Comparing Titian's 'Les Demoiselles D' Avignon

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I agree with Duncan’s claim that the female nudes in the paintings discussed in her article convey women as objects that are viewed only by their flesh which in turn “denies their humanity”. This claim is credible based on Picasso’s Les Demoiselles d’Avignon because the poses of the women, especially the one on the bottom right creates more sexually availability as they open up their bodies, as if they are offering themselves as sacrifice to the male sexual appetite. Two of the women are depicted wearing masks, in an attempt to disguise their identity. This lack of identity, also portrayed in Kees Van Dongen’s Reclining Nude, due to the absence of their face, consequently grants access to the male viewer to objectify these women more easily, …show more content…

This is evident in Titian’s Venus of Urbino because the nude female body isn’t being provoked as an object of the viewers desire, but is instead an object to be desired. Her naked body is not in possession of the male viewer’s gaze as Titian hints a sense of fidelity to her. Whilst Duncan claim is seemingly convincing, Manet’s Olympia opposes this claim. The model in Olympia is not a prostitute in real life but is perceived as one, this is because she has been undressed as she still wears her shoes. Additionally, the dirtiness of her feet indicate that she has been walking around looking for sex. The association with prostitution only permits the viewer to look at the surface of the model, and does not permit the viewer to look beyond the naked body of the model. Her hyper sexualized body, similar to Kees Van Dongen’s Reclining Nude is fully available to the male’s gaze. The model in Olympia appears to be dirty, this idea of of a dirty body links itself with the female bodies of non-white races, affiliating with the immorality that comes with it. Duncan doesn’t mention the relationship between race and immorality when depicting the female

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