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Essays on women in art
Essays on women in art
Essays on women in art
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Woman V was created using oil and charcoal on canvas by Willem De Kooning in 1952-1953, during the period of Abstract Expressionism. Abstract Expressionism was a period developed during the 1940s and 1950s where the goal was to create abstract art that was emotional and very expressive. This painting is considered abstract art and was influenced by the period through the use of very expressive charcoal and brush strokes. This painting is currently displayed at the National Gallery of Australia in Canberra and is part of a series of six other paintings made by Willem de Kooning. The subject matter of this series, and this specific painting, are portraits of women. Woman V is a portrait that contains a woman smiling broadly with pronounced breasts …show more content…
and her hands clutched together towards her waist. The painting is focused solely on the woman, with the woman taking up most of the space in the composition of the painting. Woman V displays a very vicious looking woman through the artist’s choice of line, color and proportion. The use of very aggressively applied charcoal and paint strokes to create the lines in the painting help to depict a very vicious woman. The brush and charcoal strokes look very aggressively applied because there are so many variations of lines used in the painting and hardly any of the strokes are blended or polished. The setting in the painting doesn’t feel serene or inviting. Instead, the use of so many unique lines presents a feeling of chaos and dismay. There are also more lines surrounding the woman, than there are used to create her. Because the woman is seen in a chaotic surrounding and the lines used in her form aren’t organized or well blended, she seems to contribute to the unsettling chaos. By using various amounts of lines and various types of lines, there is a disturbance that hints the viewer that the woman in the painting is very vicious. Another reason why the woman in the painting is depicted as vicious is because of De Kooning’s choice and use of colors.
Warm colors, hues of red to yellow, are mostly used in the center of the painting, while cooler colors, hues from blue green to blue violet, are used more in the exterior and ends of the painting. This choice of warm colors in the center brings more light and focus to the center of the artwork which contains the woman’s breasts, her huge arms and her broad smile. Because cooler colors are used on the exterior of the artwork, one does not rapidly notice or pay attention to where the woman is or what she is doing. This choice of placement and use of colors emphasizes the woman and brings attention to who or what the woman is, not what she is doing or where she is. Because the woman is composed mainly of the color red and shades of red, one will also typically associate her with the typical meaning or symbol of red. Red symbolizes fire and blood, and usually also has the connotation of love, lust, rage, war, danger, and strength. Since the woman is not compositionally polished or idealized, she is not seen as friendly, so one would tend to associated her with negative connotations of the color red. The woman evokes rage and danger to the mind. She intimidates the viewer and looks monstrous. The choice of where specific colors are placed and what colors are used brings foreword a very vicious woman as the subject matter in De Kooning’s
painting. The last reason why the woman in De Kooning’s painting is depicted as vicious is because of his choice of proportion used to create the human form. In the painting, the woman’s biceps and shoulders are enlarged and even bigger than what a normal woman’s physical dimensions typically are. The woman in the painting has the physical dimensions of a man. Men are usually built with broader shoulders and more muscle to their biceps than women because of human genetics. When a woman has more muscle in her biceps than the average woman and she also has broad shoulders, she is seen as unfeminine and more masculine. Because she is seen as more masculine, she is then typically attributed with typical male characteristics. This includes men being aggressive and violent. Since the woman in the artwork is built with the physical proportions of a male, she is now also seen as being aggressive and violent. Society mainly depicts women who are petite and slim as harmless in society, not women who are more built with muscles like the woman in the painting. The choice of the proportion of the woman’s body by De Kooning in the painting attributes to the woman as being vicious because of her attributed characteristics to her chosen physical form. This artwork is important because it shows how a person presents and creates a particular painting impacts the perception the viewer will have on the subject chosen. My personal reaction of the painting is that the woman is very intimidating and aggressive. The painting works so well because the way the woman was presented to the viewer isn’t how woman are typically idealized and portrayed in society. If the painting were to have been created with more polished lines, or with the average woman’s physical proportions, the woman might have been seen as more friendly or enticing. This way of presenting a woman brings originality and spontaneity. It evokes emotion out of the viewer. Through the use of various amounts and types of lines, the choice and placement of color, and the choice of physical proportions of the woman, Willem De Kooning illustrates a very vicious looking woman in Woman V.
They might not be very prominent, but they exist the painting and serve as the base for creation. For starters, the window pane contains lines that highlight its simple design. Simplicity remains as the core of this work. Moreover, sill is roughly represented by a thick brown line underneath the window as a boundary in a quietly brilliant fashion. The work has a wonderful color allocation to express the mood. The color is limited within the muted palette color range. Grey—the intermediate color of black and white, is the dominate color for both exterior view and the interior part, as a matter of fact, the observer notices that nearly all colors are mixed instead of natural this work. The cloudy sky corresponds to the grey color of the wall, yet the brightness is not influenced. However, this consistency has successfully created a cold, grave and silent environment for a crowded place such as New York. The whole environment of this painting seems to be surrounded by the negative and depressive
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
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...
