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The Portrayal of Women in Art: Oil on canas, 32 x 26 in. We have, more or less, as an audience become used to the idealized depiction of women.
With averted eyes, they touched themselves sensually, typically innocent and oblivious that there is someone painting her for all to see. They wore their hair in perfect curls, with their perfect dresses and worked merrily away in their perfect kitchens.
The subject confronts the viewer with her gaze. This portrait is not a portrait of a naked girl, but rather, a girl who happens to be naked. There is no trace of sexiness or sensuality—we are drawn to her face so that we may attempt to discern what this girl is thinking.
Though her breasts are there, they are poorly rendered compared to the depth of her face and do not trap the eye like the neatly depicted flesh of the reclining nudes. Hotline for Troubled Teens, She is seen wearing an over-shirt that hides her breasts and her other feminine features are minimized.
The girl is entered into a narrative—no longer is there a displaced nude body just lying around. Instead, we are shown a girl in her not-so-ideal life. Her face is concerned and the telephone cord is wrapped about her shoulders and wrist. She appears to be entirely dismissive of her viewers—be they out on the street around her, or elsewhere.
She is self-serving and concerned with only her present situation. This is one of my favorite pieces of the collection for many reasons.
The woman here, however, is the antithesis. She is a woman, not an object to behold. Members Purchase Fund, I particularly enjoy this piece for several reasons: Rather, her appearance is outdated—thick, dark eyebrows, slicked back hair and that awful blue blouse she is wearing.
Acrylic on canvas, 72 x 72 in. In form, we might recognize the person as a female. They have breasts, long flowing hair, jewelry… some of the key indicators of what we may associate with being a woman. However, with the inverted colors, we are shown someone with manly features and thus, the lines of gender are blurred.
This piece is so inexorably tied to the way in which sex and gender are separated and defined. This piece broaches the subject of femininity and womanhood in an entirely new way, and is entirely appropriate in the evolving context of women in art.
What do you think about the portrayal of women in art? How has it changed in the last years? How can women gain power through representation in art? How does this compare to men in art?How have women been depicted in modern art (). How do these depictions reflect changing attitudes?
Select a range of examples by both male and female artists to illustrate your answer/5(2).
The Pola Museum of Art is pleased to present the exhibition “Modern Beauty: Art and Fashion in France.” French fashion in the mid-nineteenth century was markedly transformed by developments related to the industrial revolution.
Marten Jan Bok and Gary Schwartz have contended that even in the mid-seventeenth century more than half of Dutch paintings could have been commissioned, and were mainly carried out by assistants, journeymen and copyists, whose works were sold at the lower end of the market through art dealers.
Martha Graham (May – April was an American modern dancer and choreographer whose influence on dance has been compared with the influence Picasso had on the modern visual arts,Stravinsky had on music, or Frank Lloyd Wright had on.
Compare this situation in the late s to the way females are depicted in our own modern times, using at least one (1) Identify the literary or art form in modern times that you think is most Strayer University, Washington93%(54). These were followed by his early s modern variations of the crucifixion in the triptych format.
From the mids to early s, Bacon mainly produced strikingly compassionate portraits of friends.