Throughout the centuries women have been adored, worshipped, admired, treasured, and for many very important. So, since the beginning of time artists have favored and used females as their muse and the things the women represent, whether it be a fertility idol, a mother goddess, reflecting a role or status of the women in their societies, or to simply be viewed upon for their beauty. The cultural identities of women in ancient art all revolve around the theme of fertility, sexuality, goddesses, and motherhood and the art exhibit, Cultural Identities of Women in Ancient Art will reveal ad describe this theme throughout the span of time and around the world, from prehistoric time though medieval Christendom.
The first piece of art that dates back to c. 28,000 B.C.E. – 25,000 B.C.E. is the Woman of Willendorf. This figurine is no larger than 4 ½ inches high and made out of limestone (Honour 25). The statue was
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225-175 BC and was discovered in Alexandria. The sculpture is small and measures at only 8 ½ inches high, so the Dancer is described as a statuette with her face covered by a veil or a masked dancer and could have possibly been a votive offering or even a purely decorative piece of art, which was beginning to appear during this time in history (Honour 170-171). The motions portrayed in this small statue are very complex and are rendered with naturalism, the theme can be seen just like when viewing the previous two pieces of art, the beauty and sexuality of the female body. The statue is intended to be admired from all angles, or is a tour de force which is a three dimensional form that should be examined from all viewpoints. The interaction of the dancers layers of clothing over the body revealing her womanly curves, shape, and form. The drapery has deep folds and heavily trails and you can almost envision her dancing around entertaining in the city of
The Woman from Willendorf, just as the name suggest was discovered in Willendorf, Austria in 1908 during an archeological excavation of the area. The small figurine is heavily regarded as one of the most important Paleolithic discoveries. Carved in the round from limestone the figure the figure is undeniably female with it’s exaggerated features. Some of the most recognizable features of the rounded figure include the large pendulous breast, the
In this analysis, an examination will be provided on how sources from Pompeii and Herculaneum can be interpreted to make known the role and status that women of first century AD possessed. Specifically, reference will be made to the Fresco from the triclinium of the Villa of the Mysteries, Inscription of the Eumachia Building and the tablets of Poppaea Note. Nevertheless, prior to analysing the evidence that these sources reveal; it should be noted that the women of Pompeii are not to be placed in a homogenous grouping. This is a result of the diversified roles and status that women occupied in Pompeii and Herculaneum. To provide a comprehensive analysis of the roles and status women possessed, the report will be categorised into a domestic, professional and slave context; to ensure the dichotomy in the grouping of women is made explicit.
"Statuette of a standing maiden [Etruscan] (17.190.2066) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Metropolitan Museum of Art - Home. N.p., n.d. Web. 16 Feb. 2014.
This paper will discuss the well published work of, Pomeroy, Sarah B. Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity. New York: Schocken, 1975. Print. Sarah B. Pomerory uses this book to educate others about the role women have played throughout ancient history. Pomerory uses a timeline to go through each role, starting with mythological women, who were called Goddesses. She then talks about some common roles, the whores, wives, and slaves during this time. Pomerory enlightens the audience on the topic of women, who were seen as nothing at the time. Men were seen as the only crucial part in history; however, Pomerory’s focus on women portrays the era in a new light.
Ca.630 BCE. Limestone. This is a women freestanding statue in Greek art. Both of these two statues are youth sculpture and freestanding which are the naturalistically and not stocky. They do not have muscles and a strong body, I can only see they are being the lean body types. As the female statue, her feet are standing on the same level, but the male one is not. She is putting her right hand on her chest and wearing clothes to wrap her slim body. Thus, the Greek art only has little bit impact by Egyptians. Portraying nude men can be accepted, but for women it is not.
Sweet Briar College History of Art Program. Web. The Web. The Web. 27 Feb. 2011. http://www.arthistory.sbc.edu/images/women/papers/stebbinsathena/athena2.html>.
--- Goddesses, Whores, Wives and Slaves: Women in Classical Antiquity. New York: Schocken Books. 1995, 2010. Kindle Edition. Location 2733 of 6360.
