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Portrait of Mnonja by Mickalene Thomas is an Idealized style of art that uses mediums of rhinestones, acrylic, and enamel on wood panel. Painted in 2010, this larger than life painting with dimensions of 96 x 120 in. (243.8 x 304.8 cm), can be admired in the Smithsonian American Art Museum. The subject matter is Mnonja. Different time periods and different places throughout the world have their own ideas of beauty and perfection. Idealized style is what the artist sees as beautiful. “Women possess a lot of dynamic energy, they take care of a lot of responsibilities- they are wives, mothers, daughters, and friends. Women are dynamic in their trajectory of life: they are beautiful, inspiring and charismatic. The women in my life juggle a
On Saturday, March 15, 2014, I visited the Metropolitan Museum in New York. The gallery #753, which is a part of so-called American Wing, features oil paintings of the revolutionary period in America. The paintings seen in this gallery celebrate heroes and hard-fought battles of the new nation. The most popular type of painting of that time remained portraiture. Portraits in extremely large numbers figured in interiors, where they were arranged to convey not only domestic, but political messages as well. Hence, it is natural, that such iconic figure like George Washington became a model for numerous artists of that era, including Gilbert Stuart and Charles Willson Peale, for whom Washington actually sat. Two exceptional portraits of Washington, the general and the the first President of the United States are highlighted in this paper.
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
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 exhibition is not too large as it only contains around eighty artworks. These works all have African Americans as the main subject since Marshall believes that African Americans deserve more attention in art because they are almost “invisible” in a way. Mastry is arranged chronologically, starting with Marshall’s earlier works and then leading to galleries with themes such as beauty or the civil-rights struggle. Mastry should be visited because it allows a person to learn about African American art which is underrepresented and underappreciated. The general idea or thesis of this exhibition is that African Americans have been looked down on throughout history and viewed as subhumans, or even invisible. Marshall’s exhibition is about appreciating African Americans and viewing them as what they are: humans.
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
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.
In her essay “A Woman’s Beauty: Put Down or Power Source?” Susan Sontag masterfully with just few strokes undoes the signification of the mythology of the feminine. She ponders the opposite pair of concepts of beautifulness and handsomest in a deconstructionist fashion. She describes the violent coexistent in which both concepts concur. However, after effectively have exposed the way these oppositions function and understanding the distortion of the myth of the feminine, Sontag fails in giving a “real” solution. Erroneously, she concludes that the only way to destroy this myth is by women getting a critical distance from the concept of beauty. Ignoring that the universe of women is not constituted just by those women who have clambered up to leading positions –western, white, educated women-, she fells in a hasty generalization.
The gestural and heavy working of the paint and the contrasting colors make the painting appear active yet are arduous to follow. The defining element of Woman and Bicycle is the presence of the black lines that do most of the work in terms of identifying the figure. Through the wild nature of the brushwork, color, and composition of the painting, it can be implied that the artist is making an implication towards the wild nature of even the most proper of women.
One of the most influential and inspiring feminist artists to produce work, Judy Chicago was able to (how she changed the world) through her work including ‘the dinner party’ (1979).an instillation completed after 5 years of development. Triangular in configuration, equilateral in structure, reflecting the goal of feminism, an equalized world. Completed using ceramics, needle and fiber techniques as well as china painting. The table holding 39 place settings each commemorating a mythical or important woman or historical figure. Beneath the table was 2304 handmade porcelain tiles, 999 of which were inscribed of other important woman’s names. In her artwork the dinner party Judy Chicago gave recognition to woman both achievers and oppressed. In this way she gave a voice to the duality of woman’s issues, not only was she advocating for recognition of woman’s achievements but she was also bringing to the forefront the concept of inequality. Judy Chicago‘’ had been trying to establish a respect for woman and woman’s art; to forge a new kind of art expressing woman’s experience’- challenge and redefine conventions of gender’’ The fact that the names of woman were placed on a high end table setting challenged gender equality in itself as tables like this had previously been only acc...
Pioch, N. (2002, Jul 16). WebMuseum: Pollock, Jackson. Retrieved 3 30, 2014, from Pollock, Jackson: http://www.ibiblio.org/wm/paint/auth/pollock/
The location of the artwork was located on the 2nd floor of the museum. It was kind of difficult to find as it is not listed on the map. The painting is framed and placed near the corner of the entrance to another room. The artwork measured about 3 feet by 6 feet. It is placed near paintings of portraits. This was one of the reasons why I choose this painting. As soon as I walked into the room, it caught my eyes right away as not only was it different from the other artwork in the room but it also consisted of many colors in the paintings. It was also one of the biggest artwork in the room. The room itself was fairly large. There was enough lighting to get a good look at the art work but much dimmer compare to the other rooms. The lighting fits perfectly with the period. Every artwork in the room was spread out evenly with enough spacing between them. There were about 2 artworks near the center of the room but most of the artworks were hung up against the wall.
Beauty isn’t what will allow you to succeed; it is the amount of hard work and dedication that you give to accomplish your goals. Kelley gives three main reasons to support this claim; the standard will change, the opportunities for women are growing without the help of beauty, and that it is important to not let yourself get to a vulnerable state. The reasons may seem a little vague but the author gives enough evidence to support them, which gives the reader the opportunity to develop a new meaning of beauty. For the last reason Kelley is presenting an argumentative idea that contradicts what she has said, but still ties in with what she has to say about the “standard”.
The hyperrealistic sculptures of Ron Mueck are so incredible visually, that it is unimaginable that his work is not that of a real person. One of my favorite pieces by Ron is, Woman with Shopping, which he created in 2013. The dimensions are 44 ½” x 18 ⅛” x 11 ⅞”, and has a mixture of mediums. He uses a variety of visual elements, principles of design and is an extremely talented individual. Few would argue that his work is painstaking, but quite breathtaking.
This assessment of beauty is essential in causing women to feel insufficient. They are left staring at models in lingerie with enhanced figures, manipulated by an airbrush, computer, or surgery . Men are for the most part attracted visually. This is well known by advertisers, so they use this pushing women to purchase the cosmetic brand that endorses the model their husband can’t stop drooling over in the checkout line’s magazine rack. There aren’t many women that I know who will leave home without painting their face‘s. They purchase clothes to accentuate the curvy figure, again paralleling themselves to...
Since the dawn of time, beauty or what it should or should not be has been influenced by civilization. “Beauty” depicted what is or is not acceptable. No matter what one person prefers, people still struggle to reach the ideal image set forth by varying factors. “Beauty” according to Dictionary.com is “the quality present in a thing or person that gives intense pleasure or deep satisfaction to the mind, whether arising from sensory manifestations (as shape, color, sound, etc.), a meaningful design or pattern, or something else,” if this is the case why do people not abide by that? () “Beauty” is an intangible obsession that has yet to be explored properly. Is “beauty” really in the eye of the beholder?” Why do women feel the need to be “beautiful?” “Beauty” is a strong factor in women’s lives, but they do not control it; nature, race, and society depict what “true beauty” is, and because of those things a great percentage of women are insecure.