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Artemisia gentileschi
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Throughout Chapter 23, the two paintings by Artemisia Gentileschi drew my attentions the most. Both of these paints offer rare occurrences of a woman’s perspective in the 17th century art scene, which are unique and refreshing. In Susannah and the Elders, Gentileschi depicts a scene from a story in the book of Daniel, where the young Susannah is threatened by two elder men while bathing alone in her garden. The subject matter was popular among Roman catholic arts, perhaps because it offered a rare chance to display the female nude. Non-allegorical female nudes were highly stigmatized, subsequently paintings of female nudes were often cloaked in the framework of biblical/ mythological narratives. Following this tradition, female nude figures, including the depiction of Susannah, were often highly idealistic and unrelatable. …show more content…
On contrary to that trend, Gentileschi’s Susannah appears realistic and anatomically more correct.
Susannah in the picture, like everyone else, is capable of happiness and sorrow. Male artist contemporary to Gentileschi tended to focus on Susannah’s youthful beauty, and the elders’ lustful stare, however that’s not the case in this picture. The composition is very tightly knitted, and consists three main figures without too much of the environment included. This emphasizes the relationship between the figures. Susannah’s vulnerability, fear and the imminence of what’s about to happen are palpable, as Susannah being only inches away from the elders’ hands. Susannah is undressed with only a towel over her lap, and her hands pushing away the stare of the elders over her head. Her head turning away as far as she could as the two large male figures encroaching onto her space from above. In traditional depiction of this scene, the two men are often portrayed as taken by Susannah’s unearthly beauty with no freewill, and are incapable of controlling their stares. In this picture, they appeared as predators, instead of some dope-eyed
romantics. Twenty years after Susannah and the Elders, Gentileschi completed the Self-portrait as the Allegory of Painting, and the same general tone toward female figures remained the same. Female figures even to this day, are often depicted as muses. Instead of inspiration to arts, this is a picture of herself as an allegory of painting. She is shown, with a paintbrush and palette in hands, working as a painter(not for a painter). This painting makes the statement that she is just as capable as any male painters, and refuses the idealistic female role. The message sent in this is consistent with one in Susannah and the Elders twenty years its senior, and was well before its time.
The text also describes that West worked more deliberately on the faces than the things around the girls; people believed that it was a sort of portrait painting. Also in the text it says that, “ Smith (1883) has suggested that Fidelia may be a portrait of a Miss Hall, whom he identifies as the model for West’s Una” (American Paintings, 209). Fidelia is wearing a long white heavy drapery with a blue undergarment. She is holding a large brown book with gold clasp that is known to be the New Testament and she is also holding the gold chalice with a skinny green snake sneaking up but shows no fear to the snake and we know this because of her facial expression, she is just staring away. The text from the Timken Museum also informs us that the New Testament and chalice she was holding are ideas from Christian values, the chalice is supposed to be holding wine and water. However, for this painting the chalice is holding the snake to resemble poison that was meant to kill St. John. Apart from Fidelia, Speranza is wearing purplish long and heavy drapery with a greenish mantle wrapped around her legs and to the back of her, she is standing a bit behind her sister as well as holding onto Fidelias’ arm with a worried face while holding her hand up on her chest on her heart. Speranza is also holding a brown anchor on her left arm that is bent. Fidelia and Speranza are
I had never heard of the artist Artemisia Gentileschi before this introductory Art course. Of all the paintings and sculptures found within the book, it was her work that stood out and spoke to me. "Judith and Maidservant with the head of Holofernes" is a particularly rich oil painting by the Italian Gentileschi, painted circa 1625 Europe. Her large canvas measures 72 and 1/2 inches by 55 and 3/4 inches and began as a biblical story telling inspiration come to life within the oil. Located at the Detroit Institute of Arts, the painting was a gift to the institute from Art collector Mr. Leslie H. Green in 1952. Artemisia was the daughter of a painter (and caravaggio influenced) Orazio Gentileschi, she was also the wife of little known artist Pierantonio Stiattesi. Artemisia had four sons and one daughter during her marriage. A student of the Chiaroscuro technique and during a time when women were not believed capable of painting competitively and intelligently as the men of the day. Artemisia proved them wrong with stunning work and artistry over her artistic career.
