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Now and then character analysis
Now and then character analysis
Now and then character analysis
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Module two writing assignment: The Grotesque Old Woman Everyone has their own perception of beauty. The attractive attributes in something or someone is based on an opinion. In other countries and cultures their definition of beauty might be different than others. What my culture considers beautiful can be repulsive to other cultures. I define beauty in a few different ways. I believe a person can be physically attractive or internally attractive or both. There are features on a person’s body such as, white teeth, freckles, moles, or clear skin making that person unique. On the other hand, a person can be considered beautiful because their personality is delightful. Massy’s, “A Grotesques Old Woman” is the perfect example of the proverb “beauty is in the eye of the beholder.” …show more content…
As I studied the portrait, I realized it was a woman because in the sixteenth century there were no plastic surgeons providing men with breast implants. The ugly woman in the portrait appears deformed; her ears are large; her skull is unusually shaped; her hair line is missing; she has no eyebrows; her neck weighs heavy (double chin) like she had been pregnant before; her nose and mouth are far apart. She is wearing a vail or she is a religious catholic woman. My perception of the portrait has changed a notch, in fact, when you analyze her eyes she seems like a compassionate person. Perhaps in the sixteenth century in Massy’s culture “A Grotesques Old Woman” is considered beautiful because she is different than other woman portrayed in other
I have wondered where Raphael found that face. It is not voluptuous like the Italian, nor heavy like the German, nor light like the French, nor cold like the women of more northern nations. It is the ideal woman's face for all nations and ages, and yet it is typical of none.
One can immediately see the involvement of age in this sculpture because of her hunched back, bone structure, wrinkles, baggy eyes, saggy breasts, and all the other imperfections, but also shows that she has some kind of background history. She is also missing her arms, which one would be carrying a basket with fruits or vegetables, and the other could be carrying a chicken. Her dress, slipped off of one shoulder, epitomizes women of age during childbearing years had
The painting depicts a mother and her four children, who are all leaning on her as she looks down solemnly, her tired, despondent expression suggests she felt trapped in her roles as being a mother and a wife. The woman and her children are clearly the focal point of the artwork as the bright colours used to paint them stand out impeccably against the dull, lifeless colours of the background. This painting appears to be centred around the ideology that women are home-keepers, whose main role is to satisfy and assist her husband while simultaneously minding the children and keeping the home tidy and ready for his return. The social consequences of this artwork could have been that the woman could have been berated for not taking pleasure out of being a mother and raising her children, as a woman should. She could have been made redundant as her husband may have felt as though she is no longer useful if she couldn’t adequately adhere to her roles as a mother and a
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
Through the exploration of this diverse range of portraiture, the contrasting ideals of masculine and feminine beauty in the Renaissance have been explored. Yet overall, no matter what the gender orientation of the subject, the discovery of such passionate and artistic talent is essentially ‘beautiful’. Consequently, the grand appeal of such glorious images is still appreciated today, and will continue to delight viewers for generations to come. Bibliography Paola Tingali Women in Italian Renaissance Art (Manchester, 1997).
Most of the time in our society, we judge the people by their appearance. The important thing that most of the attractive people should know is that no one chose to be born ugly or not. Being attractive doesn't mean being physical looks good. Also, we need to consider that sometimes the most attractive people have the worst manners ever. Usually, they are smugglers and have bad behaviors. But we have to admit that we made that mistake. We have given value to the beauty and neglected morality. For me, appearance is not everything, because if I am communicating with somebody, I need him to be respectful to me, as I am respectful to him. I am not saying that the attractive people disrespectful, but a lot of them have sick thoughts. They think
“The Grafin von Scholfeld with her Daughter” is oil on canvas art piece painted in 1793. It is a painting of a woman holding her daughter on her lap, the woman being “The Grafin von Schonfeld.” The woman is dressed in clothing that is from the upper class or a royalty stature in the late 1700’s. The clothing looks rich in material and sleek like silk in the colors of wine and a rich green. She has a covering on her head that looks like an extravagant scarf that drapes over her shoulder on one side, also made of the same silky material used for her dress. The woman has pale skin, reddish brown hair, bluish eyes, and rosy cheeks. Her eyes look very real and penetrating when you examine the painting. The daughter is about the age of 5 or 6 years old. Her arms are around her mother’s neck and legs draped across her mother’s lap. The daughter is wearing a white fluid dress that looks thin in material with a red sash around her midsection. The daughter has the same reddish brown hair and rosy cheeks. The mothers and daughters eyes are equally as big in size, while the child’s eyes seem also very real and youthful.