Through the use of complementary colors, she achieves great contrast. Contrasting hues develop a theme of light vs. dark, or in Liu’s case, expectations vs. reality. Dark colors are used to suggest the harsh, chaotic conditions experienced by the workers; while light, less saturated colors illustrate the calm passivity of traditional Chinese customs and ideas. The sky surrounding the stylized women contrasts greatly with the surroundings of the exhausted men. The dark hues establish heavy visual weight below the figures and the light tones of the sky create a sensation of weightlessness and help to further distinguish the fantasy like qualities. Liu also includes the application of analogous colors, primarily to make the traditional figures less dramatic and to help unify the surrounding
...elationship between the people in the composition and their feelings in each other’s company. The viewer is forced to think critically about the people in the painting and their feelings and body language.
Color is used to draw attention to important characters and objects in the painting. The red of Mary’s shirt emphasizes her place as the main figure. A bright, yellow cloud floating above the room symbolizes the joy of the angelic figures. De Zurbaran uses warm colors in the foreground. The room, used as the background for the scene, is painted in dark colors utilizing different hues of gray and brown.
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 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
The contrasts between depth and surface, figure and landscape, promiscuity and modesty, beauty and vulgarity all present themselves in de Kooning’s Woman and Bicycle. Although the figure is a seemingly normal woman out for an afternoon with her bike, she becomes so much more through the artist’s use of color, contrast, and composition. The exotic nature of woman presents itself in her direct stare and slick buxom breasts in spite of a nearly indiscernible figure. It is understood that, on the whole, de Kooning did not paint with a purpose in mind, but rather as an opportunity to create an experience, however, that does not go to say that there isn’t some meaning that can come of this work. Even Willem de Kooning once said that art is not everything that is in it, but what you can take out of it (Hess p.144).
The aim of this essay is analyse women´s images in The Yellow Wallpaper and in The Awakening, since the two readings have become the focus of feminist controversy.
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.
These color schemes hold true for most of the painting, but some exceptions are notable. At each end of the work the outermost character is considerably darker in skin tone than the others. It seems as if they are being shunned from the rest of the crowd because of their body language. The woman on the far right has her back to us as if she is trying to see what the others are doing, and the woman on the far left is holding her head in her hands as if she is upset about something. Another exception to the common coloring themes is the woman to the right of the idol in the distance. Unlike all of the other char...
Rossetti shows us the woman being painted as many different things. Although she is just a painting, the woman symbolizes how the artist views women in real life: as objects. Irony is used when the woman is painted as “a queen”(5). She is put on a pedestal in a position of power, yet she is only described as being “in [an] opal or ruby dress”(5), cementing her role as an ornament. The ruby symbolizes passion and perhaps promiscuity. Opal is a white stone that reflects many colors. White symbolizes purity; while the different colors reflected symbolize how her meaning can change, and how the artist controls her identity and can make her fit any persona he desires. The woman is also depicted as a “nameless girl”(6), indicating her identity is not important to the artist. It also shows that he does not personally know the women he’s painting, but only their looks, affirming that he bases their value off of their appearances. Lastly, the artist portrays a woman as “a saint [and] an angel”(7) and compares her to the “moon”(11), an allusion to Artemis, the goddess of virginity. In this painting, she is established as a pure virgin, which was a requirement of the time period Rossetti lived in. However, because it is one of the fantasies the artist creates, and the poem antagonizes him, this line also expresses the idea that a woman’s purity should not define her. He makes the innocent virgin and the licentious queen the only ways women can be viewed. Yet, they are the same to him. Lacking depth, their physical description is the only thing giving them any meaning. Rossetti describing the portraits conveys the idea that no matter the position in society; or what their actual personalities are like, women are just blank canvases for men to project their fantasies onto. Uninterested in a real person, the artist worships the idea of a
In order to answer that question, one must delve into the world of color. As shown throughout his art, Brown focuses on color and fluidity. Brown’s desire is for one’s eye to move about the page, for them to question the colors within the piece. In the interview with Elena Cue, Brown was asked, “What meaning do you give color?” In his answer he described how he “steals” color from other artists while explaining how opposite or different colors in a painting create a different but real reality. By painting opposite colors onto the canvas he heightens reality. This effect is achieved because the color reminds the viewer that what they are looking at is not reality, but a painting created by Glenn Brown. An example of one of these paintings would be, Die Mutter des Künstlers (2016). This panting is a reproduction of one of Delacroix’s paintings in which he painted a model known as Mademoiselle Rose. In the original she is performing a basic pose while seated on a block, whereas Glenn Brown transforms her into a ghostly figure. In this painting he crops her the block and her head, dulls the background, and casts the entire picture in a seemingly ethereal blue. The physical changes to the model and the color of the painting severs the connection that the painting once shared with reality, creating a space where the viewer is faced with fiction and