 1996).
Barrios were the main source of housing utilized by Citrus growers (Wright 34). They were settlements upon which most Mexican workers lived. They were favored because it kept citrus prices low and the Mexican workers were willing to work long hours for little pay. It wasn’t uncommon for many of the Anglo Claremonters to be completely unaware of the Mexican presence in their community. This is because the barrios were located on the outskirts of Claremont almost bordering unincorporated San Bernardino County (Wright 35). The Mexican community in these barrios fostered their own education system. One of the first schools made for these Mexican children was in the West Barrio. Mexican children were not schooled with the Anglo children, as it was believed that the Mexican children could not understand English as well. When the school at the West Barrio became
Las Meninas is considered one of the greatest paintings of all time by critics and casual admirers of art alike. It was painted during a time when Spain’s glory was declining, and Velázquez was surrounded by the remnants of a once-great court, which was now in shambles and debt. King Philip had entered depression, due to the fact that he did not have a suitable male heir to the throne and was bankrupted by the Thirty Years’ War, and paid little effort to governing his country. He had lost power, and his portrait in the mirror of Las Meninas illustrates the shadow of what Philip had once been. The center and main focus of the painting is La Infanta Margarita, Philip’s five-year-old daughter. Light streams through a window onto her face, illuminating her with a golden light. Two of her meninas, or ladies-in-waiting, are located on either side of the princess, one kneeling and offering her a glass of water with another rising from a curtsy. On the right side, the dwarf Mari-Bárbola and the midget Nicolas Pertusato stand, along with a brown dog. Behind them, a man and woman are in conversation. On the left side, a massive canvas looms over the group as Velázquez, the artist, stands behind it with his brush and palette. On the dark back wall, two paintings hang along with a mirror which reflects the countenances of the king and queen. A man stands in the doorway of a door in the back of the room, with his hand on a curtain as if he has just pulled it open. The room appears almost empty, save for the figures in it, and this emptiness is amplified by the room’s high ceiling. Diego Rodríguez de Silva y Velázquez’s masterpiece, Las Meninas, conveys a message telling of the crumbling political situation and uncertain future of Spain at the ...
Carroña (Carrion), by Javier Perez, is an Murano glass sculpture installation located at the Corning Museum of Glass in Corning, New York. This sculpture was created in 2011. It consists of taxidermied crows feasting on the remains of a shattered red chandelier made of glass. Carroña is a representational sculpture, meaning that it depicts objects that people can recognize from the everyday world. People can easily recognize the crows and the chandelier which are common objects in today’s world. The sculpture contains many elements of art such as: shape, line, form, texture, contrast, color, pattern and unity.
Federico García Lorca’s poem “La casada infiel” depicts the story of a gypsy who makes love to a married woman on the shore of a river. When looking deeper into the poem, Lorca appears to provide a critical observation on the values of the conservative society at the time in which he lived. The woman, at her most basic reading, is treated as an object, elaborating on the sexist values in society at the time. Lorca addresses issues of sexism as well as issues of sexuality within society mainly through the poem’s sexist narrative voice, objectification of the female character and overriding sense of a lack of desire throughout the poem. His achievement to do so will be analysed throughout this commentary with particular attention to Lorca’s use of poetic techniques such as diction, personification and imagery.
Although prostitution may be one of the world’s oldest professions to this day it is seen as a degrading and disrespectful career especially when regarding female prostitutes. In Chronicle of a Death Foretold, the town is very critical and strict about chastity and premarital sex. Maria Alejandrina Cervantes is the town madam which by society’s standards makes her to most marginalized, but ironically she is not brought down by her society’s rules. Gabriel Garcia Marquez uses characterization and irony to demonstrate Maria Alejandrina Cervantes’s contradictory role and to develop the theme of going against society in Chronicle of a Death Foretold.
During the Great Depression, while the competitors were cutting costs and reusing outdated designs, Kress was expanding and building more elaborate stores than their previous ones. The architecture was referred to as an “emporium” evoking an elegant atmosphere more suited to a fine cloth or furniture store in New York rather than the five & dime stores dotting small town America. Many wonder what the driving force was behind these design decisions, especially during a national time of economic recession. Perhaps simply to outpace the competition, but perhaps more importantly Samuel Kress was an avid art collector and a proponent of public art enhancing a community. In this way the Kress legacy of the brand became more than a retail business, it became a symbol of small town civic pride.