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Women portrayed in art
Women portrayed in art
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The Kitchen Maid and Queen Marie Antionette and Her Children illustrates both contrasting and similarities in the lives the of the aristocracy and peasants.
The Kitchen Maid by Jean-Baptiste-Simeon Chardin is a genre painting that represents the exhausting and laborious lives the lower class had no choice in doing. Unlike the aristocrats, the peasants had to choice other than working everyday. The Kitchen Maid is a typical domestic worker employed by the aristocracy whose livelihood depends completely on the higher class. In this painting, the woman must finish preparing the food, or else she risks becoming unemployed. This woman is at the age of having a family, by the looks of the wrinkles in her solemn face, and is most likely supporting
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Although aristocrats were very wealthy and had a sizable amount of “old money” passed down through generations, their lives weren’t perfect. Looking at her face, it is almost as if she is glaring at the painter, and wishing it to be over with. She is paying no attention at all to her kids, two of which are wrapped around her arms. Like the maid, she is also unsatisfied with the way things are happening in her life. She has all the money in the world to do whatever she desires, buy head pieces, fancy dresses, gambling, and partying, yet she is still unhappy. Money cannot buy Marie’s happiness. Marie is the aristocracy, she employs people such as the Kitchen Maid to do anything she wishes not to do. Unlike the Kitchen Maid, material items are very important to her. They bring her popularity and status, even her kids in this photo are being used almost as trophys. The youngest one appears to be uncomfortable in their mother’s arms, as if this is something that doesn’t happen very often. The girl is hugging her mother, gazing up at her, craving her mother’s attention to no avail. Meanwhile, the boy on the right has almost given up on seeking his mother’s attention, and is looking at the painting the same was Marie is, wanting this to be over
It’s like Tom Outland’s death stirred up turmoil for the family. Everyone became at odds with each other. Before Tom died, Mrs. St. Peter had a grudge of jealousy towards him because of the bonding relationship he and her husband, Professor, St. Peter had formed. Rosamond and Kathleen have a grudge against each other because both girls were fond of Tom but Tom loved Rosamond. Tom left all his money and inventions to Rosamond and it was a large sum that provided her with the enablement to live comfortably. Kathleen feels like Rosamond flashes the money in her face and finds it preposterous. ““I can’t help it, father. I am envious. I don’t think I would be if she let me alone, but she comes here with her magnificence and takes the life out of all our poor little things. Everybody knows she’s rich, why does she have to keep rubbing it in”” (69)? The Outland holds bitterness and unresolved
The White apron is a powerful play about socioeconomic problems and inequality in our community. In the play we are introduce to two main characters, the madam and the house cleaner. Secondary characters include the distinguish gentleman and swimmers on the beach. The play takes place on the beach during the month of March. In the beginning of the play, the author reminds us the readers the immediate difference between the physical appearances of the two women. We are also made aware that there are not only physical differences between the two women, but also that of social status and financial stability. The madam is a woman of her thirty; she has light hair and has a somewhat attractive face. We also know that the madam has a husband and a young son. Whereas the maid is in her twenties, she has a fair complexion, black hair, placid and pleasant face. She is from a lower social class.
The painting depicts a mother and her four children, who are all leaning on her as she looks down solemnly, her tired, despondent expression suggests she felt trapped in her roles as being a mother and a wife. The woman and her children are clearly the focal point of the artwork as the bright colours used to paint them stand out impeccably against the dull, lifeless colours of the background. This painting appears to be centred around the ideology that women are home-keepers, whose main role is to satisfy and assist her husband while simultaneously minding the children and keeping the home tidy and ready for his return. The social consequences of this artwork could have been that the woman could have been berated for not taking pleasure out of being a mother and raising her children, as a woman should. She could have been made redundant as her husband may have felt as though she is no longer useful if she couldn’t adequately adhere to her roles as a mother and a
The piece shows Marie posing with her three children, the reason for this painting was to create a public message depicting her as more than just elegance and put her on the same level as the general public. Because the painting was meant for the eyes of the general public the painting is rather bland and lacks detail. Instead of Marie looking down on the population showing off her lavish and extravagant items she has just her children attempting to depict herself as a regular mother just like every other female raising children. There is very little details in the paint except for the empty baby carriage which was most likely only included to honor the death of one of her children at a young
While Madame Ratignolle, Madamoiselle Reisz and Edna are very different characters, all of them are unable to reach their potentials. Madame Ratignolle is too busy being the perfect Louisiana woman that she no identity of her own; her only purpose in life is to care for her husband and children. Madamoiselle Reisz is so defiant and stubborn that she has isolated herself from society and anyone she could share her art with. Edna has the opportunity to rise above society’s expectations of females, but she is too weak to fight this battle and ultimately gives up. While these three characters depict different ideas of what it truly means to be a woman and what women’s role in society should be, none of them can reach their full individual potential.
