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Exhibited in the Baron & Ellin Gordon Art Gallery at Old Dominion University (ODU), “Venus Visits the Homestead Resort” is an oil on linen painting created by Mike Brewer. With a strong looking inward theme, it depicts a tranquil yet seductive young female figure standing upright as if she is stretching her flawless feminine body in a beauty pose. Behind the nude is a more subordinate setting where a silent pool reflects a mirror image of her surroundings. In addition, her unashamed nudity, closed eyes and smooth body stance enhances the erotic quality of the painting. Using several principles of design, Brewer’s mastery and skill in the usage of textures and colors enabled him to capture a naturalistic scene of a young woman posing as a nude Venus. The texture suggest that the artist …show more content…
deployed a tactile impression to reach out and provoke a feeling or emotion from the audience. For instance, the texture of the female body (skin tones) makes it very appeasing to the eyes. Not only can it excite the senses of arousal, but the natural representations (realism) of it can feel as if one could reach out in the painting to touch her. In fact, the texture was done so adroitly that it could be easily mistaken as an actually photo. The textures in a way have some emotion in them. One could observe how the background textures such as the walls, ceilings and the swimming pool releases an unwelcoming vibe. However, the lightly, skin colored textures on the nude invites a warm, smooth, gentle, seducing and mature energy atmosphere. Brewer’ powerful proficiency in his textures helps the audience to induce a strong simulation on the vision and mind, thus affecting the audience’s mood or emotions. In addition to the textures, the colors seem to interact well with one another empowering the Roman goddess to become the spotlight of attention. The cool hue and colors throughout the painting augments a clean, calming atmosphere. Farther on the right radiates a warmer glow of life that consequently enhances the natural representations of the nude. The shaded colors in the background have a more relaxed and dull value, requesting the audience to just acknowledge its sole existence. With this in mind, the warmer and lighter colors emerge brilliantly, effectively revealing more of the woman’s beauty and body expression. By establishing a color precedence, the artist seems to interact with the viewer, successfully augmenting not only the realism value of the painting, but also its proportions and depth. With the combination of the textures and colors, Brewer ultimately placed a powerful impression on composition and balance, as well as emphasis and subordination.
With the nude positioned in the center-front of the symmetrical room, it gives her a sense of balance and dominance over the whole canvass. The luscious textures and colors placed high emphasis on the figure and her seductive pose, while simultaneously restricting the composition of the background to remain subordinate. Furthermore, the historical writings of the Roman goddess, Venus, allowed Brewer to create an appropriate female in the nude, in an appropriate setting and atmosphere. Venus Visits the Homestead Resort is clearly a true masterpiece that interacts with a viewing audience, provokes emotion or feelings, and helps instill the appreciation of such beauty and elegance in all kinds of art. Brewer techniques allowed him to show that the woman in the painting is the center of attention. It is her beauty and feminine shape that allowed viewers to notice and be lured in towards her image. The colors, textures, arrangement of objects, and the symmetry of the painting helps her to hold her ground in a graceful
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When that room is entered all voices are hushed, and all merriment silenced. The place is as holy as a church. In the centre of the canvas is the Virgin Mother with a young, almost girlish face or surpassing loveliness. In her eyes affection and wonder are blended, and the features and the figure are the most spiritual and beautiful in the world's art.
Georgia O’Keefe is a famous American painter who painted beautiful flowers and landscapes. But she painted these images in such a way that many people believed she was portraying sexual imagery. “O’Keefe’s depictions of flowers in strict frontality and enlarged to giant scale were entirely original in character . . . the view into the open blossoms evoked an image of the female psyche and invited erotic associations.” (Joachimides 47) O’Keefe denies these allegations and says that she “magnified the scale of the flower only to ensure people would notice them.” (Haskell 203) O’Keefe’s artwork was misinterpreted because of cultural prejudice, her non-traditional lifestyle, and gender bias art criticism. But despite these accusations, Georgia O’Keefe’s artwork was not based on sexuality.
Venus of Willendorf is a very popular Paleolithic art. The artist made the sculpture to represent what was going on during those times. I also think it gives off a representation of power for women, and being a strong woman. Fertility is one of the most powerful things about a woman and I also think that it could possibly signify confidence. That is why she could be made in the nude as well. Although nobody knows the facts of what the actual prehistoric art means, we can use our analysis to figure out the point the artist was trying to
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.
The picture explains how sexual violence was rampant during the atlantic slave trade. Women were exploited, and their roles were to satisfy men, give birth, and feed the whites. It is a dominant theme in the picture. She agrees that her work is erotically explicit and would appreciate if people were ashamed of the exploitation done to the
The back of the portrait is slightly slanted, allowing us to imagine the angle at which the portrait was positioned on its support. The portrait is the complete bust of Antonine Woman as Venus, minus the background medallion, which would have created a complete circle above her head. Imagining the medallion was still there, we envision the bust as being placed on a wall. This postition would cause the portrait to angle towards the on-looker and we assume she was placed at eye-level or slightly higher.
The Erotic is one thing that is always on all living human minds just like eating is when one is hungry or sleeping when one is tired. There are beliefs that some people agree with and some that don’t for example; men and women may not have the same opinion on how the erotic affects both of their genders. Many men believe that it makes them sit in a more powerful position, a position where women need them to fill this erotic feeling. Although, women needing men for such a thing is an argument worth fighting because, women are just as capable of taking care of themselves just as men do. Individualism is a trait that women all over the world have started to increasingly embrace, thriving with the amazing feeling that it allows them to feel. “Uses of the Erotic” encourages individualism.
