The perception of women throughout paintings - Essay Example

The perception of women throughout paintings Introduction The perception of women throughout paintings is one which alters according to the ideals of the time and the understanding of women in society. The artists are able to reflect this according to experiences and beliefs about the women as well as the role which they are expected to hold, both aesthetically and in terms of culture. When looking at different paintings, it can be seen that the woman becomes an object that is associated with the social aspects and which is reflected in the portrayal of the artwork. The concept of creating the woman as an object and belonging to the “other,” which was misunderstood in society, is one which is presented in various types of paintings. Each of the portraits shows the main ideologies not only from the painter’s philosophies, but also in relation to the social stigma held through each time frame. Status of Women in the Early 1900s The depiction of women as holding a specific social status is one which is specifically seen as creating a sense of controversy in the early 1900s. During the 1900s, there was a shift in the role of women, specifically with the emergence of the ideal of women’s rights in both Europe and the United States. The ideal was based on offering the same rights in terms of politics, welfare and with work. Women were known at this time to hold a secondary status to men. This was combined with the Victorian and Romantic ideologies, which held that social status depicted the outcome of individuals in society, both in terms of monetary resources, education and the connections one had to others in society. Women during this time were known to work as a secondary component to men, often being redirected away from education and the ability to work. The status of the women during this time began to be questioned, with the emergence of feminism making claims that women should have equal opportunities within society (Haan et al, 2006: 1). The concept of women as having a secondary status to men in society during the early 20th century also led to different symbols and ideals which were represented in the art. Women, in general, were noted as a commodity to men, specifically which were designated to remain in the home and care for children. The interests women had as well as the way in which their natures were represented continued with making them appear as a commodity or object in the private and public spheres. The boundaries which were drawn were not only based on the concept of the feminist object, but also continued with the depiction of the appearance of women that was often misunderstood. The social stigma was followed by the representation of women in appearance, specifically which created boundaries with women as belonging to the ‘other.’ The social stigma and the interests of women created the belief that women belonged to an outside object of culture, making them as a specimen of artwork that could be used to create links to the other and to the object (Phillips, Steiner, 1999, pg. 3). The concept of the other in women during this time, as well as the conflict with the social status of women, led many artists to creating new approaches to the representation of women in the artworks. Perception and interpretation of the status of women as the other were the main concepts, specifically which were based on the challenges of the time. The changes which occurred were based on the idea of developing a sense of deformity of the women and showing them not only as aesthetic objects, but also ones which were represented as the other and which held a place in society which was second class and outside of the boundaries of others in society. This particular approach to deformity is one which also broke against the concepts of traditional artwork and was a part of the experimentation of the time. The physical appearance not being one of beauty, but instead representing a sense of distortion and an approach to the body as being a part of the other in society became the main ideology which was a part of the paintings during this time frame (Lomas, 424). “Olympia” [1863] The first painting which can be seen as a type of objectification is “Olympia” [1863], painted by Edouard Manet. This was painted in Paris and on oil on canvas, specifically by showing a sense of realism to the piece. This particular piece is referred to as an avant-garde work, specifically with the ability to transition from the period of the Romantic ideal and into the contemporary trends which were currently forming in Paris. The painting was developed from the Greek legend of Olympia, the goddess who was known to carry several attributes of the time. The focus of Manet; however, shows an objectification of this character. Instead of showing the characteristics and aesthetics of the figure as a goddess, there is an open interpretation of the status of the woman. There isn’t a status or establishment of the meaning of the painting with an inconsistency of what the woman represents or means in terms of being connected to Olympia. The ideology then leads to the women being signifiers of the status of women during this time, as well as objects that are open to the way in which women were perceived (Wollen, 1980: 15). There are several interpretations within the painting that show this particular sense of objectification. The