With the use of red and white color in Ana Mendieta’s Mutilated Body on Landscape, the photograph creates a darker and graphic visual tension surrounding the work. Mendieta is conveying the death of an innocent and she canonized the figure into a saint through the use of a color. Although the shape of the body is discernible, Mendieta made the gender and the identity of the figure rather ambiguous to convey the form is representing a human being . She also conveys through the materiality of the blood and animated heart, that the figure is filled with dramatic emotion. Mendieta conveys the death of innocent and portraying the figure as a canonized saint with the use of color symbolism. In the Mutilated Body on Landscape, the most striking
Ester Hernandez is a Chicana artist, best known for her works of Chicana women. Ester’s goal is to recreate women’s lives to produce positive images of women’s lifestyle and to create icons. Her piece, Frida y Yo, contains the iconic painter Frida Kahlo. Frida, after being in multiple accidents causing long-term pain and suffering, began painting, mostly self-portraits, to portray her reality and glorify the pain. Similar to how Hernandez's goals are a juxtaposition to Frida’s artwork, the art piece Frida y Yo creates a juxtaposition between life and suffering and death and fortune.
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.
It seeks a balance through process: masculinity with femininity; organic form with geometric shape; two dimensions with three dimensionalities. Balance comes when there is a cohesion of parts in complete harmony. To maintain balance, it is essential to engage the qualities of the antitheses. The work embodies a feminine sensitivity through the bright vibrant colors, softer tones, and the organic nature of the abstraction – the forms are created with industrial tools traditionally associated with conditions of masculinity. The juxtapositions of the organic, fluid nature of the paint, with the imposed geometric shapes produces a resonance and harmonic integration. Although original to a set of ideas responsive to feminist discourse, the polemic of the work is rendered through a medium-atic investigation, producing a transcendent
Many individuals had helped advance the Renaissance the belief in humanism. These people were great thinkers and their ideas are still considered achievements today. One of these great thinkers was a woman, to be specific she was the first woman artist, Sofonisba Anguissola. Being the first woman artist, during a time of mainly male artist’s is an achievement in of itself, but her work on self-portraits helped in shaping the renaissance and in advancing the ideal of humanism. Painting since her father sent to her to train under the great painter Bernardino Campi the age of 14. Sofonisba quickly mastered painting techniques, developing such life-like paintings that “they seem to confront nature itself” (Sofonisba Anguissola).
Art carried its own imaginative impact in amending man’s view of man, as various art styles changed dramatically over a few centuries, shown in Document A. The painting of the Madonna Enthroned Between Two Angels by Duccio di Buoninsegna was done in the Middle Ages, around the late 1200’s, with an emphasis on the religious aspects. On the other end, the painting of Mona Lisa by Leonardo da
Frida Kahlo’s honest, often bizarre, self-portraits reflect a beauty beyond the physical--- an impishness in the wide eyes, a small smirk teasing at the corners of her mouth. In her renderings, her cheeks are always heavily rouged, and exotic flowers adorn her raven hair. Self-Portrait in a Velvet Dress uses the contrast of light --- Kahlo’s glowing skin --- and dark--- the black background, and in doing so, this painting not only communicates the subject’s outward beauty. It also points to an unspoken turmoil inside of the painter: as dark as the night sky and as deep as rolling sea.
Picasso ignored the traditional aesthetic canons governing the representation of the female nude. The bodies are deformed. The woman sitting presents both his back and his face. The influence of African art, which replaces that of Orientalism of the nineteenth century, is very clear in the
The picture is a scale in which the female side is higher than the male side. Women have always been since as less than a man, an outlook that can be traced all the way back to the bible. According to the bible, Eve was created from Adams rib, which was supposed to be construed as his loving her because she was made of his flesh has been corrupted that women are less than a man. Even the United States, the pioneer of freedom and rights, still pays a woman less than a man. A women’s opinion is still doubted or in some cases not even listened to especially when they hold positions of power. In third world countries, if a woman is attacked or raped it is her fault, just because she is a woman. Infanticide, the killing of female babies, is still predominant in areas all over the world. Mothers rid themselves of girl children so that they don’t have to worry about dishonor or providing a dowry. This killing of females is also represented in the art. This artwork should remain on Tejon Street as a reminder as how far we have come as women and how we have much work ahead of us in order to get true
In the article “The Return to Ritual: Violence and Art in the Media Age” by Jacob Siebers the world of violence through art and the cultural influence surrounding it is being examined. According to Siebers traumatic artworks have “something active in them that is more difficult to capture” (5). The art examples in the article are presented in the form of a bullet wound to the head and a half sliced pig suspended in formaldehyde. The subject of trauma art is not focused on a specific aspect, but rather what is disturbingly beautiful to the artist.
In Jun'ichirō Tanizaki’s short story “The Tattooer”, Tanizaki features an ambitious tattoo artist who yearns to create a masterpiece on the skin of his ideal woman. Initially, this woman is anticipated as the one who holds the potential to achieve the status of a twisted goddess. Moreover, the artist’s process of forging his masterpiece on this particular woman acts as a stepping-stone to his imminent demise; she is a lethal double-edged sword. The tattoo, which takes the form of a black widow, metaphorically transforms the woman into a Japanized “black widow” herself. Accordingly, the dual nature of woman is portrayed as timeless beauty and infinite destruction.
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.
These works may be labeled objectifying also because a male painter painted them. Today, these works could be seen as empowering to women. The first painting gives off an emotional ride of one duplicated woman or two women. The second painting shows an emotional journey of prayer and relaxation of a woman sitting in the lotus position. The third painting could represent a strong and empowered women respecting herself and her body. Times have changed and so have views of women in society which have influenced a change in how people view nude women in
Throughout history, women artists have had to face opposition from their male counterpart to be treated as equals in both society and in art. Men has enjoyed a level of personality in the depiction of male figures that have allowed for active roles while women were forced in roles deemed lesser. Their treatment in both society and in the representation of art, has limited female viewer in what types of female figures she would see. Her models were mostly passive and objects of beauty or femmes fatales.
Montañez R, Dinhora (2013). Diario del Huila, ed. Body painting, el arte de la poesía
While looking at this sculpture it is transformed every time you move your own head, walk around it, and bend closer. It just has a way of changing shape. While looking at it, it first appeared to me as a man or some kind of creature. Looking at the name, one would realize what the sculpture is. The sculpture was a woman. It has a lot of rough and sharp points, but the surface was very smooth. It is kind of disturbing on how Picasso seems to see beneath the skin. He reveals the tendons in Fernande's neck. The fractured texture of Fernande's face, her hair a system of gorges and upland ridges, is a metaphor for the way we experience another person. (Hughs) Like Rembrandt's most intimate portraits, it is about the mystery of being close to another human being. (Cooper) Picasso makes you recognize this by inviting your eye down into those channels and crevices, until you feel you are inside Fernande's head. You can never exhaust the richness of this head. (Hughs)