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Women in art research paper
Women in art research paper
Women in art history essay
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Nude women have been an extremely popular muse across the globe, this has been since the beginning of art. The fascination with anatomy and the human body was of great interest during the Italian High Renaissance. Titian was an amazing Italian Renaissance artist who has created many paintings were the main subject is a Venus, a beautiful nude woman. Titans oil painting, Venus with a Mirror (Mirror Venus) created in 1555 is housed at the National Gallery of Art, in gallery twenty-three, with the accession number 1937.1.34, Venus with a Mirror is a perfect example of nude women. In addition, Titian created another oil painting that also showcases a Venus, it is the Venus of Urbino (Urbino Venus) created in 1538. These oil painting created by …show more content…
Titan does a fantastic job is composing both Venus portraits, however, the differences in composition are subtle. Venus with a Mirror has a slightly different composition when comparing it to Venus of Urbino. The woman the center if the oil painting, looks to be either sitting up on a lounge chair, or she could possibly be standing and nude from the waist up, while the Urbino Venus is resting across the lounge chair showing off the entirety of her body. The Mirror Venus has not window or any hit that there is a window inside the room, however, Urbino Venus has a small window with a gorgeous view of the sky. The two Venus’s both have individuals on the right side of the painting, but the two individuals are completely different. Mirror Venus has two cherubs aiding her in getting ready. The division of space is extremally different between the paintings, while the mirror Venus is only divided in one spot horizontally, Urbino Venus has three different divisions. There is a curtain which divides the top half of the room in two, then the lounge chair start the division of the top from the bottom. Thus, this unique composition causes the audience to examine all three of the spaces thoroughly and carefully. If a viewer is overwelled by the work then they simply will walk away. Titian …show more content…
These distinguishing factors show a slight difference between the two women. In the 1500’s rank and class was extremely important, especially when individuals where in the high court, then statues meant everything. A woman who was well known in the high court would never have a nude painting of herself, that would reflect poorly upon her. Since the Urbino Venus is depicted fully nude this may show that she is not well known and has no problem with modesty, while the mirror Venus is half covered. This may be because she is the mist of getting ready, while the other woman is finished and is laying down ready for her portrait to be created. The mirror Venus is adorned with gold bracelets, gorgeous earrings, and a gold ring. This woman seems of higher class or importance because of the jewelry she wears. The Urbino Venus is considered a mistress to the king, this is because it does not resemble the queen, in addition the queen would never have a nude painted be created of her, it would reflect poorly upon herself and the king. She would have not been well known or regarded highly in society, there for, she most likely had no worries of being painted nude and having a multitude of men view her. The nude female body was a subject that was not typically showcased, men normally where the only people privileged enough to view these works, this would be called the
To conclude, both sculptures do not have much in common, but it is obvious that the artists had knowledge in human anatomy and was able to sculpt them spectacularly. It is also obvious the break from somewhat idealistic to realistic human nature. The change is so drastic that one might not believe that both sculptures come from the same Greece because it is so well-known for its astonishing artworks found in temples, building, etc.
Venus is a term that has long been associated with artwork, most specifically the classical forms of beautiful women. The term Venus has also come to represent female sculptures of the Paleolithic era. The most notable of these female sculptures is the Venus of Willendorf, 24,000-22,000 BCE. The age of the figurine has been changed several times. Originally when found the date was estimated to be 15,000 to 10,000 BCE. During the 1970’s the time period was adjusted to 25,000 to 20,000 BCE; the date was again recalculated in the 1980’s to 30,000 to 25,000 BCE; the most recent estimate of age was in the 1990’s and was placed at 24,000 to 22,000 BCE after scientific research was performed on the rock stratification. This statuette was discovered by Josef Szombathy in 1908 near the town of Willendorf, Austria, in an Aurignacian loess deposit, which loosely defined is a yellow brown loamy geological deposit dating to the Paleolithic period. The name Venus was first associated with the figurine as a joke. The small, crudely carved statuette of an obese woman contrasts heavily from the graceful classical forms of sculpture such as Aphrodite of Cnidos, Praxiteles, 350 BCE. Although it would be difficult to associate the word beautiful with this statuette, there can be no doubt that it reflects the female form. The statuette has also been known as “la poire” or “the pear” due to its size and shape and more recently was donned the Woman from Willendorf. The removal of the title Venus served to take away the figurine’s status of goddess and lower it to the human level, therefore allowing more consideration of the figurine’s purpose (Witcombe, sec. 3).
The difference is that one is considered a goddess and the other is known to be a prostitute. The goddess is depicted with a chunky body and the prostitute's body has a sensual nature. She is lying on an oriental stole on a couch. She is wearing pearl earrings, a choker around her neck, and a bracelet on her arm, a flower in her hair and the kind of shoes she has on confirms the idea that she is a lady of the night life, along with the black cat that symbolizes that she is a prostitute. Another difference is that there's a maid standing right next to her fully dressed. as if to make you more aware of her nudity. She is holding flowers and has a blank look on her face. The public or the critics could not accept or understand why he would replace a goddess with a prostitute. Also it was not the nudity that appalled people; this was common and had been for centuries but only in a different perspective. The viewers were scandalized by the brazen look on her face. It had more of a bold challenging look. The painting made a bold stand and was too much to accept. The people were so upset by it that the administration had to take extra safety measures to keep the
But unlike to look upon, those ladies were, for if the one was fresh, the other was faded: bedecked in bright red was the body of one; flesh hung in folds on the face of the other; on one a high headdress, hung all in pearls; her bright throat and bosom fair to behold, fresh as the first snow fallen upon hills; a wimple the other one wore rounded her throat; her swart chin well swaddled swathed all in white; her forehead en the black brows, the two eyes and the nose, the naked lips, and they unsightly to see, and sorrily bleared. A beldame, by God, she may well be deemed of pride! Norton 178. In this quotation, the two ladies are compared, one as being very beautiful and the other as being very old and ugly.
