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Role of women in literature
Role of women in literature
Women in literature
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Esther before Ahasuerus,1628-1630 is a painting by Artemisia Gentileschi, belonging to the period of the Italian Baroque. It is a large, two dimensional oil painting that displays a story of four figures. In a court, there is a man assumed to be Ahasuerus is rising out of his chair and appears to be stepping forward towards this woman, Esther, who appears to be fainting, and there are two women beside her who are holding her, preventing her from falling. Gentileschi uses a diagonal composition, space, light, texture, and color to depict a story of a man that is a part of a higher hierarchy who is confronting a woman that is in distress and creates a subject of agony. The background of the painting is dark with hues of browns and reds. Light enters the painting from the left and can be seen on the tiled floor. The lighting helps to create the diagonal composition as it moves across the lower half of the painting. The contrast of light also creates space between the man and the woman fainting; symbolizing a disconnect between the two figures. The use of space is also interesting, Ahsauerus is alone and is enclosed in a corner, while Esther is being held by two other woman who are physically very close to her, not allowing any space between their clothes, suggesting a nurturing characteristic that is often stereotyped among …show more content…
Esther is cared for by two other woman, inferring she is a person of goodwill and people care for her. Ahsauerus is viewed as a man who is wrong, and immoral based on his clothing, posture, and facial expression. The relationship between the two leaves the viewer sympathizing for Esther as she is seen in a fragile state. Gentileschi is able to capture the agony of Esther by using different techniques and elements of art and constructs a painting that shows a
They are durable and inexpensive comparing to canvas.The artwork shows the happy emotions and realism with his interpretation of his wife and himself. Color theme of the painting was blue and background/negative space is dark blue. His right side of face is dark blue to show the shadow of his face and distance perspective. He used the black line which is stained glass like to separate the negative space/positive space. He used dark blue green for negative space on the Masonite board. Texture of oil painting is rough and we can trace of the paint brush stroke. They give the vivid or liveliness that he was well known of. The figures are realistic and impressionism style rather than photogenic. The title of paining and sub title of paining itself tell the story of artwork. Esther looks very relaxed, content and happy. Rattner looks happy , passionate, proud of himself as well. He certainly looks overcame the grief of death of his first wife. This painting gives warm feeling even though the theme color is cool color blue because of two figures of face expressions and relaxed body
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
The painting has an order and there are different shapes and angles. Rectangular shape is main trend around this piece, including the wooden chest, the leg rest and the canvass. Also things overlap, creating the illusion of the shape look closer to viewer than the shape behind it. The example in this piece would be the chair on which Adelaide Labille Guiard sits be close to viewer than the girls behind it. This adds depth to the space. Also due to linear perspective girls behind the chair are smaller due to being farther away.
A distinction of colors exists within the painting: there is dreary dark blue background contrasted by the intense shades of red and white worn by the figures. A specific example of this the women flanking the Virgin Mary. The woman to the right of Mary attracts the most light and is the brightest in color. The Virgin Mary herself is dark, dull, and shadowed. The woman behind Mary, similar to the other woman, is wearing red and bright. In reality, the lighting of these figures do not make logical sense. If Rosso’s mission was the depict reality than the women would be shaded evenly from light to dark. Due to the overall lack of a single swath of colors, the eye is forced to look all over the painting rather than focus on one main
When Esther is finally through with Dr. Gordon’s shock treatments, she expresses her frustration with her mother, who brushes it aside and tells Esther that she wasn’t like “Those awful dead people at that hospital (145-146). Her mother doesn’t understand the scene Esther saw, with the stories of people and their first shock treatments. She does not realize the vitality of Esther’s conditions. When Esther considers converting to Catholicism, believing that her conversion will take away her suicide attempts, her mother laughs it off. Esther also notes that her mother did not care to mourn for her dead husband. Her mother believed that her husband would’ve lived a miserable life and would’ve wanted to die instead. Although Esther was firm in her stance against her mother, she could have acted so hostile against her mother because of what she was going through. Her mother could have wanted to help her, but her way was possibly different than that of