The difference is that one is considered a goddess and the other is known to be a prostitute. The goddess is depicted with a chunky body and the prostitute's body has a sensual nature. She is lying on an oriental stole on a couch. She is wearing pearl earrings, a choker around her neck, and a bracelet on her arm, a flower in her hair and the kind of shoes she has on confirms the idea that she is a lady of the night life, along with the black cat that symbolizes that she is a prostitute. Another difference is that there's a maid standing right next to her fully dressed. as if to make you more aware of her nudity. She is holding flowers and has a blank look on her face. The public or the critics could not accept or understand why he would replace a goddess with a prostitute. Also it was not the nudity that appalled people; this was common and had been for centuries but only in a different perspective. The viewers were scandalized by the brazen look on her face. It had more of a bold challenging look. The painting made a bold stand and was too much to accept. The people were so upset by it that the administration had to take extra safety measures to keep the
The immediate background consists of natural mounds of dirt and a brick wall that enclose the Virgin, Child, and St. John, amplifying the protective effect that Mary’s figure has. The dirt mounds roll inward with a brick wall bordering them on the right, drawing the viewer’s attention towards the three figures. The background is painted in broad terms, with a simple, uniform depiction of tree leaves and smooth rock faces on the horizon. This contrasts with the fine-lined detail and texture of Mary’s hair, facial features, and veil, which further contribute to her elegance and highlight her
El Greco painted his “Assumption of the Virgin” in 1577 for the convent of Santo Domingo el Antiguo in Toledo, Spain. Born in Greece as Domenikos Theotocopoulos, (his nickname translates from Spanish into “The Greek”), El Greco was the top artist of the Spanish School, and was commissioned to paint “Assumption” to adorn the convent’s altar. The painting is a daunting size—over six feet wide and twice as tall—surrounded by a wooden frame tinted with a non-uniform metallic gold paint. The oil on canvas creates some, although not obvious texture, and brush strokes are visible only slightly in the garments of the human subjects. The Virgin Mary is the main figure in the painting, situated horizontally-centered in the upper-half of the canvas. She is wearing a blue flowing gown which begins below her bosom and reaches down to her feet, and a deep red fabric covers her chest and upper limbs. Her arms are outstretched and she is looking up into the heavens, flanked by female angels, adults and infants, who are praying and looking on. Below the clouds in the bottom-half of the canvas is a group of mortal men with mixed emotions and split into two groups leaving a part in the mass directly below Mary. All of the figures wear loose outfits similar to Mary’s, and many of the colors, bright but not full, are repeated throughout. One subtle detail particularly worth noting is a small piece of white paper in the bottom right-hand corner of the canvas. El Greco added the image to the paintings that he believed were his true masterpieces. Regardless of any analysis, it is certain that El Greco was extremely proud of “Assumption,” and believed it to be one of his best.
The depiction of Madonna and Christ is among the most ancient and common in Christian iconography and has an extensive number of variations because apart from its symbolic religious functions, it allows one to interpret the link between mother and child in many aspects. (8)
In this short story, we see the complexity of the characters and ultimately of human relationships. In life, we are all driven by different cravings and pleasures that eventually shape who we are. This part of life leads to complex situations. However, we can’t always say what’s on our mind, because of its inappropriate nature. In John Updike’s story, we witness Sammy narrating his mind of sexual thoughts and desires to us. Sammy says, “With the straps pushed off, there was nothing between the top of the suit and the top of her head except just her, this clean bare plane of the top of her chest down from the shoulder bones like a dented sheet of metal tilted in the light. I mean, it was more than pretty” (Updike 17). Right from the beginning, the narrator sets the tone for his viewpoint towards the girls. This quote signifies the narrator’s sexual fantasizing towards “Queenie”. Another issue that results in complexion is the maturity level of the characters. In this short story, Sammy is infatuated with these...
Images of biblical women have been used for centuries but some are much more controversial than others. One of the most infamous women associated with the bible is only directly mentioned in the bible once. Lilith is a woman whose story stems from Babylonian myths, demonology, and was the answer to a conflict in the Jewish creation story. She first appears in the folklore and more importantly the story of Gilgamesh, her story has grown into a femme fatale. The effect of social constructs on the interpretation of femme fatale archetypes such as Lilith are evident in the comparison of Lilith’s mythological beginnings to sexualized representation in Gabriel Rossetti’s painting Lady Lilith 1886. This transformation can be understood through analyzing the mythology surrounding Lilith, application of Jungian female archetypes, and the examination of art associated with Lilith.