It offers and understanding that women were held at a different standard then than they are now. This figurine shows that women had a larger mid-section but was because they either needed the body fat for long, cold winters or the better idea was because it showed they were fertile and they were able to produce babies and keep the legacy going on. It also provides a better image of what the men and women had to go through in order to survive, like the long hard winters, the needing to hunt for food and could mean sometimes not having food. Venus of Willendorf was not considered an obese women, “where features of fatness and fertility would have been highly desirable”, (PBS, 2006). I can use this article because it explains the whole point about a women’s image. Women were not looked at how skinny and “good looking” they were in a pair of jeans. Women, in this time, were looked at as if they can be fertile or not. Being able to have children was a huge thing in this time since it was one of the point of living, to have a
It is determined the Antonine Woman as Venus is a woman of aristocratic status. The portrait is made of fine-grain marble, a medium only upper-class persons could afford. Also, only persons of wealth could afford to have such a protrait made. The woman is portrayed as Venus, a goddess who is connected to the imperial family, and members of a royal family would often have themselves depicted as a deity. (De Puma 26) We know she is being portrayed as Venus because of her bare breast and the upper-arm ring. The bare breast is a key to Venus because she is the goddess of sexuality and desirability. The upper arm ring can be an attribute of Venus as the Statue of Aphrodite (Venus) by Praxiletels displays the same jewelry on a nude body. (Fantham 175)
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.
The author of the Latin poem, The Vigil of Venus, remains a mystery, along with the date it was penned. Many have speculated who might have written this piece of poetry, but no one can be certain. It is assumed that it was written in early spring on the eve of the festival of Venus, and set it what might be Sicily. The writer is focused on the natural world, and seems motivated by love, spring, and hope of the renewal of both. Some believe this particular piece is seen through the eyes of Venus, known in Greek mythology as the mother of the Roman people. Critics might argue that this poem somehow suggests the imminent fall of the Roman Empire, and while I agree with this possible explanation, I could argue
In the scene of her art work it shows Venus arriving at the shore after her birth a fully grown adult. In the center of the artwork is the newly-born goddess Venus who is standing in the bare atop a giant scallop shell. In the story of her birth, Venus’s scallop is there but it’s size is not described however in the artwork the scallop is huge as anything a human-like being can ride on must be. Hovering above the waves to the left of Venus is a wind god, called a Zephyr who is blowing air along with a young female who the Zephyr is carrying even though they both have wings. The Zephyr is blowing a strong stream of air radiating from his mouth while his female companion is blowing less forcefully helping the Zephyr propel Venus across the waves towards the shore. The original artist Vasari was most likely trying to the women as Venus’s aura, personifying it as a light breeze which is pushing her hair and flowers while the Zephyr’s stronger stream blows the scallop shell. Since the piece was made during the Renaissance era, Venus couldn’t be drawn completely showing herself off to the world, which forced Botticelli paint Venus covering her lower genitalia with her hand which is holding her hair. Unlike Venus, the female painted off to the right is clothed in a flowing dress. The female, who is one of the three Horae or
Madonna of the Meadow was a painting by Raphael Sanzio, using the medium oil on panel in 1508. This painting expresses a sense of sweetness, softness, and overall a general subtle warm and comforting feeling. Venus of Urbino was painted by Titian in 1538, using the medium oil on canvas. This painting expresses sensual feeling and one of lust and true beauty, quite different from Raphael’s painting. While both artists chose to use oil paint, which was common
However, for a man to appear naked conferred his power, his strong body and strong mind, while for a woman to appear naked would be indecent and confer immodesty. Sculptures of unclothed women were usually of the Goddesses of love and sexuality, which justifies the nudity. The need to justify female nudity while male nudity was considered commonplace already reflects ideas about gender. In the sculpture, the woman is clothed in a mantle, which symbolizes modesty. Women were treated as vessels for children, not as human beings capable of aggressive sexuality. (invisible; not
Botticelli depicts Venus standing a relaxing pose with long golden wavy hair that falls to her knees skin blemish free and pale as the seafoam she’s born from with one hand (right) gently placed over her right breast she uses the other (left) grasping for
Venus in Botticelli's painting is a Renaissance beauty. During the Renaissance women were believed to look more attractive if they had some weight to them. It was believed that this weight make them more prepared for child birth, and basically healthier. Venus has weight in the painting. Without this weight I do not feel that she would have such a strong impact on her viewers. Another strong point of Venus's presence is her wonderful long and flowing red-orange hair. It flows around her body keeping her pose modest, yet revealing. In all of this beauty it can be easy to overlook the unnatural length of Venus's neck, and the steep fall of her shoulders. Venus's outline is wonderfully graceful, and it is the grace that makes the print so wholesome and beautiful. If Botticelli would have chosen a slimmer or less natural Venus the harmony of the picture would have been destroyed.
Both the Lady and the Mona Lisa are white European women who came from, what looks like, higher class families who were born, bred, and educated according to the customs and standards of the era and come from privileged backgrounds. Both are wearing veils over their hair and both wearing dark colored dresses with long sleeves. Their hands are seen in both portraits, just above the waist. Both women were part of the Renaissance that affected their home regions in similar ways, the ideas going back and forth between the north and south, both influencing each other in significant
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