“Beauty is not in the face; beauty is a light in the heart” (Kahlil). People focus more on the outward appearance instead of the inward appearance. One’s inward appearance is comprised of their character, values, morals, and the true nature of their heart. On the other hand, the outward appearance is composed of one’s dress and grooming. The inward and outward appearance determines whether or not a person is ugly or beautiful. The choices that we make also define whether or not one is ugly or beautiful; choices made in the past can sometimes be repeated in the future.
This essay will discuss how women were represented in the portraiture during the Renaissance period. It will explain how the women’s body was pictured in portraiture as; marriage celebrant, husbands beloved, figures of fertility, mothers, display of wealth, paragons of virtues, husband’s passive representative, indication of fashion and more (Brown, 2003). Next, it will include analysis from the two female portraits of Leonardo de Vinci’s Ginerva de’ Benci and Sandro Botticelli’s Portrait of a Lady. First, I will explain what portrait means and then represent my own interpretation of Botticelli’s Portrait of a Lady by referring to instructional “activity dialog” that details how to analyse the body’s subject in the portrait (Mckennee et al., 1994). Second, I will discuss how the Renaissance ideal perception of the women’s body image was influenced by philosophy of humanism, religious saintly virtues and the poets’ understandings (Haughton, 2004). In short, I will explain how the radical change occurred in the woman’s portraiture in late fifteen-centuries where the traditional profile view was no longer popular and straight frontal presentation was fully practised. To exemplify this transformation, the painting of Leonardo’s Ginerva de’ Benci will be employed as means of analysis as Leonardo was instrumental in this fundamental change in the women’s portraiture (Garrard, 2006). Overall, it is quite astonishing how much constructive interpretation can be derived from one single portrait and these expressions will help me to expand my language and writing skill. I think practising the portrait activity-dialog between the viewer and the portrait’s subject expands the mind to be more creative which in turn initiates the development...
In the Victorian novel, physical appearance was a primary means of characterization (Lefkovitz 1). A hero or heroine's beauty (or lack thereof) was probably the most important aspect of his or character. As Lefkovitz points out, beauty is always culturally defined. How then, did the Victorians define it?
How a person perceives their body is influenced by what it looks like to them and what it looks like to others. Our society teaches us through media and social pressure that body image is important. Feeling attractive is an important part of self worth and for many, feeling attractive means matching a certain ideal appearance. Most of us will never be able to look like this ideal, but the message we get is that we risk social failure if we do not try hard enough. When we believe this message we may feel incompetent and depressed and have low self-esteem because we cant meet impossible standards of appearance.
Additionally, from the perspective of the pose, the maid is elegant, solemn and quiet but the face shows a sense of indifference and enchanting. The woman’s back is facing the viewer. Unlike what is shown in the Venus of Urbino, the model is actually facing directly to the audience to seduce men. The odalisque is offering herself to the man but just giving him a slight view of her body. There is unconcern in her eyes rather than a kind of softness and flirtation as in the eyes of Venus of Urbino.
The purpose of the present paper is to discuss a very interesting piece of art, Fra Filippo Lippi's “Portrait of a woman with a man at a Casement”. I will begin by the analysis of the formal qualities of the painting such as the composition, the color, line, texture, proportion, balance, contrast and rhythm. I will then discuss how the work fits a certain stylistic category. I will demonstrate that the painting reflects the social and cultural trends of the period in which it was created.
I cannot remember the last time I met someone who I would characterize as “ugly.” This word stems from a lack of self-esteem, and considering we are ALL made in the image of God, we all have inner and outer beauty (Genesis 1:27). If you don’t believe me, ask your mom, dad, or best friend, and I guarantee they will agree with me. Not only are you beautiful, but also infinitely valuable, as Christ gave up his life for you (Romans 5:8). You are a child of the Most High God, and are of indescribable value (Psalm 82:6). Never let anyone tell you anything
The definition of beauty is varying among different people in the world. Even though almost everyone knows the term beauty, many people are struggling in defining it and persuading others to agree with their opinions. Beauty is defined by a combination of qualities existent in a person or thing that fulfills the aesthetic feels or brings about profound gratification. Many people define beauty as a term to describe a person’s physical appearance; they often think that beauty comes from magazines, video girls, or even models. Although the term beauty can define a person’s physical appearance, true beauty lies in the way one acts and thinks rather than the way one look.