What Makes a Woman?

As time goes on, trends and ideals within societies are subject to change. How one views others is dependent on many variables, such as certain aspects of culture that one has been exposed to. More specifically, visual artistic representation has a dramatic effect on how human beings see the world and its content. In nineteenth century art, the woman was portrayed as very feminine and innocent, but over-sexualized and seductive. It could be suggested that this was because of the desire to have a woman who hasn’t been exploited but is waiting to be. Women from dissimilar backgrounds were also conveyed in contrast to elevate the propriety of the Western woman and the tempting nature of the foreign woman. Many artists from this time period portray their ideals of women differently, yet the underlying narratives of sexualization and submission are similar. In this gallery, the themes that surround the “ideal woman” of the nineteenth century showcase the objectification of women as things to lust after. These paintings bring up a discussion on how women were viewed  200 years ago and how that affected how others would respond to them. This gallery also asks a question of how those themes and ideals are still implemented in the foundations of societies today. 

Lady Lilith, Dante Gabriel Rosetti, 1867, watercolor and ganache, 51.3 x 44 cm, Accession No. 08.162.1

This painting is a portrait of a character in Jewish literature, a woman who was said to be the first wife of Adam. The artist paints her skin as pale with a pink flush and shows her wearing a white, flowing nightgown to depict chastity. While, in contrast, Rosetti gives the woman characteristics of vanity and promiscuity since she is holding a mirror and has red hair. Years ago, it was a common belief that a woman with red hair was unchaste and would be portrayed as such in artwork. Her gaze is fixed on the mirror in her hand, instead of at the viewer, showing that the only being she is concerned with is herself. In the painting, Lilith also has her shoulders exposed, which furthers the notion that she is a temptress.

Young Girl Bathing, Auguste Renoir, 1892, oil on canvas, 81.3 x 64.8 cm, Accession No. 1975.1.199

Similar to the Lady Lilith painting, the young woman in this piece also has auburn hair. This hair color choice brings out a slight sensual theme to the painting, yet the piece seems to be more focused on innocence and femininity than other pieces. Unlike some other nudes of this time period, the woman in the portrait is shy and looks away from the viewer. She has the rounder, rosy cheeks that one does as a youth and is portrayed in a very soft manner. Although the young woman is not expressing shame, it is to be noted that Renoir painted her figure to manifest submission.

The Birth of Venus, Alexandre Cabanel, 1875, oil on canvas, 106 x 182.6 cm, Accession No. 94.24.1

This oil painting showcases equal parts innocence and seduction. Cabanel gives the Venus an angelic likeness by creating a correlation between her and the cherubs flying above. Each subject has pale, white skin with pink tones in his or her skin. The hair is also similar in that they each have some hint of gold within them. At the same time, the artist also rejects that innocence in how he paints the sensual curves of Venus' body and the expression on her face. By combining these two contrasting themes, Cabanel creates what he sees as the ideal woman. And because this is a rendering of a mythological character, the painting suggests that an average woman cannot measure up to the beauty of Venus.

Repose, John White Alexander, 1895, oil on canvas, 132.7 x 161.6 cm, Accession No. 1980.224

The positioning of the woman in this painting is quite like that of the Venus in Alexandre Cabanel’s The Birth of Venus. Although fully clothed, the woman’s body position and facial expression present a sultry image before the onlooker. The folds of her dress skirt, along with the grandiose quality of the furniture upon which she is laid, display elegance and grace. The color of the dress presents irony as white is often associated with purity, a trait that is not expressed on the woman’s face.

Spirit of the Dead Watching (Manao Tupapau), Paul Gauguin, April-June 1894, zincograph on wove paper, image: 18.3 x 27.2 cm and sheet: 34.3 x 47.8 cm, Accession No. 22.82.1-53

In this black and white piece, we can see an exotic woman laying on her stomach rather than on her back. Gauguin presents the European, idealistic fascination with foreign women by positioning her body in a more vulnerable state than one would typically see in a nude of this era. The demonic figures in the background set the woman apart from other women of this era by encouraging promiscuous, sinful behavior. This is similar to how the mythological cherubs in the Birth of Venus allow Venus to be set apart from the common woman.

The Serbian Concubine (Un Envoi de Serbie), Benjamin-Constant (Jean-Joseph-Benjamin-Constant), 1876, oil on canvas, 31.1 x 39.4 cm, Accession No. 2017.202.3

Upon looking at this piece, there are three figures that draw the eye. The man in the painting is exhibited as a power figure because of his lavish clothing and display of confidence. He is the only person in the painting with his head held high, as the women in the painting show expressions of grief and appear downcast. The womens' body language suggests feelings of shame, which could allude to the fact that they were forced into being the man's concubines. By showing one of the women’s backsides, a stronger sense of vulnerability is apparent. This is particularly interesting as the female figures are of European ethnicity. Because of this, it illustrates that unlike the figure in Spirit of the Dead Watching, these women aren’t supposed to be in these positions.