The Gaze a Critical of the Female Figure in Art and Advertising
Ideas and Perspectives Module
2012/2013
Claire Hynds
The Gaze
A Critical of the Female Figure in Art and Advertising
22/01/2013
Contents
Introduction………………………………………………………………………………4
Chapter 1: History of ‘The Nude’ within European oil Paintings………….....5-6
Chapter 2: Susanna and the Elders……………………………………………...6-10
Chapter 3: The Vanity of Women………………………………………………..10-11
Chapter 4: Helene Fourment in a Fur Coat……………………………………11-12
Conclusion……………………………………………………………………………...13
Bibliography…………………………………………………………………………….14
List of Illustrations
Peter Paul Rubens Susanna and the Elders (1636-40)……………………………..7
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)………………………………12
Introduction
Women have often been observed in society as being different from a man. A man’s presence is seen as being a powerful force; whereas a woman’s presence has been depicted as being a physical emanation, a kind of heat. It has been said that from a young age a woman has been taught to constantly watch her every move, whether it be her walking across a room, or whilst weeping at the death of a loved one. To be born a woman was said to have been born within a confined space, or into the keeping of a man.
Throughout history men have always surveyed a woman before they considered treating them. Consequently how a man treats a woman can be determined by many 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 would like it to be perceived by others, yet if a man was to do the same this would be read as an expression of his anger.
As John Berger states in ‘Ways of Seeing’ (P.47) Men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women
2012/2013
Claire Hynds
The Gaze
A Critical of the Female Figure in Art and Advertising
22/01/2013
Contents
Introduction………………………………………………………………………………4
Chapter 1: History of ‘The Nude’ within European oil Paintings………….....5-6
Chapter 2: Susanna and the Elders……………………………………………...6-10
Chapter 3: The Vanity of Women………………………………………………..10-11
Chapter 4: Helene Fourment in a Fur Coat……………………………………11-12
Conclusion……………………………………………………………………………...13
Bibliography…………………………………………………………………………….14
List of Illustrations
Peter Paul Rubens Susanna and the Elders (1636-40)……………………………..7
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)………………………………12
Introduction
Women have often been observed in society as being different from a man. A man’s presence is seen as being a powerful force; whereas a woman’s presence has been depicted as being a physical emanation, a kind of heat. It has been said that from a young age a woman has been taught to constantly watch her every move, whether it be her walking across a room, or whilst weeping at the death of a loved one. To be born a woman was said to have been born within a confined space, or into the keeping of a man.
Throughout history men have always surveyed a woman before they considered treating them. Consequently how a man treats a woman can be determined by many 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 would like it to be perceived by others, yet if a man was to do the same this would be read as an expression of his anger.
As John Berger states in ‘Ways of Seeing’ (P.47) Men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women
Bibliography: Books: Berger, J. (1972) Ways of Seeing. London: Penguin Books. McMillan, K. Weyes, J. (2011) How to Write Essays & Assignments. 2nd ed. Ashford: Pearson Educations Limited. D’Alleva, A. (2010) How to Write Art History. 2nd ed. London: Laurence King 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]