Europe’s perception of the Maori body in many ways mirrored earlier models for knowing the body of the Other. Like the African, the South Sea Islander is simultaneously seen as monstrous and idealized. While deemed monstrous due to practices of cannibalism and tattooing, the idea of the noble savage and the vahine suggests an idealized notion of the feminine other. Maori culture as a whole was massively coded as feminine, stressing a sense of gentleness and passivitiy. Furthermore, for Paul Gauguin, Tahiti was easily accessible due to the French status of possession, and its culture easily available due to 100 years of previous representation. His desire to depict a “primitive” woman in contrast to the Western bourgeois woman became a preoccupation within his art during his time in Tahiti. The Western Eve, who was warped by civilizing influences such as the institution of marriage became subverted in Gauguin’s art for the primitive Eve, founded in Rousseau’s discourse of the “noble savage,” as well as Gauguin’s dreams of Tahiti as an earthly paradise. He saw the Tahitian eve as sexual without shame, innocent, and could be taken freely without guilt. His Eves submitted to their biological fate, while their bodies were diminished by conflicting ideologies of sexuality and purist primitivism, or conceived of as the nurturing maternal. However, before examining the images of his Eves, I would first like to briefly outline Gauguin’s earlier experiences with primitive cultures, as well as the primitivism which characterizes his art.
Paul Gauguin was born in Paris in 1848. A year after his birth, his family moved to Lima Peru due to mounting political tensions in France, and remained there for several years. There, he was subject to a ...
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...ighlights the problematic position of Gauguin as a self-proclaimed savage, and European observer. Although there are numerous depictions of Eve during his first stay in Tahiti, I have chosen to focus on four, all produced during 1892, in which Gauguin has combined elements of Christianity and Tahitian myth based on Moerenhout’s writings. My contention is that these paintings must necessarily be read as images operating within a colonial discourse, and in fact reinforce European stereotypes of the female Maori body. Furthermore, the fact that he chooses to depict these women based on a Christian figure superimposed with symbolism from an ancient religion which has been translated and codified by European men certainly lends itself to a colonial interpretation which also disrupts Gauguin’s self-image as a true savage, and belies his position as a European outsider.
Claude Monet played an essential role in a development of Impressionism. He created many paintings by capturing powerful art from the world around him. He was born on November 14, 1840, in Paris, France. Later, his family moved to Le Havre, Normandy, France because of his father’s business. Claude Monet did drawings of the nature of Normandy and time spent along the beaches and noticing the nature. As a child, his father had always wanted him to go into the family grocery business, but he was interested in becoming an artist. He was known by people for his charcoal caricatures, this way he made money by selling them by the age of 15. Moreover, Claude went to take drawing lessons with a local artist, but his career in painting had not begun yet. He met artist Eugène Boudin, who became his teacher and taught him to use oil paints. Claude Monet
Through the analysis of Thérésia Cabarus’s portrait, Amy Freund attempts to examine Cabarus’s failure to “create a feminine version of political agency through portraiture” in order to provide insight into the unfulfilled promises of female citizenship during the French Revolution. She asserts that, through the use of a combination of imagery associated with revolutionary femininity, including the emphasis on the sitter’s physical passivity and sentimental attachments, and conventions usually associated with male portraiture, Cabarrus and Laneuville, the painter, attempted to present her portrait as an argument for women to be granted an active role in revolutionary politics. Freund suggests that the portrait failed to achieve its goals because it recalled the Terror and the disunity of France in addition to invoking the “anxiety surrounding the increased visibility of women in post-Thermidorean social life and visual representation.” Because of its relative failure, Freund considers Cabarrus’s portrait a symbol of the “possibilities and limitations of female agency in Revolutionary portraiture and politics” as well as a shift in portraiture; as she remarks, “portraiture after 1789 shouldered the burdens formerly borne by history
In Alejo Carpentier’s The Kingdom of this World, many examples of recurring themes, images and symbols occur. In particular, the themes of hybridization and African versus European culture appear multiple times throughout the novel. However, it is not enough to simply look at these themes as trends occurring throughout the novel. Instead, these themes must be analyzed closely in order to provide possible insight into the author’s reasons for incorporating them so frequently in his text. For example, the aforementioned themes both relate closely to one another, and their presence alongside each other may indicate an underlying cultural or historic motive of the author. In essence, in order to truly understand The Kingdom of this World, one
Prior to the 20th century, female artists were the minority members of the art world (Montfort). They lacked formal training and therefore were not taken seriously. If they did paint, it was generally assumed they had a relative who was a relatively well known male painter. Women usually worked with still lifes and miniatures which were the “lowest” in the hierarchy of genres, bible scenes, history, and mythological paintings being at the top (Montfort). To be able to paint the more respected genres, one had to have experience studying anatomy and drawing the male nude, both activities considered t...
The center of discussion and analysis about the sex/gender system focus on the differences between African, European and Creole Women. The sex/gender system describe by Morgan focus on their production, body and kinship. European women are seen as domestic, African women’s work overlaps between agricultural and pastoral. They’ll work in the field non-stop, even after giving birth. African women hold knowledge about the pastoral and agricultural work “in the planting and cultivation of fields the daily task of a good Negro Woman” (145). While Creole women were subordinated, with the job of produce and reproduce. When it came to body, European women’s bodies were seeing as fragile. After birth the rest for a while before they could stand back again or return to their activities “European observers believed the post-delivery period of abstinence lasted three months, and others commented up two- to three year period o...