central figure of Olympia is seen in a lying position with nothing but shoes and a flower on her figure. Her image; however, doesn’t depict the aesthetic beauty of women that was expressed in the Romantic era. Instead, there is an open interpretation of what the woman represents and objectifies. To further this question, Manet has placed several objects around the woman. The most significant is the black woman that is holding a painting of flowers and looking at the woman. There are two levels of significance to this. The first is the black woman, which was represented in society as a slave. The second is the representation of the flowers. This shows the dichotomy of women as the object during this time, specifically with one being of lower status and the flowers representing the aesthetic beauty of women. The dichotomy is furthered by the light and dark, specifically which is seen from the brown and green in the background of the painting and from the black cat that is on the white bed sheet in the painting (Bernheimer, 1989: 42). The several objects that are seen with the women in this painting then create the dichotomy and opposing definitions of women that are in society. The female imagery is one which could represent beauty, but which Manet leaves open for interpretation instead of allowing to be a defined type of beauty, such as through the Venus ideology of women that was often seen in the Romantic period. The objects surrounding the woman are seen as representations of what women could be in terms of the object, including the beauty of the flowers and the comfort of the white sheets, as well as the image of the black woman as a slave and the black cat as a symbol of the aesthetics that don’t signify beauty or goodness. By showing these several images and confronting the shape of the main figure, there is a model which goes against the aesthetically perfect and beautiful woman and instead into one which is a distorted object. This is seen through the main figure of the woman, as well as through the surrounding objects which become a symbol to represent the several potential definitions of what the woman as an object could mean (Lipton, 1975: 5). Les Demoiselles d’Avignon [1907] The work of “Les Demoiselles d’Avignon” [1907] was painted by Picasso on oil on canvas in Paris. This particular painting began the rose period for Picasso, in which most of the main subjects were shaded in the pink and rose colors. This was also the beginning of the Cubism stage of Picasso, in which square shapes were used to represent the figures through a sense of distortion, as opposed to creating the round and realistic figures that were a part of the subject (Chave, 1994: 596). The techniques that Picasso implemented within the piece are the main ways in which distortion and the idea of creating the other can be created. The idea of building the women as figures of objects is furthered by the concept of creating an ideal of desire of the women not holding an identity, but instead of creating a social stigma where the viewer is forced to show their desires and identity, specifically because of the approach taken by Picasso (Chave, 1994: 596). There are several ways in which “Les Desmoiselles d’Avignon” creates the sense of distortion and the objectification of women. The first is by the use of five women in the picture, as opposed to one central figure. Each of the women has a similar body shape and is represented with a cloth falling around each of them. The outlines of the characters also have the rose and pink colors with their body, as well as a slightly darker color of rose in the background, combined with shades of blue as a subtle and secondary component of the figures to highlight the images. Each of the shapes are split and fragmented in the painting and carry an element of the fragmentation of women as the object. In the center of the painting is a set of five objects, each which can be said to represent the women. The important aspects of the women begin with the distortion of the bodies, specifically which represents them as objects and forms which are incomplete. Instead of identifying a type of aesthetic beauty, there is a representation that the women are made through the creation of men and hold a stigma that is only based on what others think of them. This is the creation of the other and the objectification of the women that is pertinent to the time frame. The main ideal of being the other is furthered by the faces of the women. These are distorted through shapes first, specifically with figures 2 and 3 in the painting having asymmetrical and disproportionate faces. Objects 1, 4 and 5 have discolored faces and unrealistic shapes. These are much darker than the bodies, showing that the face is unimportant compared to the object of the body. This also shows the mask that women carry over their true personality while making them objects of desire that is created by the viewer. The masks and distortion of the faces draws the attention away from the face and instead toward the distortion of the body of the women, all which shows the objectification. The background and the objects in the painting are as important in defining the other of the women. When looking at the painting, the eyes immediately go to the blue background. This is the only place in the picture where the eyes don’t see a sense of distortion, blending of colors and