Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Essays on women in art
Essays on women in art
Essays on women in art
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Essays on women in art
This splendid representation of two people is curious and uncertain. On the left is Ritta Redd, who sits tentatively behind the more predominant Jackie Curtis. Redd's blondie twists and also toned shirt work to casing his honest boyish face. One unmistakable hand lays delicately on the right knee. Turning out from the base of worn pants are Redd's timidly situated feet. While the left foot gracelessly pigeon-toes internal, the left is pushed in and back by Curtis' forceful leg. The outcome is a cumbersome position that further relates Redd's meekness. On the other hand, Curtis is both intense and solid. Notwithstanding being physically bigger, the body is the middle and center purpose of the work of art. Wig-like red hair is further overstated by thick red lipstick and substantial blue eye shadow. While …show more content…
Especially fascinating are Curtis' hands. The privilege, long and effortless, contrasts incredibly from the hard and manly left one. By and by, both show apparently different layers of red nail clean, which serves to resound the smoldered red tresses. Besides, Curtis' uncovered legs recount their very own account. The right one is put immovably in the closest frontal area while the left pushes in reverse to touch Redd. Besides, little opening on in the right foot's loading uncovers a similar red nail clean covering Curtis' privilege huge toe.
Jackie Curtis and Ritta Redd outwardly seem, by all accounts, to be a hetero couple yet the lines amongst female and male are obscured. Jackie, a gender ambiguous name, seems manly and overcome, albeit wearing drag. Redd, who 'wears the paints' in this work of art, is
Eric Fishl’s Scarsdale is a painting that is done on three canvases. When placed together, they appear to make one whole picture. The focal point of the painting is the woman, dressed in a white gown and veil. It appears that she is wearing a wedding dress, since the dress is white and includes a veil. To the left is a cat and to the right is a dog. The woman represents the focal point, not only because she is the largest figure in the painting, but also because everything else is slightly in darkness. Fischl’s cat and dog can only be made out if one looks at the painting carefully. Fischl also paints the woman so that she almost appears to be floating in air. One can see that she is sitting on a chair, but the dog is directly under her, and he does not really use perspective to make it clear that the woman is not floating in midair.
In the first image on the left, a man is kissing a lady; the artistic way of expression can be interrupted as disrespectful or offensive. Her work has had a lot of criticism as there is too much sexuality featured. For example, the boy and the girl on the cliff having oral sex. Nevertheless, she doesn’t shy away from controversial topics of racism, gender,and sexuality in her paper -cut silhouette.
No other artist has ever made as extended or complex career of presenting herself to the camera as has Cindy Sherman. Yet, while all of her photographs are taken of Cindy Sherman, it is impossible to class call her works self-portraits. She has transformed and staged herself into as unnamed actresses in undefined B movies, make-believe television characters, pretend porn stars, undifferentiated young women in ambivalent emotional states, fashion mannequins, monsters form fairly tales and those which she has created, bodies with deformities, and numbers of grotesqueries. Her work as been praised and embraced by both feminist political groups and apolitical mainstream art. Essentially, Sherman’s photography is part of the culture and investigation of sexual and racial identity within the visual arts since the 1970’s. It has been said that, “The bulk of her work…has been constructed as a theater of femininity as it is formed and informed by mass culture…(her) pictures insist on the aporia of feminine identity tout court, represented in her pictures as a potentially limitless range of masquerades, roles, projections” (Sobieszek 229).
...e sexual union between him and the woman. The couple is also wearing jewelry that symbolizes their sexual power and union as a whole. This particular piece of art shows how the physical appearance of a human is not needed to show sexual characteristics. The pieces are completely different in appearance, but the idea of sexual representation is fully shown throughout each piece.
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...
The Harlem Renaissance was a time of restrained liberation. African American artists’ contributions to American artistry was incredible, but closeted. Racial tensions kept a true liberation at bay, and any perceived amorality had to be closely guarded. Nella Larsen’s Passing explores this idea of closeted identities and racial expression. A close reading of Passing suggests that the novel’s title refers not only to the characters’ acts of racial passing, but of passing in terms of sexual identity. Larsen develops one aspect of sexuality, homosocial and homosexual desire, as a central theme in her novel through attention to physical descriptions of same-sex characters, the absence of physical or romantic intimacy in the novel’s central marital
In the story, “Recitatif,” Toni Morrison uses vague signs and traits to create Roberta and Twyla’s racial identity to show how the characters relationship is shaped by their racial difference. Morrison wants the reader’s to face their racial preconceptions and stereotypical assumptions. Racial identity in “Recitatif,” is most clear through the author’s use of traits that are linked to vague stereotypes, views on racial tension, intelligence, or ones physical appearance. Toni Morrison provides specific social and historical descriptions of the two girls to make readers question the way that stereotypes affect our understanding of a character. The uncertainties about racial identity of the characters causes the reader to become pre-occupied with assigning a race to a specific character based merely upon the associations and stereotypes that the reader creates based on the clues given by Morrison throughout the story. Morrison accomplishes this through the relationship between Twyla and Roberta, the role of Maggie, and questioning race and racial stereotypes of the characters. Throughout the story, Roberta and Twyla meet throughout five distinct moments that shapes their friendship by racial differences.