10. Venus de Milo or Aphrodite of Melos – This statue erected in honour of the Greek Goddess of beauty, Aphrodite, was carved by Greek artist Alexandros around 150 BC and later found on the Aegean island of Melos on April 8th, 1820. The statue is made completely of marble and is about 203 cm high; making her physique appear larger than life. Although the statue is not 100% intact, having lost the two arms throughout history, the Venus de Milo is still regarded as one of the most famous and beautiful Ancient Greek statues that showcases true feminine beauty. Aphrodite inspired love and admiration in all who saw her. Ultimately without Aphrodite the most fundamental human need that must be met in order for survival would not exist.
In Ancient Egypt, women are typically shown as youthful and beautiful while more mature, older women are very rarely depicted. For men of the time, ageing is shown in art more frequently because it was a positive aspect of manhood. For ancient Egyptians, art wasn’t just made for pleasure or beauty; it was a very practical and necessary part of the day-to-day lives of the Egyptians. In art, Egyptian belief was that people needed to be depicted at their peak of energy and beauty in order to remain that way forever when they cross over into the afterlife. In most ancient Egyptian art, male ageing is represented more frequently than women since it was considered a positive image for men. Egyptian art seldom depicted older women or women growing older: "neither pregnancy nor the spreading waistline that many women must have had after years of bearing children is part of the image." However, there are examples that feature elements of ageing that are linked to elite and non-elite women alike. These demonstrations of older women are possibly an attempt to outwardly show on women the authority and honor in the same way the image of male ageing is represented. Though it is rarely depicted, we can use art to trace the portrayal of older women and women growing older in Egypt, from the Third Dynasty down to the end of the New Kingdom.
The society in which classical myths took place, the Greco-Roman society was a very patriarchal one. By taking a careful gander at female characters in Greco-Roman mythology one can see that the roles women played differ greatly from the roles they play today. The light that is cast upon females in classical myths shows us the views that society had about women at the time. In classical mythology women almost always play a certain type of character, that is to say the usual type of role that was always traditionally played by women in the past, the role of the domestic housewife who is in need of a man’s protection, women in myth also tended to have some unpleasant character traits such as vanity, a tendency to be deceitful, and a volatile personality. If one compares the type of roles that ladies played in the myths with the ones they play in today’s society the differences become glaringly obvious whilst the similarities seem to dwindle down. Clearly, and certainly fortunately, society’s views on women today have greatly changed.
Henrik Ibsen once said, “A woman cannot be herself in the society of the present day, which is an exclusively masculine society, with laws framed by men and with a judicial system that judges feminine conduct from a masculine point of view.”(Notable Quotes) Ibsen’s statement exemplifies what life was like for women during ancient times. In many of the organized ancient civilizations, it was very common to find a primarily patriarchal civilization in government as well as in society. The causing factors can be attributed to different reasons, the main being the Neolithic Revolution and the new found dependence on manpower it caused. As a result of this, a woman found herself to be placed into an entirely different view in the eye of society. In comparison to the early Paleolithic matriarchal societies, the kinds of changes that came about for women due to the introduction of agriculture are shocking. Since the beginnings of the Neolithic era, the role and rights of women in many ancient civilizations began to become limited and discriminatory as a result of their gender.
In the past of humanity, women's status have always been ambigious. Either they were worshipped as goddesses or despised as unworthy workers. In this research I will analyze closely what it means to be a female in our age and in medieval period by means of two sagas: The Saga of The Volsungs and The Saga of King Hrolf Kraki.
The Role of Women in Greek Mythology In learning about the feminist movement, we studied the three articles, discussed and reviewed the different authors perspectives on the topic, and learned how important the role of woman in Greek mythology is. In presenting the feminist theory to the class, we analyzed the three articles, Women in Ancient Greece; Women in Antiquity: New Assessments; and Women in Greek Myth, and discussed how although the three articles provided different views on Feminism in mythology, they all essentially are aiming to teach the same basic concept. In order to understand the feminist theory, we have to understand the notion that although myths are invented and that they involve fantasy, the concept of mythology does not necessarily imply that there is no truth of history in them. Some of the humans may have lived while some of the events may have taken place. Most importantly, the social customs and the way of life depicted in the myths are a valuable representation of Greek society.
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
The “Marble Statue of a Woman” is part of a large group of funerary statues. It came from Attica, Greece. The statue was placed in a deep and covered niche where it was found.