lack of refinement in the picture. The fragmentation of the blue background into the cube like shapes becomes a symbol of the fragmentation from the object of the women. The pointing to this background then leads the eyes to the second object, which is the set of objects in the middle of the painting. It can be assumed that this represents the objectification of the women and shows that each of the women is similar to the pile of objects in the middle of the painting. These don’t represent anything, are unidentifiable and become significant of the other, which can’t be understood and which is distorted. The women, from these two points of view, become the background objects, while the attraction of the eye through the color and defined shapes, become the main presentation, showing that the women are the objects to be defined by the desires of the viewer. “Le Violin d’Ingres [1924] The third piece, “Le Violin d’Ingres” [1924] by Man Ray also shows the distortion of women while creating them as an object and building a sense of the other. The picture is a photograph which has been distorted by drawing lines in the shape of a violin opening on the back. It is known that this particular photograph was one which foreshadowed the growing Dada movement in the United States, specifically as it represented the nonsensical meaning of objects and images within society and art. Instead of producing ideals that had meaning through this movement, there was the absence of philosophies in the works. However, the several implications of women being objectified, as well as the representation of women as a marginalized object in society become the main implications. More important, there is a sense of distortion with the idea of eroticism and the aesthetics of female beauty known from the Romantic era (DeVilliers, 2002: pg. 1). The layers of objectification through this photo show the concept of distortion of the female body from different perspectives. The figure is seen half nude, wearing a sheet at the bottom and an intricate hat and earrings on her head. The face is slightly turned to the left hand side. The background is black and there are no other objects that are in the display. Instead, the eye is immediately drawn to the drawing on the back of the woman which displays the violin shapes. The lack of items, as well as the simple design with the hat and earrings immediately allows the viewer to see that the woman has become the other and the objectified. The woman is able to represent the object of the violin that is known for beauty of sound. The aesthetics of the woman and the aesthetics of the object become intertwined with the work. The distortion; however, shows that there is a distortion of the aesthetics of women with a loss of the true nature of women, specifically because of the objectification that takes place through the work. Creating Desire through the Object There are several themes which all three of the pieces reveal about the object and the creation of the other. The first is the concept of desire and the disappearance of the exotic and erotic. In all three pieces, the form of the woman is seen; however, the concept of desire and aesthetical beauty disappears. In “Olympia” this occurs through the lack of aesthetics from the traditional shape of the women, as well as the surroundings. The idea of desire and the erotic is then seen through the placement of the hand to cover the desires of the woman and to distort the idea of feminism. The same ideal is seen in Picasso’s painting, as the distortion of the woman’s body and the natural movement of the eye toward the objects eliminate the desires and erotic nature represented by women, and instead distorts and objectifies the nature of women. The violin of Ray’s work is similar to Picassos in taking away desire by showing the object of the violin. One then doesn’t have an aesthetic appeal to the painting, but instead sees the woman as a violin that transforms from the object of the woman to the thing, or other, of the violin. As the aesthetics of each of the pieces are erased, so are the forms of beauty and the concept of desire and the erotic feel for women. The deformation of the women in each of the paintings creates a sense of formlessness, which is the basis of desire seen in women in traditional paintings. As the manipulation of the women’s bodies occurs, there isn’t the desire or aesthetic of appeal. Instead, this is lost to the distortion of the body and the manipulations that have occurred. The loss of beauty and the formlessness which takes place then leads to the understanding that the women are objects that aren’t to be desired or admired, but instead to be considered in relation to the surrounding objects. This particular concept is one which has parallels to the social distortions of the roles which women should hold in society as well as how the social deformations of women as secondary citizens took away the appeal and the aesthetic beauty which naturally belonged to women (Powell, 2000: 772). Through the construction of women as objects, there was the ability not only to take away the aesthetic desire, but also to create an understanding of the stereotypes which were considered as a part of the time period. The stereotypes of women as objects of desire and beauty, as well as the place and role of belonging to men through marriage and staying in the household were the main