One of Reginald’s paintings, Subway 14th Street, depicts a scene from the depression era in New York City. An energetic lowly group, its shabby boulevards swarming with Bowery bums, vaudeville entertainers, and men who remained on breadlines. Marsh was fixated on the American women as a sexual and capable figure. In the 1930s amid the Great Depression more than two million women lost their occupations, and were said to be abused sexually. The women may be half dressed or completely bare, and are intentional and solid. Marsh’s work demonstrates this misuse by depicting men and women in similar artworks. As for this painting Reginald thought the middle-class folks were more interesting than any other class during this time, due to how he dressed them to distinguish their social class to other tactics such as color choice etc. …show more content…
The women are dressed well enough to show they have enough income to be able to have some money to live and pamper their selves, and the men dressed in slacks and a nice button down with overalls. This artist wanted to show the life people lived during this time and the atmosphere when waiting for the subway. An atmosphere of a strong rhythm section of double bass and drums as the anchor for a lead section of brass instruments; better known as swing music. They looked ready for what the night life had to offer. Also for this class their main source of transportation was the subway, which is why majority of his paintings are centered around the subway. This social class shared this moment in time together while waiting for their train to
In the Victorian era, in New York City, men and women roles within the society were as different as night and day. A man regardless of his extra curricular activities could still maintain a very prevalent place in society. A woman’s worth was not only based family name which distinguished her class and worth, but also her profession if that was applicable.
The Great Depression was one of the hardest eras America has ever had to face. It tore families apart, leaving them with nothing but despair. Wood and Shahn use their pictures, American Gothic and Rural Rehabilitation Client, to depict this feeling of anguish. American Gothic displays the anxiety of those who experienced the first ripples of the Depression and Rural Rehabilitation Client shows the sheer desperation of those who lived during the worst days of the Depression. Through these two works of art, the feelings of hope and hopelessness are powerfully represented.
The readers are apt to feel confused in the contrasting ways the woman in this poem has been depicted. The lady described in the poem leads to contrasting lives during the day and night. She is a normal girl in her Cadillac in the day while in her pink Mustang she is a prostitute driving on highways in the night. In the poem the imagery of body recurs frequently as “moving in the dust” and “every time she is touched”. The reference to woman’s body could possibly be the metaphor for the derogatory ways women’s labor, especially the physical labor is represented. The contrast between day and night possibly highlights the two contrasting ways the women are represented in society.
One of Larson’s first uses of contrast demonstrates the exploitation of the Gilded Age. On page 11, the very beginning of part I, Larson recounts how in the 1890s, young, single women were flocking to Chicago in large numbers and exercising their newfound independence by getting jobs. Larson then states “The men who hired them were for the most part moral citizens intent on efficiency and profit.”
Women have spent a large amount of time throughout the 20th century fighting for liberation from a patriarchal form that told them that they must be quiet and loyal to their husbands and fathers. For the duration of this essay, I will be discussing how the “Modern Woman” image that appeared through the Art Deco style — that emulated ideas such as the femme fatale and masqueraded woman, and presented new styles to enhance women’s comfortability and freedom — is still prevalent and has grown in contemporary art and design since. Overall I will describing to you how fashion, sexuality, and the newly emerged ‘female gaze’, and how these tie in together — in both periods of time — to produce what can be described as powerful femininity.
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.
Modernism was the word of the era because it was the opposite of the last. People pined for new and exciting ways to make up for time lost to the war. This feeling of looking ahead through the ambiguity of the time permeated through all tiers of society from the working class to the elites. In Judith Walkowitz’s “A Jewish Night Out,” we find a dance hall catering to Jewish youth. One can rent a dance partner and learn how to dance well. It was suddenly important to be able to charm the opposite sex in talent, attitude, and appearance because sex wasn’t just for procreation anymore. Deborah Cohen’s Household Gods, she gives a look into architecture and material things. There’s a clear clash between the older and younger generations, and the younger ones enjoy modernism. “Advocates of the modern insisted that the new era required a new style. They deplored the vogue for reproductions, which, in the psychological language of the day, they analysed as evidence of an ‘inferiority complex’.” As well, stream of consciousness writing emerges from the depths of collegiate, middle class bohemia. The Bloomsburry Group were named after the London neighborhood they inhabited and were an artist collective, living life according to art and the new fragmentation of life after war. Virginia Woolf’s writing reflects the general feeling of the interwar period: confusing, ambiguous, hopeful, and moral-less. The Bohemians took the disassociation of the era and put it into new and modern art. All of these cultural ideas and forms of recreation were a result of the Great War because there was a generation of young people who were lost and needed a future meaningful to them, so they created
Women in pictorial history have often been used as objects; figures that passively exist for visual consumption or as catalyst for male protagonists. Anne Hollander in her book Fabric of Vision takes the idea of women as objects to a new level in her chapter “Women as Dress”. Hollander presents the reader with an argument that beginning in the mid 19th century artists created women that ceased to exist outside of their elegantly dressed state. These women, Hollander argues, have no body, only dress. This concept, while persuasive, is lacking footing which I will attempt to provide in the following essay. In order to do this, the work of James Tissot (b. 1836 d. 1902) will further cement the idea of “women as dress” while the work of Berthe
Juniper Ellis’ “Gendering Melville” argues that not enough attention has been paid to masculinity in relation to other major features in nineteenth century America, including femininity, race, and class....