The significant difference is two individuals in the portrait are males. On the other hand, it is rarely to see the portrait of father and son appearing in the same frame throughout the history of western art. In most of the portraits, fathers are serious and alone. In the 19th century France, women are concerned with the realms of their activities, men are free to go anywhere they want in the whole day. Based on Garb’s description, the theater is the few places women are able to go for entertainment. For the rest of their time, they have to stay in the private sphere because of conventional ideology. For the males in the patriarchal society, they are eager to exemplify their ambitions and masculinity in the public spaces. From their point of view, home is the assigned setting for women. Wives and children, sometimes, are equal to the tools of manifesting their power and social status.
In Women in Black at the Opera (1880) by Cassatt, the woman character has an active and aggressive looking. This is a major point of the painting because, during the ninetieth century, women were not normally portrayed with the “power of the gaze.” In this particular painting, the woman is holding the opera-glasses, the stereotypical instrument of male specular power. In the other hand, The Loge (1874) by Renoir portrays a lovely woman at the opera and positions her clearly as the object of the masculine viewer’s gaze, both inside and outside the paintings. Even though she is the focal point of the painting, it is the male companion who has the privilege of holding the opera glasses, hence, the power of the gaze. This clearly shows how women and men artists could represent different points of view, even in the same context. Consequently, how the meaning of same space or location can change depending on the role, power, and activity of the character that is being
To begin, the obvious focal point of the painting is Susannah herself. Her body is shown, cascaded in the arms of a man who seems to be carrying her out of the court- and to her death. Her arms are spread as if asking for help, and her eyes seem to roll into the back of her head with despair. Making Susannah the focal point, helps the viewer study her physical state, which helps determine her mental state as well. She is filled with obvious despair, which is evident in her posture, as her body is currently in mid-fall, and her eyes are rolled back as if she is going to faint. This displays a woman wrongly convicted of a crime she did not commit. This is important because that is the purpose of the biblical story in which she is present. She has been wrongly accused, so undoubtedly she would be in shock when confronted with her own death. Directly behind Susannah, is an archway with a bright blue sky behind it. This is likely to symbolize the heavens, which is where she would have gone if she was indeed killed, because although she was sentenced to death for adultery, the accusations were false, so she would not have gone to hell in the end. Linear perspective, is also used within the painting, within the staircase under Susannah. To continue, the use of light is also a prominent factor in the painting, in regards to perspective and also alone in its own right. Again, Susannah is the focal point when it comes to light in the painting. Again, directly behind her is an archway, which shines light upon her whole body and Daniels’ face. This presents itself as symbolizing the innocent beings within this photo. This is even more clear, as the viewer notices that as Daniel is running towards Susannah, he is running out of the shadows, as if he is escaping the
It is easily inferred that the narrator sees her mother as extremely beautiful. She even sits and thinks about it in class. She describes her mother s head as if it should be on a sixpence, (Kincaid 807). She stares at her mother s long neck and hair and glorifies virtually every feature. The narrator even makes reference to the fact that many women had loved her father, but he chose her regal mother. This heightens her mother s stature in the narrator s eyes. Through her thorough description of her mother s beauty, the narrator conveys her obsession with every detail of her mother. Although the narrator s adoration for her mother s physical appearance is vast, the longing to be like her and be with her is even greater.
One of the first things to come alive to me was the picture of the young girl or old woman, depending on the viewer’s perspective. I had seen this picture several times before but because the book first presented a picture more skewed toward the younger girl than the older woman, when I looked at the “dual” picture, the young girl was all I could see. I had to look at the picture more skewed to the old woman before I could retrain my eyes to see the old woman.
In Enrique Simonet’s reproduction, the three goddesses stand slightly off center and are taking turns showing their naked bodies to a man watching them in the foreground. This scene has been recreated hundreds of times, specifically because it fulfills the fantasy of the viewer, the arousing idea of three beautiful and naked women trying to win the affection of the viewer. Thus, forcing the women to become submissive to the man in order to win his affections. The sexual passion from that painting is not found in the women painted, but in viewer: “Women are there to feed an appetite, not to have any of their own.” (Ways of Seeing 55).
During the 60’s the artist created portraits of women using screenprint as a vehicle of his creations. Examining some of Lichtenstein’s work during this decade it is noticeable that he was trying to show the weak side of the female figure; In the other hand the artist might have attempted to