'The Gaze a Critical of the Female Figure in Art and Advertising\r'

'Ideas and Perspectives Module 2012/2013 Claire Hynds The Gaze A Critical of the Female Figure in Art and Adverti go againstg 22/01/2013 table of contents Introduction………………………………………………………………………………4 Chapter 1: archives of ‘The nude create statue’ at bottom European inunct Paintings…………….. 5-6 Chapter 2: Susanna and the Elders……………………………………………… 6-10 Chapter 3: The egotism of Wowork force……………………………………………….. 10-11 Chapter 4: Helene Fourment in a skin cover…………………………………â €¦11-12 Conclusion……………………………………………………………………………… 13 Bibliography……………………………………………………………………………. 14 angle of dip of Illustrations Peter Paul Rubens Susanna and the Elders (1636-40)…………………………….. Artemisa Gentileschi Susanna and the Elders (1610)……………………………… 9 Tintoretto Susanna and the Elders (1555-56)………………………………………10 Rubens Helene Fourment in a Fur coat (1577-1640)………………â €¦â€¦â€¦â€¦â€¦â€¦12 Introduction Women eat a great deal been ob give eard in cabaret as macrocosmness different from a man. A man’s battlefront is jawn as being a powerful string; whereas a cleaning char charwomanhoodhood’s presence has been depicted as being a physical emanation, a kind of heat. It has been utter that from a spring chicken age a woman has been taught to constantly watch her e truly(prenominal) move, whether it be her wal office across a room, or whilst weeping at the residual of a loved one.To be natural a woman was give tongue to to provoke been born inside a jailed space, or into the keeping of a man. passim hi account men have constantly surveyed a woman before they considered treating them. whence how a man treats a woman can be determined by galore(postnominal) things, for instance if a woman is to throw a glass on the floor, this is how she expresses her anger towards a situation and how she woul d homogeneous it to be perceived by other(a)(a)s, in so far if a man was to do the equal this would be read as an typeface of his anger. As nates Berger states in ‘ ship demeanor of Seeing’ (P. 47) manpower act and women appear. Men look at women.Women watch themselves being looked at. This determines not only around traffic amongst men and women so far in like manner the relation of women themselves. â€Å"The surveyor of women in herself is male: the surveyed is female. then she turns herself into an target and most particularly an object of vision: a sight” (John Berger ‘ ways of Seeing’ Page. 47) Chapter 1 account of ‘The Nude’ within European oil Paintings In the history of European oil movie it has been said that women were cognise for being the unproblematic and ever-recurring sketch. In the undefendable of women they were best known for being painted in the nude.It is said that the first nudes to have been depicted in the history of art was that of raptus and eve. John Berger has stated (P. 47) that is was worth mentioning the story of Adam and Eve as told in genesis: ‘And when the woman cut that the tree was honourable for food, and that it was a delight to the eyes, and that the tree was to be proclivityd to make one wise, she took of the harvest thereof and did eat; and she gave also unto her keep up with her, and he did eat. And the eyes of them both were opened, and they knew that they were sensitive; and they sewed fig-leaves together and made themselves aprons….And the shaper beau ideal call(a)ed unto the man and said unto him, â€Å"Where ar thou? ” And he said, â€Å"I comprehend thy voice in the garden, and I was afraid, because I was peeled; and I hid myself…. Unto the woman God said, â€Å"I impart greatly reckon thy distress and thy conception; in sorrow thou shalt bring forth children; and thy believe shall be to thy husband and he shall swayer over thee” What is raise stri queen mole rat well-nigh this particular story is how Adam and Eve become aware of each other’s receptivity the exact minute they take a bite of the command fruit, as a result of this they saw one another in a completely different way.Nakedness was created in the mental capacity of the beholder. What is also striking ab start this story is how the woman is blamed and made to condense by being made to serve the man. As the traditions of exposures become more secular, other shanks are offered up as an fortune for exposure nudes. But in all of them there remains the fact that the subject (a woman) is all too aware of being watched by the looker. ‘She is not naked as she is. She is naked as the watcher bring downs her. ’ (John Berger ‘ shipway of Seeing. Page. 50) Chapter 2 Susannah and the EldersSusanna and the Elders was one of the most commonplace images of the sixteenth century, these p ieces were taken from the Old will story of Susanna and the Elders. The images that were done of Susanna and the Elders were depicted from specialised passages from the 13th Chapter of the book of Daniel. Unlike most renditions of Susanna and the Elders, the Schonborn painting presents the central confrontation between the main characters, the exact moment within the story when the Elders return to the garden to nominate Susanna. bloody shame Garrard (â€Å"Artemisia and Susanna”, Feminism and Art record: call into question the Litany, Norma Broude and Mary D.Garrard, eds. , pp. 146-171) had this to say on her account of these paintings: Few artistic themes have offered so satisfying an opportunity for legitimized voyeurism as Susanna and the Elders. The subject was taken up by relish by artists from the sixteenth through with(predicate) eighteenth centuries as an opportunity to pageant the female nude, in much the equal spirit that such themes as Danae or Lucretia we re approached, but with the added advantage that the nudes erotic could be heightened by the presence of ii sexy old men, whose inclusion was both ichnographically reassert and pornographically effective. The story of Susanna and the Elders is seen as a remarkable testament of the man’s ego, a scriptural theme of the exemplum of a female’s chastity which shows the festivity of sexual opportunity. Or as muck Rooses en henceiastically described Ruben’s version of the story as a â€Å" young man enterprise mounted by two adventures”. Peter Paul Rubens, Susanna and the Elders, 1636-40 Griselda Pollock (Differencing the Canon, p. 105) states the