In addition to gender roles, social classes were incredibly important in Victorian life. The typical woman’s life was framed mostly by her interactions with men of equal social standing. For Vivie, this means the middle class. Because the prototypical Victorian woman was most common in the middle class, a New Woman like Vivie encountered resistance to her way of life. The resistance was often passive, though, a result of men who are unable to comprehend a more independent woman. Mr. Praed is a f...
The lives of the young and wild women of the twenties began with a new attitude and a completely different look. The Flapper is “an emancipated young woman who embraced the new fashions and urban attitudes of the day”. Generally, one would cut their long hair down to a short, boy like bob and dye it jet black. Many wore dress that were very bright, flashy, loose fitting, and would not hang past the knee. Close fitting felt hats, many strings of beads, pumps, and skin toned stockings typically completed the look of a flapper. So many young women completely changed their lifestyles in their fight for equality. Smoking cigarettes and drinking immense amounts of alcohol in public became a normal attraction. Too many young girls were speaking openly about sexual activity, as well as other numerous activities that would have ruined their reputations, and lives not too long before. The discussion, of courtship and relationships completely and utterly offended...
The Yellow Wallpaper and The Awakening were two works written during the Age of Expression. The entire country was going through an era of Reconstruction; politically, socially, culturally and econmically . The Yellow Wallpaper and The Awakening are feminist works aimed at the psychological, social, and cultural injustices during the era. According to Mizruchi, “ Cosmopolitanism aroused dis-ease: depression and disaection were prevalent in a society whose pace and variety seemed relentless. Yet the same circumstances also instilled hope. For it was widely recognized that the burgeoning heterogeneity of a newly global America would be a source of enduring vitality.”(Mizruchi, 2008) The wives portrayed in these works defeated the attitudes of their husbands during this patriarchal culture.
The painting clearly refers to the period of slavery, presenting the unequal roles between black and white individuals. The artists paints the image in a way that both exposes and ridicules the actions of the white man. A black woman being kissed by a white man suggests that she is a slave and therefore in a relationship that was enforced and sexually violent. African American women, as slaves, were subject to the practice of sexual exploitation in the 19th century. Women were treated as property as they were continuously harassed, raped, and beaten by masters as white men with authority took advantage of their slaves. While women were appeared to be consenting to the mistreatment, no safeguards existed in order to protect women from such abuses, and were left with no choice but to engage in sexual activity with their masters. The black man in the image, on the other hand, is subject to being hit, a way of enforcing slavery. The two black figures, are in essence, a form of “luxury” for the white men as the black man is being deprived of his rights by his owner and is used as a tool through work in the fields, while the woman is used as a “luxury” that satisfies her owner through fulfilling the white man’s sexual
The 1920’s was the decade that introduce the wild side of the women youth. These young women were often middle-class and held steady jobs, but once the sun went down, their wild side emerged. They were labeled as flappers. These women were trying to break out of the habit of being entrapped in the austere standards given by society. They were young and rebellious, and wished to stray from the fundamental beliefs of how women should act and look like. Their goal was to escape the fate of the “socially silenced women in the Victorian age” (Flappers). F...
One of Augusta Savage’s most captivating works of art is “Gamin”, a sculpture made of painted plaster. This is an image of a young street urchin who is thought to be Savage’s nephew, Ellis Ford. This sculpture represents the many young African American men of Harlem who roamed the streets. This sculpture is not very large. It is only 9 in. x 5¾ in. x 4⅜ in., but it is a suitable size considering the subject is a young urchin. He is wearing a shirt that appears to be wrinkled and a loose fitting hat. He appears to be poor and hopeless. He looks as though he is looking at something that is far away or just looking for someone to restore his hope again. His face shows loneliness or sadness. If you look closely,