Art Deco was a style that flourished throughout 1910 to around 1935. Known for its advancements in the art of advertising, the style had begun to prosper around the start of World War I (1914 – 1919), and had further developed to become a combination of various styles, as well as a rebellion against the concepts of Art Nouveau. Originally known to be referred to as the Art Moderne style, the name was changed only after the period had already passed its peak. The origin of the name involved the idea of decorative arts, hence the shortened name Art Deco, but previously the style had taken root within the time period of Modernism. Modernists sought to abstract the form and move away from the naturalistic curves found within the Art Nouveau period,
In her, “Modernity and the Spaces of Feminity,” Griselda Pollock questions the representations and myths of modernity in Paris during the nineteenth century. The Impressionist movement, dominated by a masculine perspective, represent Paris as being the new place for recreation, leisure and unrestrained pleasure. But, what about Impressionist women painters? what was their point of view? Pollock argues that a historical asymmetry, which is a social and economical difference produced by a social structuration of sexual difference, determined both what and how men and women painted. Therefore, in order to analyze female Impressionist, we must take into consideration that they share the same social system produced by a sexual differentiation, hence,
Art Deco as an art mover has had a lot of influence in the history of arts and was under the influence of the past art movements and different cultures, the present lifestyle and the societies of the life changing World War I and II. In design Art Deco was glamorous and in style it was luxurious. Major influences were the styles of art and the French crafts of high standards, different cultures and avant-grade art. It wasn’t just a normal style that reflected adventure, entertainment and leisure but a highly enjoyed taste by all classes of people with different minds after Second World War. It handed down its concepts of design and traditional and modern visual styles to younger generations while at the same time its styles influencing many present-day designers (Hillier & Escritt, 2004).
The term “The Little Black Dress,” the fragrance “Chanel No. 5,” the Chanel suit with its soft, cardigan-like jacket and skirt, have become part of the timeless fashion vocabulary familiar to us all. From our perspective, these aspects of modern fashion hardly seem revolutionary, but Coco Chanel was a businesswoman who became successful by adopting fashion to the evolving role of women in a rapidly changing wartime society; her vision that left a legacy which endures to this day.
In contrast to the various styles prevalent during the modernists movement, where some artists sought to strip their work of what they saw as visually unnecessary or too expressive, artists of the feminist movement embraced their emotional attachment to the subjects of their work, while also setting out to distinguish their art from that of their (mostly male) modernists counterparts. Feminist artists did this by focusing on matters intimate to females such as their everyday experiences, their perceptions of the world around them, the female anatomy, female physiology and feminine body language. While sharing common ground focusing on these matters, feminine artists' ways of confronting and displaying these matters greatly differed from artist to artist. A good example of feminists art confronting the subjective matter of female ...
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.
The female body has been a subject of wonder throughout art history, but present day the media has made a woman’s body an object for sexual gratification. For example in the image of Sports Illustrated, Kate Upton is shown wearing a skimpy bikini. By revealing almost every part of her anatomy, it completely eliminates any trace of modesty, and undermines her respect from the viewer. Her red bikini connotes sexuality and passion; and the use of direct eye contact implies that Upton is in a position of power, and is able to influence the response of men due to her sex ...
During the early stages of the Industrial Revolution, the role of working-class women became a burden to what one would call British National Identity. As one can note from Deborah Valenze’s book The First Industrial Woman, women who began to work in order to support their families were seen as a masculine because they would dress showing more skin. The new evolving identity of working class women became criticized not only by men but also by women of higher economic status. This would eventually lead to the first feminist wave in Britain from 1848 through 1920. This new wave in Britain was a reaction to the way working women had been put down by British society in the earlier period of the Industrial Revolution. Therefore, the ‘gentle lady’ of the Victorian Age became unacceptable, the role that domesticity was the right role to be played by women became a critique. The suffrage movement in many ways led women to embrace a new form of ‘masculinity’ in clothing. The working class woman’s ‘masculinity’ became one to be praised. One can begin to see this at the end of First Feminist wave in the 1920s when the flapper style became the new fashion. Society in Britain had become one of man v. woman, and women retaliated through fashion by adapting masculine style clothing to cover their curvaceous figures. Nevertheless, the Second World War’s impact on society brought with it a new ideology of Britain v. the outside enemy, which brought a revitalization of traditional women roles illustrated by the clothing. The following is an analysis on women’s clothing post the First World War and through the Second World War.
Feminist inquiry in art history began in 1971 with Linda Nochlin article “why have there no great women artist” (Peterson & Mathew 1987, 325), to answer her question she stress that, arts is not a free autonomous activity of a super endowed individual influenced by previous arts or social factors, but rather art is an integral element of structure and is determined by specific social institutions such as arts academies, patrons, patriarchal culture or the myth of the divine creator (Peterson &Mathew 1987, 325). Nonetheless, Parker and Pollock took a fundamentally new direction from earlier surveys, evaluating women’s historical and ideological positions in relations to art (). They accounted that the prescription of the Victorian writers insidiously prepared the ground for twentieth dis...