avocation on the subject of Susanna and the Elder’s. â€Å"The biblical story of Susanna and theElders tells of a young espouse Jewish woman living in Babylon during the first exile of the Jewish state (after 586 BCE. ). Susanna is bathing in her garden. She sends her two maids into the menage to fetch oil and perfumes for her bath. Two lecherous elders of the community spy on her, conspiring to military force her to submit to them sexually. They threaten her that, if she refuses, they will grade her of adultery with another man, adultery being, fit in to ancient Jewish law, a dandy crime for women.Susanna refuses, preferring the fate of death to the sin they propose. She is then off-keyly accused by the elders and condemned to death. Daniel, of leonine fame, vindicates Susanna by exposing the elders mendacity. Interrogating them separately, he asks them to a lower place which tree Susanna committed adultery. Each names a different kind of tree. They are then executed for the crime of false witness. ” This story is seen as a convoluted narrative of sexual desire and ocular temptation.During the Renaissance the focal point of the woman’s desolation while bathing is clear to a lecherous conspiracy which show the sexual, voyeuristic and visually violating as pects of the theme, while at the same time providing a biblical and change surface a theological excuse of the painting as an erotic female nude, a genre that was emerging in this period, shifting the focus of the female nude from its traditional association with truth towards a more modern signification of desire and its privileged visuality.Garrard and Pollock’s focus on the subject of Susanna and the Elders is of a painting based on the same subject by Artemisia Gentileschi. Artemisa Gentileschi, Susanna and the Elders, 1610. In one of the many versions of Susanna and the Elders by Tintoretto, Susanna is seen looking at herself in the mirror. In turn she becomes the spectator herself. Tintoretto, Susanna and the Elders, 1555-56. Mary Garrard Mary Garrard (â€Å"Artemisia and Susanna”, Feminism and Art History: Questioning the Litany, Norma Broude and Mary D.Garrard, eds. , pp. 149-150) presented the following on Tintoretto’s painting of Susanna stating: â⠂¬Å"Tintoretto, whose adventurers stage their evoke in a manner more sneaky than bold, nonetheless offers a ex angstromle depiction of the theme in his violence upon Susanna’s voluptuous body and upon the Elders’ ingenuity in getting a nestled look at it. ” Chapter 3 The Vanity of Women The Mirror was often used within paintings to show the vanity of women. The moralizing, however, was seen as being quite hypocritical. You painted a naked woman because you enjoy looking at her, you put a mirror in her hand and you called the painting ‘Vanity’, thus morally condemning the woman whose nakedness you had depicted for your own pleasure”. (John Berger, ‘ ways of Seeing’, P. 51) The main function of the mirror was to make the woman notice herself and see what men see her as, a sight. It is a well-known fact that some paintings do include a male lover. However, the woman’s attention isn’t incessantly directed straight a t him.The woman is normally panting looking away(p) from the man or she is seen looking out of the painting supposedly looking towards her authoritative love, or in this case the spectator-owner. In one instance of this type of theme is that of Lely’s painting titled ‘Nell Gwynne’ at painting done especially for the king of that time. In this piece it is clear that the woman is looking passively out of the painting at the spectator, in this case the spectator turns out to be the king. However, Nell’s nakedness was not the expression of her own feelings, but instead was the sign of her submission to the king’s demands. Chapter 4 Helene Fourment in a Fur CoatOne painting that was found to be particularly fascinating was that of Ruben’s young second wife, who he had happily marry even though he was, at the time, quite old. Rubens ‘Helene Fourment in a Fur Coat’ 1577-1640 In this piece we see Ruben’s wife in the blot out o f turning, as she does her fur coat begins to piecemeal slip off her shoulders. It is clear that if she continues with what she is doing she will not remain covered for very much longer. As her body faces us, even if it isn’t full frontal, it is shown as being a well experienced body. Her way has, in the eye of the painter, been altered adieu his subjectivity.As John Berger (‘Ways of Seeing’, P. 61) describes ‘thither is a displacement sideways of almost nine inches’. If looked at closely it is tripping to work out that her thighs, where they are meant to coupling up with her hips, are seen to be at least a couple of inches obscure from the left side of her body. Conclusion The ways of seeing a woman and the way they are presented within a painting have not changed. Women were depicted as being different from men, not because of the distinction between feminism and masculinity, but because the spectator is often assumed to be a man and a pain ting of a naked woman were designed to kiss him. In the art-form of the European nude the painters and spectator-owners were commonly men and the persons treated as objects, usually women. This unequal relationship is so late embedded in our culture that it still structures the consciousness of many women. They do to themselves what men do to them. They survey, like men, their own muliebrity”. (John Berger, ‘Ways of Seeing’, P. 63) In the end what was found was quite remarkable and found that women were often observed in society as being different from a man. It just goes to show that even in paintings women will always be seen as objects and nothing more.Bibliography Books: Berger, J. (1972) Ways of Seeing. London: Penguin Books. McMillan, K. Weyes, J. (2011) How to draw up Essays & Assignments. 2nd ed. Ashford: Pearson Educations Limited. D’Alleva, A. (2010) How to compose Art History. 2nd ed. London: Laurence female monarch Publishing. Broude, N. Garrard, M. D. (1982) Feminism and Art History: Questioning the Litany. 1st ed. New York: Harper & Row. Websites Tilt, S. (2011) Susanna and the Elders [Online]. Available at: http://employees. oneonta. edu/farberas/arth/arth200/women/susanna. html [Accessed: 14 January 2013]\r\n'