Women
and the female form have long been the subject of the male artist’s attention.
An interesting theme to notice throughout the history of men studying women is
the perspective and attitude each artist takes regarding the women they study.
Many of these different attitudes and perspectives seek to add narrative value
to the piece by placing the woman being studied within some sort of socially
constructed role. Other works simply use the woman as a resource, either as
mandated by her societal role or by the artist’s use of her. Many pieces
comment on the morality of the woman being studied without drawing attention to
the morality and decision-making of the artist who made it. Throughout nearly
all pieces that study women from the male perspective, the viewer is expected
to take the perspective of the male artist and often engage in judging the
woman either for her social value, morality, or even aesthetic beauty. Part of
the reason for this was that the majority of art viewers and appreciators
throughout history were male. These trends have most prominently been seen in
Europe in the period stretching from the Renaissance to the Victorian era,
although remnants of it are palpable even today.
Guido Reni, Charity.
Date unknown, Oil on Canvas. 1974.348
This Baroque piece by Guido Remi
considers the female in the role of the charitable and motherly figure. The
female subject willingly and without question offers up her body as a resource
to three young male infants, who may not even be her own children. Her left
breast is bared so that one of the infants can breastfeed. Her eyes directly
engage a second child sitting on a ledge next to her. On her lap lays a third
sleeping child. The viewer is expected to look upon this female approvingly, as
her adoption of the role of mother and of the children is what is encouraged by
the artist and 17th century Italy.
Charles Le Brun, Everhard Jabach (1618–1695) and His Family.
1660, Oil on Canvas. 2014.250
This piece by Le
Brun is less of a perspective from the artist himself but more of a
perspective from the man pictured within the painting. Everhard Jabach would
have commissioned this painting and been influential in its structure which
shows him as the head of his household, with his wife sitting by his side. Her
gaze is fixed loyally upon her husband, and her children surround her, leaning against her
for support.
Pablo Picasso, Head of a Woman. 1909, Bronze. 1996.403.6
Picasso’s
seven-year fling with Fernande Olivier was passionate and essential for his
growth as an artist. Many of his famous works were based on Fernande’s figure,
including his Head of a Woman. Once
Picasso reached the fame he had hoped for, however, he left Fernande, but
continued to use her form for many of his works. His treatment of Fernande was
not unlike how one would treat a resource. Once he had no more practical use
for her, he disappeared from her life. Although the piece itself does not necessarily reveal
Picasso’s perspective of the woman depicted, the story behind the piece
certainly does.
Jean-Baptiste Greuze,
Broken Eggs. 1756, Oil on Canvas. 20.155.8
Greuze’s
Broken Eggs is a Genre Piece, which
conveys a story with a moral message. The painting depicts the loss of
virginity of a servant girl, symbolized by the broken eggs that lay on the
floor. Now that the girl has lost her virginity, she is shamed and despondent.
The perspective given is in accordance with the moral values of the time in
which it was painted. The artist and the viewer engage in silent disapproval of
the moral complications shown within the painting, the brunt of which lies upon
the girl, who, as the main subject, is placed front and center and painted with
brighter colors than the other characters.
Max Klinger, Shame. 1887-1903, Etching and Aquatint. 52.586.1(9)
Shame is a depiction of a woman who has been
abandoned by her lover, and is left alone to bear his child. The title of the
piece is enough to give away the perspective. The artist views such a woman as
shameful. Without the presence of her male significant other, the woman, according to the artist’s
perspective, is incomplete and sombre. High-class women look down upon the
abandoned subject from the wall above, showing their mirrored disapproval. Shame
itself is symbolized as an otherworldly figure standing next to the woman, accompanying
her.
Louis Surugue, Young Woman Chopping Onions. 1724, Engraving. 24.62.1656
The perspective given in Young Woman Chopping Onions by Louis
Surugue is that of a predatory male, who surveys a potential sexual
conquest in this kitchen maid. The piece is littered with suggestive imagery
such as the hanging bird, the jug, the candlestick, and the mortar and pestle.
The perspective is highly comparable to that of the man depicted in Greuze’s Broken Eggs. The young woman’s main purpose
in this piece is to entertain the eyes of both the artist and male viewer.
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