The Chosen Statue Depicts A Pair Of People

Feminist scholars would be attracted since most beauty standards are to be skinny and have a hourglass figure. But in this sculpture it portrays a woman that is a bigger size and does not have a hourglass figure. So feminist scholars would think that during that time that was the beauty standard for the people.

Prehistoric and ancient artists represent men and women in various ways and the works of art tell an altered story, which reinforces old-fashioned gender roles. Additionally, representations of prehistoric and ancient genders illustrate the social standards of their specific periods. The views of gender presented by the works of art are still recognizable, despite all individual’s current sensibilities and views today. An individual’s contemporary view is of gender and gender rules illustrates the significant social progress that the human culture has made. Although the Woman of Willendorf and Kouros/Statue of standing Youth artworks were created at different times, the genders can still easily be depicted within the artwork.

This amazing statue was originally from “egypt, upper Egypt and Thebes” (Hatshepsut Wearing the khat Headdress).Also, This statue was produced “in 1479-1458 B.C” (Hatshepsut Wearing the khat Headdress). The society that the statue “Hatshepsut Wearing the Khat Headdress” was produced was very open about gender because the woman had a headgear and from what Ihave learned in class only king used to wear those throughout those times. The second statue that interested me the most was called the “Hatshepsut as Maned Sphinx”. This statue, represented a sphinx’s man because the only part that was human was the face and the rest was formed by a lion’s mane and theirs ears. This incredible statue was “from Egypt, upper Egypt and Thebes” ( Hatshepsut as Maned Sphinx). Also, it was produced in “1479-1458 B.C” (Hatshepsut as Maned Sphinx). The society where the statue “Hatshepsut as Maned Sphinx” was produced was very religious because many people in that Egypt society considered a sphinx’s man as their

I chose this bronze sculpture because it reminded me of Aphrodite of Knidos in that in both sculptures, Aphrodite is depicted as naked but covering her genitalia with her hand. Women are normally shown as clothed in Ancient Greek art, but Aphrodite is the exception since she is commonly the only female figure presented in the nude. The sculpture is in references the cause of the Trojan war when Paris chose Aphrodite as the most beautiful goddess and given the apple she is shown holding as a prize. Aphrodite then gives Paris Helen in return.

This sculpture is comprised of marble, and due to its large size it was easier for me to develop an impression about the piece because I can focus on specific parts in more detail. To understand the piece, a very visual and detailed perspective is needed. Judging by the way the thighs are represented, it appears as though she is striking a contrapposto pose, which makes her appear static. She has most of her weight shifted on her left leg, but not all of it The focal point of this piece I believe is her robe. It skillfully falls down her left side, while leaving other parts exposed, drawing the main attention of this piece. Few different types of shapes are displayed, except the shape of her legs and the form of the robe. The physical texture was smooth throughout the entire piece, partly due to the material it is made of. There is only this one texture, as her robe and body parts all feel the same.

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

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.

The Bust of Carol Janeway (1943) is a bronze sculpture of an abstracted female half-figure with a long facial expression. Her head is tilted to the right and her face is pointed towards the ground. Only the right side of her face can be recognized as a female head. The back left side of her head has been whipped out only showing her hair and is facing the viewer. The front left side of her head is flat and shows the nose, left eye, and part of the hair. The right eyeball is rolled up into the lids, but an eyeball is still shown. The left eye is replaced by a flat surface with a pointed protruding eyebrow. The harsh line on the eyebrow flattens at the base of the nose and travels down the right side of her face, outlining the nose. She has curly hair that is pulled back into a layered bun. She has a chin that comes to a point at the bottom. The left side of her face is separated from her chin with a sharp line the follows her jaw line. Her neck is irregularly long and thick. It is about the same width as her head. Her shoulders are broad and uneven to each other. They are rested to look as if the figure has just let out a sigh. The right shoulder is flat of on the outer side and the left shoulder is rounded. Her left arm stops a little past her forearm on the wooden base. Her right arm is about double the length of her torso and is curled to her chest. In her right hand she holds the pendant of a necklace between her thumb and index finger, which is inscribed with a dove. The

It was determined that the women in the portrait was most likely a freeborn, upper-middle class citizen of Rome. The portrait seems to have been a part of a funerary monument, a conclusion which was drawn due to the pattern of cleavage observed at the back of her head and the sides of her face. It was also observed that there was a

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.

When examining the statue, there is an old woman bent and weary. Her posture helps clue us in , with her age and health. The figure is dressed in cloth that hangs off her shoulders. She carries a basket that is filled with what we may think are offerings. Then on her head, there are vines that create a band around the top of her head maybe 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 this period, artist begin to introduce more inner beauty than physical beauty. We get to learn more about the structure itself, then settle for what is given and seen.

An overweight female might have conceived more easily tens of thousands of years ago than an undernourished female. Therefore, being fat would be more desirable if trying to reproduce. Another factor that supports Witcombe's belief the sculpture was used for fertility purposes is the attention paid to the pubic area. The genital area is deliberately exposed and when the figurine was discovered, it still had a small trace of a red pigment visible. This detail brings Witcombe to suggest that the figurine's fertility role may have also served in a gynecological fashion as a good luck talisman to aid in conception or childbirth. If this assumption is true, then Witcombe believes that the image was carved by a female, since males would have less concern over such matters.

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

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