Feminine Beauty: Archetype Formed In The Upper Body

I think about how the world had betrayed this women. They made this woman plump and empty, she does not even have a face. This statue is nude showing everything to the naked eye, she does not have a desirable body. This sculpture shows how much a woman was respected back in the day, which was very little.

Standing in front of this sculpture, the viewer can feel the wind whipping around them and the sea spraying you in the face. The energy and motion add to the dramatic effect that immediately draws the viewer in. This dramatic effect is created by the lines of the figure. Nike’s elongated wings catch your eye and create a lengthy transverse line which adds to the drama. The drapery that clothes the figure has the same

I can only tell by body language that they want to spread heroism between men and women. The use of marble links the sculpture to the glow and smoothness of the male skin. In this sculpture, it appears to be characterized by imagery aimed at the sense of the marble statue. The standing sculpture appears to be relaxed, while the median line makes an angle. While standing upright, the figure’s feet are place in a certain way that brings a shifting effect or movement and a stable poise.

Her face is empty and has no meaning because it is what women was for at that time. The face of women was not important to keep the family line or the clan strong. Men wanted women who had more female features which they think can make their children healthy and strong. So then, the women’s body on the statue shows bigger breast and hips because that

The sculpture portrays the God of Harvest, Dionysus, with his loyal satyr follower, Pan. A considerable amount of detail when into the carving of Dionysus; the multiple grapevines in his hair, his ceremonial staff Thyrsus, the goatskins and the cup of wine he’s holding are all symbols of Dionysus. The composition is very asymmetrical, and creates a contrapposto arrangement, which is distinctly Grecian (Gardner). It was carved out of beautiful fine marble, which also had another purpose in the way of making this piece of art last for many years. Along with the tree trunk between the two men providing support at the base, and the elongated arms providing more structural stability. The God’s head is even reinforced by his hair to make sure the head doesn’t break off. This sculpture is visually and aesthetically pleasing, but doesn’t serve a useful function, like textiles or furniture. Therefore, it is considered a figurative piece of art, which art that is very clearly modeled after real object or person(s), and is therefore representational

The statues, Heyl Aphrodite and Capitoline Gaul, both contain human-like features, but only one shows the ideal woman figure. By observing Heyl Aphrodite, viewers notice her soft, curvaceous figure. Her body is proportional creating balance and harmony. Fabric hugs the goddess’s body, draping over her right breast, while exposing the left, conveying a sense of sexuality. Her lack of eye contact expresses weakness, while her body posture, with the aid of the fabric, shows movement. Merker compares the artwork in her book, when she writes, “The raised right shoulder gives a sense of movement; although there is no torsion, one feels there ought to be and is reminded of the unstable, twisting movement of the Heyl Aphrodite in

The marble used to create the sculpture brings out the fine quality of such material. It also adds elegance and sensuous grace to the whole sculpture. The use of marble links the sculpture to the radiance and softness of the female skin. The hips of the

The body of the woman has mane and the hair fall over accentuated breast feature on the body. The mane is o presenting both a feel of nobility and fright on the face of a lioness, which has a skull of bone and stylized whiskers on the face . The head is raised in a form of adoration with the solar disk and cobra emphasizing the cosmic aspects of the divinity of the goddess . The face is modeled with high precision on which the eyes are small and eyelids that have been painted as it were a collar or the robe’s edge. The statue is in a seated position on a block with the fingers that have been shaped significantly with a focus on the distinctive feature of anatomy that the artist sought to add with much delicacy, resting on her legs. The goddess’s legs have inscriptions that are added to the surface of the throne. She stands as a towering figure with soft feline features that invoke power and fear especially with the nature of her eyes in the statue. Her elegance calls attention to her presenting a valid reason why she was both feared and

When examining the statue, there is an old woman bent and weary. Her posture helps clue us in, with her age and the state of her health. The figure is dressed in cloth that drapes off her body as she carries a basket that is filled with what we may think are offerings. On her head, there are vines that create a band around the top of her head used to signify the festival that was going on during that time. The specific detail that is seen on this statue persuades us to want to know the story of this woman. Doing so, the process involves lots of research about the time and art. During the hellenistic period, artists begin to introduce more inner beauty than physical beauty. There is an opportunity to learn more about the structure itself, then settle for what is given and seen.

This sculpture is of a women breast feeding her child. The face of the two people is elongated, as well as the breasts of the mother. This is common to all African Art because they wanted representation of what is being expressed. In this particular sculpture, a supernatural power is being called upon. The power has been asked to protect the mother and child, and to

The sculptures and paint show details how society viewed and interpreted women body, sexuality, and maternity. In addition, revealed that these women were protected from threats around them with ornaments. Civilizations since early times, believed that we were in permanent threat from forces we do not see or cannot explain and because of it, we protected ourselves with artificial elements in a form of jewelry, crowns or caps. This idea has been continue from one generation to the next to the point that in modern societies some of us still use this type of protection in our bodies (e.g., small cross, divine images, tattoos, etc.).These pieces of art also indicate that humans believed in gods with superpowers and they are looking over us constantly. Humanity also believes in dark forces or demons trying to makes us do things that would upset the good gods. Some of the differences between these sculptures and paint are the material in which each one of them were created. The first figure, the Woman of Willendorf was carved in limestone, the second piece, the portrait of Queen Tiye was carved in wood and the last piece, the Virgin and Child Icon was created of tempera on a wood. You can also notice how the details on their faces and bodies changes throughout the time and years. The woman of Willendorf figurine offers details of a voluptuous nude women’s body but there is not face, or feet. Queen Tiye statue shows the face of a woman in detail closed to the gods but without any body parts and lastly The Virgin and Child Icon, is an expression of divinity of the views, reflections and beliefs from the gospel. Because communities started to innovate on the art of carving and painting, populations began to discover and/or create art with the objective of expressing different purposes of our daily lives, such as the beauty of a woman’s body, or to commemorate an ancient

I was drawn to this time period as well as these two sculptures. As I researched both sculptures I was fascinated by how much respect the people of that time had for their women. Not only for what they could do for them, but also for what they looked like. They didn’t see the weight and size as a grotesque thing; but more as a thing of beauty. In

It is moreover pyramidal in structure with the vertex coinciding with Mary’s head. The base of the sculpture depicts the rock of Golgotha and is broader than the progressive

In the other hand a cleaning duster. If the viewer is standing right in front of the sculpture, her gaze seems to be straightforward. Staring right at the observer. There’s also a sense of motion, as if she is going to step right to you. She might have something to say, her voice might want to be heard. She has a hopeless and overworked look on he face. It’s evident that she has been working hard because of the sweat on her body. Her mouth isn’t open while she works she is silent. The sculpture embodies the working class, the people who endure manual labor to serve the wealthy. It’s a social commentary of how the working class is not heard. These people are the 1%. They are what we call “the other”. These people are usually the victims of marginalization. The sculpture represents the American dream. How you can achieve your goals if you work hard enough. But that isn’t always true. Its part of the system. Generally you are born into the

Initially, when I walked up to this sculpture my thoughts were the name of the piece pretty much sums it up. Approaching the statues, they seem to just be large bronze masses on the corner of McCaul street but, as any art should be looked at, I decided to dig deeper than the superficial. The location is odd to me, mainly because the bronze forms are not alone in the corner of the building, but are not really impacted by its surroundings. The trees behind the statue are dead giving a desolate atmosphere invoking a sense of loneliness. Moreover, almost the entire area surrounding the piece is solid concrete, giving a very penitential outlook. I’m not sure if the sculpture’s initial approach is supposed to invoke miserable emotions but if so it does its job