I chose to elaborate on two of Karen Armstrong’s themes from the first chapter of A History of God as I felt they were both very strong ideas. The first explains how cultural differences between North Africa and Europe during the Romantic Period affected white society’s failure to realize that Islam indeed worshipped the same deity. The second explains how Delacroix’s audience desired the imagery in the painting because people were, during this time, losing their concept of God.
Often times in literature the body becomes a symbolic part of the story. The body may come to define the character, emphasize a certain motif of the story, or symbolize the author’s or society’s mindset. The representation of the body becomes significant for the story. In the representation of their body in the works of Marie de France’s lais “Lanval” and “Yonec,” the body is represented in opposing views. In “Lanval,” France clearly emphasizes the pure beauty of the body and the power the ideal beauty holds, which Lanval’s Fairy Queen portrays. In France’s “Yonec,” she diverts the reader’s attention from the image of the ideal body and emphasizes a body without a specific form and fluidity between the forms. “Yonec” focuses on a love not based on the body. Although the representations of the body contradict one another, France uses both representation to emphasize the private and, in a way, unearthly nature of love that cannot be contained by the human world. In both lais, the love shared between the protagonists is something that is required to be kept in private and goes beyond a single world into another world.
”The History of Sexuality” is a three-volumes book, published around 1976 and 1984 by the french historical philosopher Michel Foucault. The three volumes are “An Introduction” (which later is known also as “The Will of Knowledge”), “The Use of the Self” and “The Care of the Self”.
Through the exploration of this diverse range portraiture, the contrasting ideals of masculine and feminine beauty in the Renaissance have been explored. Yet overall, no matter what the gender orientation of the subject, it the discovery of such passionate and artistic talent presented which is essentially ‘beautiful’. Consequently, the grand appeal of such glorious images is still appreciated today, and will continue to delight viewers for generations to come.
Although the painting itself displays many impressive artistic styles, it is also important to consider the artwork’s historical context. The Raft of the Medusa depicts the aftermath of the shipwreck of the French naval frigate Médusa, which crashed off the African coast. The desperate passengers then built a makeshift raft from the pieces of the destroyed ship, which is the moment depicted in Géricault’s painting. Particularly, The Raft of the Medusa was a contemporary piece that commented on the practice of slavery and the incompetence of the new French government in the early 19th century. Géricault, an abolitionist, sought ways to end the slave trade in the colonies. The anti-slavery cause was well known at the time and was highly promoted by the abolitionists throughout France. Thus, due to Géricault’s repugnance towards slavery, it is only fitting ...
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,
First, I will look at the enslavement of Africans in the New World. During this period women of African descent were raped and abused. They were deemed as sexual beings and were used not only as producers but also as reproducers, to replenish the enslaved population. This latter role was also perpetuated through the rape of enslaved African women by their white slave masters. Thus, the health of these women was negated for the welfare of the plantation system. This system was justified by scientific racism and my essay will show how Europeans came to the conclusion that this was morally permissible. I will also explore how this has affected the idea of motherhood, showing the eurocentric view of African motherhood and contrast this with
Being the descendant of Haitian and Puerto Rican ancestry, Basquiat’s diverse culture is a main factor behind his creative tactics and his artwork. Basquiat was born in Brooklyn, New York on December 22, 1960. His father was Haitian-American, Gerard Basquiat with an occupation of an accountant and his mother Matilde Basquiat was Puerto Rican
There has been a long and on going discourse on the battle of the sexes, and Simone De Beauvoir’s The Second Sex reconfigures the social relation that defines man and women, and how far women has evolved from the second position given to them. In order for us to define what a woman is, we first need to clarify what a man is, for this is said to be the point of derivation (De Beauvoir). And this notion presents to us the concept of duality, which states that women will always be treated as the second sex, the dominated and lacking one. Woman as the sexed being that differs from men, in which they are simply placed in the others category. As men treat their bodies as a concrete connection to the world that they inhabit; women are simply treated as bodies to be objectified and used for pleasure, pleasure that arise from the beauty that the bodies behold. This draws us to form the statement that beauty is a powerful means of objectification that every woman aims to attain in order to consequently attain acceptance and approval from the patriarchal society. The society that set up the vague standard of beauty based on satisfaction of sexual drives. Here, women constantly seek to be the center of attention and inevitably the medium of erection.
A feminist analysis on the other hand shows that Anowa is a woman who is struggling against the 1870’s African feminist identity (the identity of weakness). The drama surrounds the story of a young woman called Anowa who disobeys her parents by marrying Kofi Ako, a man who has a reputation for indolence and migrates with him to a far place. Childless after several years of marriage, Anowa realises that Kofi had sacrificed his manhood for wealth. Upon Anowa’s realisation, Kofi in disgrace shoots himself while Anowa too drowns herself. In a postcolonial analysis of “Anowa”, we can see some evidence of colonialism.