Yuny and Renenutet is a two figure statue. It’s a double portrait with a frontal pose. It’s a relief sculpture with a male and female figure. Yuny and Renenutet are husband and wife. They are sitting down together on a bench. It’s a beach that highlights their bodies’ curves emphasizing their wealth. Both figures have nontraditional customs, but a more a fashionable custom. The chair that Yuny and Renenutet are seated is elegantly decorated. On the back of the chair, we see two scenes divided into two layers with inscription around it.
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,
It was a dark, menacing night as she stood there in the shadows. Waiting for the finale of the show that was playing, she glanced toward the exit through which people would soon be leaving. The rich, as patrons of the theatre house, promised her a salary at least for today. Her tattered clothes revealed the effects of personal destitution; the emaciated frame, that presently existed, harked back upon a body she must have once possessed. Driven by poverty to the realms of "painted cohorts," she makes up her face daily, distinguishing her life from the respected (264). She is an outcast, a leper, a member of the marginalized in society; she envelops the most degraded of positions and sins against her body in order to survive. As she looks up, her eyes reflect a different kind of light, a glimmer of beauty that has not yet faded despite her present conditions. She was, at one time, a "virtuous" woman, most likely scorned by a dishonest love. Finding no comfort or pity for her prior mistakes, she must turn to the streets and embrace the inevitable - the dishonor and shame from her previous engagement will follow her unto death. Shunned from society she becomes the woman who sells herself for money and sadly finds no love. She is the abandoned, the betrayed, and the lost, embarrassed girl; she is "of the painted cohorts," the female prostitute of the streets (264).
As such, she is able to create new formulations of identity all the while the viewers are witnesses to the “new transgressive possibilities” (hooks, “The Oppositional Gaze” 202) such formulation entails, one that is not necessarily defined by garments, but by the gaze, the body and the ways it maneuvers itself, as well as the objects it holds on to. Such transgressive possibilities materialize in Edita’s gaze, one that seems to suggest, in hooks words: “Not only will I stare. I want my look to change reality” (“The Oppositional Gaze” 180). Beyond mere cosmetics, it is in fact Edita’s oppositional gaze that which allows for the disidentification with the domestic worker reality, and the movement from object to
At first entering this show the viewer is over come by the dramatic dark background present in all the works. Rutledge uses a very concentrated light on his still-lives which contain pink flamingo lawn sculptures or fuzzy dice. He paints these subjects in a very classical style showing all the detail and reality of what he is using to tell his story. By using pink flamingos and fuzzy dice Rutledge brings his subjects to the level of absurd sentimentality. These items take a person away to another place like a tropical island or nightlife of Las Vegas. They are also treated as sacred items in the other paintings, with four different paintings of figures in white gloves holding a pink flamingo Beanie Baby. The use of the Beanie Baby flamingo is chosen to contemporize the plastic flamingo to fit into our modern culture today. The figures are also very isolated in dark backgrounds like the Melanesian natives in their Western culture. Rutledge explains further by saying:
The gestural and heavy working of the paint and the contrasting colors make the painting appear active yet are arduous to follow. The defining element of Woman and Bicycle is the presence of the black lines that do most of the work in terms of identifying the figure. Through the wild nature of the brushwork, color, and composition of the painting, it can be implied that the artist is making an implication towards the wild nature of even the most proper of women.
...at make up the crowd or the eerie, bulbous faces on the train. Stephen fulfils his role as an artist by becoming a sort of teacher-shaman as he gives his discourses on esthetics to Lynch and prepares to depart into the world, like some wandering monk or sage. Separate from society he is able to search out and convey the truth of society. Pink's isolation, however, utterly destroys him. Unable to endure, the wall is torn down by the hammer of conformity and Pink becomes the very personification of repressive society. If the role of the artist is to objectively show society the truth of itself, then Pink emerges an artwork in himself, an accurate mirror of the forces that shaped him.
Feminism has been an extremely controversial and significant subject over the centuries. The issue of equality between men and women have been questioned and exceedingly debated upon, why men were treated and considered the ‘superior’ gender. During the 1960’s, civil rights, protests against war and gay and lesbian movements were at its peak. It was the period of time, which the Feminist art movement had emerged, also known as the “second-wave” of feminism, shifting away from modernism. Women wanted to gain equal rights as men within the art world. Feminist artists such as Cindy Sherman, Carolee Schneemann and Hannah Wilke pursued to change the world and perspectives on women through their artworks, specifically in body art. Their goal was to “influence cultural attitudes and transform stereotypes.” (DiTolla. T, 2013)