3.1 Mythical goddesses in Primavera Primavera was the first painting which adopted pagan goddesses as a subject-matter for the large scale religious art. It is considered that the painting was drawn in about 1477. The first person who described Primavera and The Birth of Venus was GiorgioVasari(1511-1574) who is famous for his art-historical writing, The Lives of the Most Excellent Painters, Sculptors, and Architects. In Lives, he wrote about Botticelli’s paintings: ‘In diverse houses throughout the city he did tondos in his own hand, and a number of female nudes as well; among
The Birth of Venus is an important part of Greek mythology and it showcases how according to mythology, Venus was born. Representational artwork aims to represent actual objects or subjects from reality. While no one has seen Venus or any of the other mythical figures in the painting, this painting does put into pictures the beliefs that we as humans hold, and thus, it represents an object in its own way. Botticelli’s The Birth of Venus is quite an amazing painting which brings together all its elements quite beautifully. The painting showcases so many different elements of art which are quintessentially the basics of art while at the same time telling the story of Venus and her birth.
Botticelli's The Birth of Venus was created in 1482-1486. It is a tempera on canvas. Tempera on canvas is a type of painting which is painted on oil painitng cloth. Botticelli's The Birth of Venus is a horizontal painting, which scaled 5'8" x 9'1. Raphael's Galatea, on the other hand, was created in 1513.
The Birth of Venus was painted by one of the greatest renaissance artists, Sandro Botticelli. In the mid 1480s, Botticelli painted The Birth of Venus for one member of the Medici family. Throughout the renaissance period, the Medici family ruled the city of Florence. They played a large part in patronizing the arts, humanism and political development of the city. The origins of the artwork were unclear.
The ideal woman of this time period was a pure, feminine, and submissive woman that was always considered inferior to men mentally and physically (Lavender 1). Women thus became the face of religion, and became their job to convert the men of the country back
There are several approaches when it comes to the characterization of women in literature in general. Women have been represented in many ways, some have been deemed stereotypical. Throughout ancient literature and history the role that women have helped mold and configure both society and culture into what it is today it has greatly impacted the way women are rendered in literature today. The Epic of Gilgamesh is about the journey of Gilgamesh as he searches to try and acquire immortality. Though he never attains immortality the women that are in the story are a crucial part in the prosperity that he ultimately gains during the period of his journey.
As a predominant figure in the 20th century literary movement, Virginia Woolf is renowned for her stylistic innovativeness. Her talent in creating fiction along with sharp critical tongue; Woolf’s thoughts are divertive than most of the female writers. The modernity of both her literary texts and her critical thinking is quite extraordinary, and ‘Orlando’ can definitely be characterized as one of her most remarkable works. With controversial concept of gender, Woolf simply allows her protagonist Orlando to transform from male to female halfway through the novel and has created gender ambiguity. This separation of sex and gender ultimately results in Woolf’s embracing an androgynous harmony which is opposed to the standard societal dictum of sex.
Jumping ahead two thousand years, into the Victorian Era, women still had a body type to model, the hourglass figure. The corset became the height of fashion, symbolizing a woman’s domestic. That hourglass ideology continues into the 1950’s, Marilyn Monroe who flaunted a small waist and wide hips. Fifty years later, curves are out of fashion, instead, men and women alike are expected flaunt a skinny and fit body, with a small hip-to-waist ratio. With so many different ideal body types, why do people all over the continent want to fit just one stereotype?
Ideals of ‘perfection’ regarding the female body and its representations have been a mainstay of modern western societies as early as the nineteenth century. (Brumberg, 1997) In the past, girls and young women were preoccupied with good looks and the ‘promise’ of their sexuality because it often meant the difference between being married and thus a social success, or a life of spinsterhood. In this historical context, female sexuality was linked to economic survival. Girls and young women are no longer constrained by the ‘marry-or-perish’ imperative of the nineteenth and early twentieth century but how you look and more importantly, how you depict yourself continue to be defining factor of social success. The shifting meanings of girlhood and female sexuality are historically and context specific (Jiwani, Steenbergen, and Mitchell, 2006) although female sexuality has always been constructed as either innocent and pure and in need of protection or something dangerous, unpredictable, and therefore to be feared.