Victor and Elizabeth’s childhood reflects a part of the main meaning of the whole as a commentary on the power of wealth in society. Victor was born with a not silver but golden spoon in
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
Elisabeth Vigée-Lebrun was one of the most successful painters of her time. Over the course of her life, spanning from 1755-1842, she painted over 900 works. She enjoyed painting self portraits, completing almost 40 throughout her career, in the style of artists she admired such as Peter Paul Rubens (Montfort). However, the majority of her paintings were beautiful, colorful, idealized likenesses of the aristocrats of her time, the most well known of these being the Queen of France Marie Antoinette, whom she painted from 1779-1789. Not only was Elisabeth Vigée-Lebrun the Queen’s portrait painter for ten years, but she also became her close, personal friend. She saw only the luxurious, carefree, colorful, and fabulous lifestyle the aristocracy lived in, rather than the poverty and suffrage much of the rest of the country was going through. Elisabeth kept the ideals of the aristocracy she saw through Marie Antoinette throughout her life, painting a picture of them that she believed to be practically perfect. Elisabeth Vigée-Lebrun’s relationship with Marie Antoinette affected her social standing, politics, painting style, and career.
Adèle Ratignolle uses art to beautify her home. Madame Ratignolle represents the ideal mother-woman (Bloom 119). Her chief concerns and interests are for her husband and children. She was society’s model of a woman’s role. Madame Ratignolle’s purpose for playing the pia...
Margaret is an intelligent, articulate, and ambitious woman who desires to rise up in social status by marrying a man of higher social rank. She attends to those above her, in hopes of elevating her status as she becomes closer to the upper-class. As a minor character, she plays a small yet crucial role in advancing Don John’s plot to slander Hero and spoil her wedding. As a lower-class character, Margaret serves as a foil to the rich girls, particularly Hero, who embodies every attitude and mindset Margaret does not. But she also offers an alternative perspective on the upper-class characters in the play. Because Margaret is victimized because of her social ambitions, punished for wanting to rise above her ...
Julia Child tried to keep herself occupied in France but couldn’t find anything she loved to do. Finally she decided to take a class at Le Cordon Bleu for cooking. She did not like the treatment she was getting in the women’s only class. ...
When women are kept in their classical role of mother and caretaker, all is well and their lives are simple. Children relate positively to their mothers in this typical setting; while Dantés was in prison, during a time of distress, he remembered something his mother had done for him. For example, Dumas writes, “He remembered the prayers his mother had taught him and found meanings in them which he had formerly been unaware.” (41). Mothers teach their children to the best of their ability, evidenced in Dantés, as well as when Caderousse says Mercédès is instructing her son, Albert. It is in these moments that a mother’s love, compassion, and necessity are revealed. Lives are calm and enriched as long as women are in their niche. This includes non-maternal nurturing roles, for example, Mercédès attentiveness to Dantés father and Valentine’s special ability to care for Nortier. This loyalty is valued and shown as essential for the stability of life. Though The Count of Monte Cristo depicted women as best suited to the home, they intermittently stepped further out of that r...
The aim of this essay is to illustrate how Nicolette, one of the two protagonists of the anonymous French chantefable Aucassin et Nicolette, subverts the accepted gender roles of the Middle Ages. By adopting an active, almost masculine role in the story, she challenges the medieval stereotype of the “damsel in distress” who awaits to be saved by her valiant knight. Instead, she becomes herself a proper courtly knight, after the fashion of Gawain, the perfect knight of the round table, in order to save her beloved Aucassin, her lover, but also her liege lord. Even in the context of the satirical, humorous chantefable, where her androgynous character can be considered mostly a caricature of femininity, she portrays a different, unheard of possibility for women, allowing them to consider themselves as heroines of their stories, and not only as passive, secondary
Upon introduction to the artist, they unwittingly deceive him into initially assuming that they are interested in commissioning a portrait; in fact, the Monarchs are seeking work as sitters. The case of mistaken identity is further compounded by the artist who pretends to be a “great painter of portraits” but who is actually an illustrator whose depictions of nobility constitute his main source of income – his “pot-boilers.” James’s introductory interplay of character identity with appearance and reality serves as a clever backdrop for the story where reality conflicts with appearance. While their outward social appearance and actions have an “indefinable air of prosperous thrift” and personify that of high-class society, the Major and Mrs. Monarch are actually penniless and no longer members of the genteel sect. But the Monarchs are unable to resolve their “appearance” of high society with their “reality” of financial destitution, and remain psychologically entrapped in a self-imposed netherworld of pseudo-culture and pseudo-class.
Mathilde, a pretty and charming young girl born into a family of clerks and married to a little clerk of the Ministry of Public Instruction. In those days woman had no rank, they were perceived by their beauty or to what family they were born into. Mathilde was unhappy because she thought she was not meant to be born in poverty. She agonized constantly about her life, the way she lived, the furniture she had, and all of her surroundings. She was even unpleased at the humble peasant girl who did her housework. She dreamed of having oriental tapestry, illuminated tall bronze candelabra, dainty cabinets containing priceless things, and elegant dinners with fine food. She was unhappy, she wasn’t meant to be born unfortunate.