stereotypes created during this time. Through each of these paintings, there is a challenge to the main ideals which were in society. The statement through Picasso, for instance, is to show that the secondary objects lose the desire and beauty. Staying outside of the mainstream of society then allowed those in society to create their own beliefs about women, while they were distorted with their true nature, specifically seen through the wearing of masks of the women. The female subjects are able to represent the stereotypes in society while showing how these main ideologies lead to a sense of distortion because of the desires that society had to create a status around the roles of women (Jackson, 2009: pg. 83). Women as the Other Leading away from women as objects of the erotic and of desire led further into the creation of women as the other in all of the works. Women in each of the paintings become a commodity that can be looked at. However, the commodity is limited to the misunderstandings, represented specifically by the distorted aesthetics. Each of the pieces works as a statement and sense of symbolism to show how the realities of women create boundaries and women as the other. When looking at the women as objects of desire, they become the other, misunderstood and outside of the realm of reality. When looking at each of the paintings, the women are not represented realistically. Instead, they are distorted objects of desire that are misunderstood by the spectator. The changes of shape in Picasso’s painting, the additional violin symbolism in Ray’s photograph and the surrounding objects in Manet’s painting all point to this same ideal. The symbols of women as objects, distortion of the true aesthetics and the building of women as the other are all created. The women as belonging outside and in boundaries is specifically seen by the unrealistic attempts in the form of the women, which remains outside of the realities of what women are perceived as in society. This becomes a social statement to the spectator that women have been held in specific boundaries in society that has distorted their appearance and created them as the other in understanding the realities of who they are. This changes them into objects and shows that the perceptions in the paintings are a reflection of what the social status has created of women in society (Hagaman, 1990: 8). The perceptions of the other from women are not only important to note because of the feminist movements in society. It is also important because each of the paintings were completed by men. In the past paintings, the aesthetics, looks of women and the creation of desire through the paintings was for the spectators of men. Women looking at the paintings would not have the same type of erotic appeal that men had. The men who created the paintings were able to create the same type of desire and distort it, specifically with the ideology that it was through the eyes of other men. The attitude that can be perceived then shows that there is a misunderstanding and distortion of women through gender roles. The development of the other is best seen not only by the content, but also by the intent of the artists, specifically which created the women as the other and the object for the male spectator. The ideal isn’t one created by the female experience in society, but instead by the changes and attitudes which were perceived by men as women belonging to the outside. This is important to note because of the erotic and sexual differences, as well as the understanding that boundaries had been created in understanding the true essence of women, specifically which had been substituted with the aesthetics or lack of aesthetics that were in each of the paintings (Lesser, 1991: pg. 4). Conclusion The concept of women as the object and the other is one which was a well – known social stigma at the beginning of the 20th century. The beginning of the feminist movement, desire to have rights within the country and the concepts of the aesthetics of women began to change between women and men. When looking at a variety of artists, it can be seen that the aesthetics of women began to move outside of a representation of beauty. Instead, there was a direct association with the ideology of women being objects of desire. The aesthetics of the women was lost and instead was replaced by the idea of them being objects within the given situation. This was followed by the understanding that the objectification of the women was a creation of the other. This was one which had masks of the true characteristics of women and which held divisions and boundaries in society created specifically by gender. References Bernheimer, C. (1989). “Manet’s Olympia: the Figuration of Scandal.” Poetics Today 14 (2). Chave, Anna. (1994). “New Encounters with Les Desmoiselles d’Avignon: Gender, Race, and the Origins of Cubism.” The Art Bulletin 76 (4). Devilliers, Suzanne. (2002). “Gender, Ideology and Display.” Image and Narrative (4). Haan, Francisca, Krasimira Daskalova, Anna Loutfi. (2006). Biographical Dictionary of Women’s Movements and Feminism in Central, Eastern and South Eastern Europe: 19th and 20th Centuries. Hungary: Central European University Press. Hagaman, S. (1990). “Feminist Inquiry in Art History, Art Criticism, and Aesthetics.” Studies in Art Education 52 (7). Jackson, Amanda. 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