Peter Paul Rubens’ masterpiece, Venus and Adonis, is not only a significant artwork of the baroque-period in Europe during the 17th century, but it also tells the mythological story that begins with love, and ends in tragedy. Displayed in the Metropolitan Museum of Art, this painting is admired for representing the unique baroque-style of this era, as well as Rubens’ particular use of the medium and how it reaches those who are viewing it. His attention to detail and crafty use of symbolism within the painting assist viewers in deciphering the story, along with the values of the time period in which Rubens was living. In studying the composition of the work and noting the historical context from which it came, one can ultimately understand Rubens’ point-of-view and thus, connect to the painting in a way he or she has never imagined.
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
The Black Venus is obviously my favorite piece of artwork. I immediately became drawn into it, not even know the background information behind the piece or the artist. The artist behind the “Black Venus” is Niki De Saint-Phalle. I found out some of her other works contrast from the Black Venus, however, I did find one piece which is similar is its message. A similar sculpture by Niki De Saint, called “Les Trois Grâces” (“The Three Graces”) can be compared to the “Black Venus” due to the large, full-figured sculptures, standing tall with grace. It is likely that her artwork was a part of a feminist movement. According to Lipton (2015), “In 1968, Niki De Saint Phalle wrote on a drawing, “I had to take my diet pills …gained five pounds around
Venus’s standing inside a large pearl colored seashell with golden edges, represents female genitalia giving a symbolic birthing scene, and has been blown ashore by Zephyors and Chloris who’s floating above the sea on the right of Venus. Zephyors is the god of the west wind ,his face shows strain from the power of his breath his cheeks inflated with air ,lips puckered , forehead wrinkled with by the force he’s expelling the wind. Zephyors skin is tan with long brown hair the same as the color of his angelic wings , his body is in a bracing pose with his arms pushed back with his hand opened his chest exposed and forced forward, his blue cloak tied around his neck is blown back from the winds wrapping around his right arm and pelvis. Zephyors left hand is wrapped around Chloris. Chloris is a nymph associated with spring and blossoming flowers, her arms are wrapped around Zephyors with her fingers intertwine on his right side her right leg is hooked on his upper left pelvis down to his knee. Chloris upper body is facing Zephyors with her head nearly touching his looking towards Venus, her mouth is slightly open face relaxed her eyes focused on Venus almost in awe of her beauty .Chloris cloak tied on her left shoulder rich dark green color with gold highlights draped over her body with her left breast exposed. Her skin
This paper explains the history and development of the nude art in the Renaissance and Medieval period. In the Renaissance age the patrons and artist readopted the antiquity of the classical Greek into representation of nude. This is an epoch when drastic changes occurred in which Christian authorities no longer viewed the nude art as something conflicting or shameful. In contrary they believed that nude being reformed in ancient in classical antiquity portrays divine characteristics and emancipates the light that is pure and heroic (Long, 2008; Bonfante, 1989; Tinagli, 1997). To establish a further understanding why during the Renaissance age nude art brilliantly portrayed human anatomy, the work of some most remarkable artists such as Michelangelo, Botticelli, Masaccio and Durer are described (Long, 2008) These minds welcomed the classical antiquity into their paintings and sculpturing and often the Greek athletic figures and mythological Venus figure were used as ideal models in depicting nude art (Bonfante, 1989). The classical renewal of nude art had specific roles attached to both male and female nude, in the world of art. The religious figures were depicted in antique forms as to convey their theological status and importance. In contrast to the Renaissance period, the Medieval representation of nude art was rare and Religious authorities oppose its development as they believed it may lead to sin and degradation (Long, 2008; Steinberg, 1983). In short this paper will present a historical overview of the nude art and how the diverse cultural attitude towards depiction of nude existed in each period.
In Enrique Simonet’s reproduction, the three goddesses stand slightly off center and are taking turns showing their naked bodies to a man watching them in the foreground. This scene has been recreated hundreds of times, specifically because it fulfills the fantasy of the viewer, the arousing idea of three beautiful and naked women trying to win the affection of the viewer. Thus, forcing the women to become submissive to the man in order to win his affections. The sexual passion from that painting is not found in the women painted, but in viewer: “Women are there to feed an appetite, not to have any of their own.” (Ways of Seeing 55).
The Birth of Venus is a beautiful Renaissance canvas masterpiece created by Sandro Botticello. The picture illustrates the birth of Venus in a very mystical way. Venus has emerged from sea on a shell which is being driven to shore by flying wind-gods. She is surrounded by beautiful roses which are painted in a truly remarkable color. As she is about to step to land, one of the Hours hands her a purple cloak. The back drop includes the sea and a forest. The overall effect of this painting are almost overwhelming, color and beauty meet the eye in every angle.
The statue showed the goddess Aphrodite preparing for a purity bath, her recently removed garment in hand, torso and legs bent in the contrapposto position assumed by a multitudes of preceding Greek figures. Perhaps the most iconic feature of the Aphrodite at Cnidus, however, is the placement of her right hand over her pubic area, so as to shield herself from view. This detail became the paradigm for the Venus Pudica pose, the most identifiable continuity between later recreations of the statue. Because of the chosen subject (Aphrodite was the goddess of love and sexual desire) and the nearly immediate renown of the piece (both the sculpture and the temple it was housed in became a popular spot for tourism, and many pieces of writing alluded to it) the Aphrodite at Cnidus was and still is the subject of discussion in regards to its role as a sex object and its intended viewership as