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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
The band of characters is drawn from every level of the class system. Unique interactions among characters from different social standings are conveyed, from the distressed, kindly gardener, to the impertinent daughter of the village innkeeper, to the prosperous de Luce family, and to the royalty. What appealed to me was that Flavia could trace her family’s history back many generations, and for one to be able to make these personal connections is extremely rare. Of course, this awareness of their past is correlated to the de Luce’s chain of affluence.
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
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
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.
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
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.
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
Within Rhys’s novel, he incorporates the normality of the West Indies during the nineteenth and mid- twentieth centuries. Antoinette, the main character, who happens to be a white Creole, is mistreated and discriminated because of her identity. Throughout the text, characters are victimized by prejudices. For example, Antoinette and Annette become victims of traumatic experience as they face numerous kinds of mistreatment. Antoinette had to deal with an arranged marriage, which results her becoming distressed. Throughout this marriage, she was treated irrationally by her husband, Rochester and servants. She was unable to relate to Rochester because their upbringings were incompatible. She had to stomach the trauma of being shunned because of her appearance and identity. She was called names, mainly “white cockroach”, and was treated as an
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
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.
It differs greatly, in its portrayal of mothers, from Le Brun’s Self-portrait with her Daughter and Cassatt’s artworks. Behind Marie Antoinette, you see a jewelry cabinet, off to the right of the canvas. This illustrates that, although she is with her children, she finds treasure within her own materialistic objects. Furthermore, her expression lacks emotion as she holds the child loosely within her arms. The child looks off, barely acknowledging its mother, who is holding him. Next, the child, on the far right of the canvas, reveals an empty cradle, alluding to a child who has died. Again, Marie seems unfazed or simply chooses not to acknowledge the boy’s actions. Furthermore, the young girl, on the right of the canvas, clings on to her mother as she lovingly looks up to her mother. Marie holds a wry smile, appearing somewhat annoyed or displeased. The color scheme is dark, but Le Brun utilizes contrast to emphasize the royal family. However, it only works to further expose the detached relationship between a Marie and her children. According to the lecture, “To counter people’s hatred of the queen and their criticisms of her as a bad (even a degenerate) mother, Vigée Le Brun was commissioned to paint this portrait of Marie Antoinette and her children” (Gartrell). Sadly, the painting was
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 ...
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...
Insistent upon being treated as members of the high society to which they no longer belong, the Monarchs also present a conflict of appearance and reality for the artist because he is forced to allow them the social deference of portrait sitters, yet pay them as models (viewed as their “superior but not their equal”). The complexity of appearance vs. reality is further illustrated when the artist realizes that while Major and Mrs. Monarch may appear to be the “real thing,” he is unable to transform their outward reflection of nobility onto his canvas without sacrificing his art – his life’s work.... ... middle of paper ... ...
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.