The medium of photography itself was a stray from tradition. In earlier paintings, bodies were represented based on a system of perfect proportions, an unnatural ideal; but there was a truth to photography. With photography, there was no denying that these were live, flesh-and-blood women. The women’s movement would not have had the success and controversy had it not been for the use of photography. Many of the artists working during and after the feminist art movement used familiar images as a way to bring attention to women’s portrayal in society. Whether it was pinups, movies shots, or advertisements, sexualized images of women were found everywhere. They had been prevalent for so long that they were accepted as normal. Many feminist artists’ imitated images found in popular culture and refashioned them in an attempt to appropriate
Sigismund Schlomo Freud, an Austrian neurologist and the father of psychoanalysis, once stated “When you meet a human being, the first distinction you make is ‘male or female?’ and you are accustomed to make the distinction with unhesitating certainty.” Had Sigismund Freud lived through the 21th century instead of the 19th, he might have had a good reason for hesitation. Now we live in an era when gender norms- and many other standards- must perhaps be questioned and dismantled. Over the last several years, the broader cultural shift in how people perceive gender has picked up speed in almost all spheres of society- politics, education, art, literature, and of course in the fashion industry. Clothing has become one of
.... This showed forth in her rebellious, revolutionary and iconic designs. Chanel was the only fashion designer to appear on Time magazine’s list of the most influential people of the 20th Century. From carrying out this Research Topic, I now realise that Chanel is all around me, from my wardrobe to the clothes in stores. Her legacy will never end, her name is permanently stamped onto women’s fashion because she did what no one else ever thought to do. As I read all my sources and carried out all the research needed for this essay, I couldn’t help but wonder about what fashion would be like nowadays if it wasn’t for Chanel. Would women still be confined to the walls of corsets? Would fashion industry still be mainly male dominated? Realistically, Chanel saved women in many ways whether she aimed to do so or not. She truly is the ultimate fashion icon, symbol and idol.
The article, Why and When Did Americans Begin To Dress So Casually, is about how casual dress is becoming more common. As a teen, she never wore what was casual, she went to thrift stores to look for non-casual clothing, which involved opera gloves, evening bags and wasp-waist wool dresses. Culture had given her an opinion of what was acceptable to wear. This article is about a women overcoming the need to follow what is formal dress. By the time she was in her mid-20’s, she decided she no longer wanted to wear clothing that was uncomfortable. Society and culture gives representations on what people should wear, to maintain the perfect image and to have acceptance from others. She followed that until she found that dressing casual gives the individual not only comfort but practicality as well. America gradually started to dress casual making it more common. It dealt with appearance perception and appearance management because she formed her own ideas of what was acceptable about her appearance.
Man Ray’s picture, Noire et Blanche, consists of a pale-faced model holding a darkly glossed African mask. There are several messages being hidden by the black mask in the image. Not all who view this photo know that the woman being photographed was Man Ray’s mistress, Kiki de Montparnasse. In this sense, the African mask can relate to the “savage” or “primitive” man that many artists associated with modernism are showing in their work. On the other hand, Kiki is reminding the audience of the fabricated beauty image that society has of the modern woman. With this beauty, selling a variety of consumer goods were featured in new forms of mass popular culture.
Paul Poiret was born on April 20th, 1879 in Paris, France. His contributions to twentieth-century fashion has earned him the title in many people’s eyes as the “King of Fashion”, because he established the principle of modern dress and created the blueprint of the modern fashion industry. Poiret’s designs and ideas led the direction of modern design history. He was born into a working class family and his natural charisma eventually gained him entry into some of the most exclusive ateliers of the Belle Époque. Jacques Doucet, one of the capital’s most prominent couturiers, hired him after seeing promising sketches he had sold to other dressmakers. Furthermore, he was hired by the House of Worth and was put to work to create less glamorous and more practical, simple items because his out of the ordinary designs were not welcomed in open arms by opulent clientele. Despite this experience he was still confident in his ideas and ventured out on his own with money barrowed from his parents and opened a storefront. Moreover, he wanted to promote of the concept of a "total lifestyle” was seen as the first couturier to merge fashion with interior design. His independent work broke the normal conventions of dressmaking, and overturned their underlying presumptions. He liberated the woman’s body from the petticoat and the corset to allow clothing to follow woman’s natural form. Poiret also radically revolutionized dressmaking to switch from the emphasis surrounding the skills of tailoring towards those based on the skills of draping and began to use bright colors. Furthermore, Poiret was apart of the art deco movement, which was surrounded by a period of immense social upheaval, particularly for women, and emergence of technol...