The symbol that is most important is the description of the wallpaper in the couple’s mansion. Based on the narrator’s senses, the wallpaper in the house symbolizes something that tend to bother her directly. That could either be the fact that she feel that her husband is avoiding her and feels like since he is a physician everything he is saying is right or she is really suffering a disorder and trying to finds ways to seek help. Accordingly, the wallpaper develops its symbolism throughout the story. At first it seems merely unpleasant: it is ripped, soiled, and an “unclean yellow.” The worst part is the ostensibly formless pattern, which fascinates the narrator as she attempts to figure out how it is organized. After staring at the paper for hours, she sees a ghostly sub-pattern behind the main pattern, visible only in certain light. The sub-pattern comes into focus as a desperate woman, constantly crawling and stooping, looking for an escape from behind the main pattern, which has come to resemble the bars of a cage. The narrator sees this cage as festooned with the heads of many women, all of whom were strangled as they tried to escape. The wallpaper can also symbolize the structure of a family, medicine, and tradition in which the narrator finds herself trapped in. Towards the end of the story, the narrator is
Like most young adults, Esther, a nineteen-year old college student, also struggles with choosing her career after college due to the suppressed social conditions for women and her lack of confidence about herself. In the chapter seven, she adds up things she is not good at. Plath employs symbolism to demonstrate what Esther is not confident about. She cannot cook unlike her grandmother and mother. As cooking represents domestic work and women were supposed to do housework especially at this time, she expresses her uncertainty about being a good wife and mother. Also, she does not know shorthand, which signifies a practical job. Esther mentions that her mother has kept telling her that she needs to learn shorthand to get a job despite having a bachelor’s degree in English as women had difficulty in succeeding as professionals in their careers during the time. As a widow raising two children, her mother has to deal with family finances. Therefore, her mother emphasizes a practical standpoint in terms of ca...
...eginning to end. For a king such as Xerxes that could have all he desired and saw himself as a god, to love and want to give half of his kingdom to this woman of no noble birth could only be done through God’s power. For it was for such a time as this that Esther was called upon, and she executed all that God wanted for her.
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
In an empty room at the Timken Museum of Art hangs one of the most iconic paintings of Johannes Vermeer, the astonishing painting, Woman in Blue Reading a Letter. In the painting a pale woman’s stands patiently while reading a letter. The woman appears to be wearing a blue jacket and a long gray skirt, and only gazing at the letter, ignoring all of her surroundings. The top right of the painting seems to be a map of the Netherlands, which attracts the viewer because it explains the setting of where the painting took place. The blue jacket around the woman’s torso appears to exaggerate the woman’s stomach, giving the impression that she might be pregnant. The blue chairs resemble a sign of absence as if she lives alone. The light on the top left shines on her face which enhances the viewer’s view of the woman’s facial expression. Johannes Vermeer’s interpretation of complex colors, the light, and her body language inflicts a persuasion on the viewer that the women is traumatized by the news in the letter.
When she first enters the room she notices the yellow wallpaper on the walls, and over the course of the summer she begins to pay more and more attention to it. At first it looked like a complex design of lines and shapes, but as time goes on she begins to see eyes, then a figure, that is developed in the design. After being locked in for long periods of time for weeks, she notices that the design looks like a woman that is imprisoned and is trying to escape. “Then in the very bright spots she keeps still, and in the very shady spots she just takes hold of the bars and shakes them hard.” (Gilman, 1892, p.182). She spends most of her time just staring at this ...
She claims that she has `always wanted to learn German` although `the very sight of those dense, black, barbed-wire letters made my mind shut like a clam`. Esther associates the language with her `German-speaking father`, who `cane from some manic-depressive hamlet in the black heart of Prussia'. I think that Esther`s stunt in progress is directly linked to the death of her father, and the little that she knows about him, and that a major factor contributing to her eventual suicide attempt is the fact that she used to be the best and no longer can be.
Esther experiences an immense amount of pressure and confusion about where to focus her life’s purpose and how to be successful in multiple fields and aspects of her life. Her confusion is confessed symbolically through the fig-tree metaphor “I saw myself sitting in the crotch of this fig tree, starving to death because I couldn’t make up my mind which of the figs I would choose” (Plath 77). Esther is torn between choosing a direction in life she wants for herself and what society and the people closest to her are pressuring her to pursue. Much like Holden, Esther cannot tolerate the exceeding expectations she feels society is placing on her. By chapter 10, Esther is void of caring for her own aesthetics, as she had maintained early in the novel. The immense pressure leads to Esther’s mental and physical exhaustion, beginning of her lack of self care which is where the rapid decline of her mental health begins. This pivotal moment is signified when she admits that she had not felt like washing the lines of dried blood that marks her cheeks (Plath