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Three-Quarter Field Armor, possibly for Henry Herbert, second Earl of Pembroke, 1560-1570, steel (once blued) with gilding, brass, modern leather. (Worcester Art Museum). 

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Dante

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Paco Rabanne, Autumn 2020 Collection, Creative Director: Julien Dossena, Model: Denise Ascuet, Photo: Alessandro Lucioni.

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In placing these two pieces of art in juxtaposition to each other, across centuries of time, I am trying to highlight the artificiality and degradation of gender boundaries in regard to clothing. Moreover, it also reflects another theme of our course that was already present in medieval romance tales, like Silence, of crossdressing. Even in the medieval armor, one can already see an emphasis on fashion and aesthetics, almost to the detriment of functionality. In fact, the armor was intentionally designed to mimic the fashion of noblemen of the time. The blued steel of the armor complemented with the gilded brass which gives off a golden hue almost seems to feminize the knight and is reminiscent of jewelry and accessorizing that is traditionally associated with the feminine. On the other hand, the modern dress designed by Paco Rabanne takes great inspiration from the armor of medieval knights with its sparkling silver chainmail. Interestingly, the chainmail also covers the head and even acts as a sort of partial veil which has historical religious connections to some of the headdresses that medieval nuns might have worn. This modern piece then, to a greater extent than the medieval one, inverses the traditional gendered norms associated with knightly chivalric “armor.” Not only can it be seen as a type of cross-dressing, but given the headpiece, which is evocative of medieval nuns, in a way, it is a combination of both masculine and feminine characteristics. Thus, both to varying degrees highlight that artificiality of gender by “feminizing” the masculine and in doing so creating a sort of hybrid between the two. By placing these pieces side by side, one can see the gradual shift to concerns of aesthetics over those of functionality. Moreover, those aesthetics seemingly become less and less gendered as is evident with the unique fusion of the modern Paco Rabanne chainmail dress.

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Right Gauntlet for Prince Philip of Spain (1527-1598) 

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Right Gauntlet for Prince Philip of Spain (1527-1598) 

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The artifact from the medieval period that I chose is from the John Woodman Higgins Armory collection. These gauntlets Are from the 14th century for chivalrous men, specifically knights. Chivalry is something that we have seen throughout most of the pieces we've read during the semester. Many masculine traits and characters within our stories revolve around this idea of chivalry and being a brave man. A lot of the strong masculine characters are either knights or have some sort of tough persona. In Marie de France's "Les Deus Amanz," this idea of virtue is shown through the strength of a knight's chivalry to prove his love to a woman. This is a common trope. He must go through a dangerous journey to prove his dedication and win her. Heroism is paired with chivalry.

-Summer

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To connect it to modern-day chivalry, the armor image and its correlation to chivalry reminded me of Iron Man's armor. Throughout the three movies of Iron Man, he constantly tries to prove his strength through the tasks given to him and the dangerous journeys that come his way. His wife, Pepper Potts, is dangerous because of his relations with her, so he always fights for her safety and acts chivalrous. As for appearance, there are a lot of similar characteristics between the two armor pieces. The masculine knightly attributes find themselves throughout different periods of time.

-Summer

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London, Wellcome Library, MS 544 (Miscellanea medica XVIII), early 14th century (France), f.65.  Pen and wash drawing. 

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This portrait of Trotula from the Wellcome Library manuscript features an image of her holding an orb, which resembles both the urine vials associated with medical diagnoses and the globus cruciger often shown in Salvator Mundi iconography. The former was often the symbol for medieval physicians, as uroscopy or visual inspection of urine was a popular method for determining symptoms of an illness from the classical period onwards.

The latter, the Salvator Mundi, frequently depicted Christ with his left hand holding a globe surmounted by a cross, represented him as the Savior of the World. It also was frequently used by rulers as a sign of Christian authority and dominion. This combined visual image seems to indicate her knowledge as a form of Christological cure and salvation, unusual for a woman who was not a religious saint or political sovereign.

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This pairing of sculptures of the Virgin Mary and Jesus Christ seeks to put ideas of medieval and modern motherhood, infancy, gender, and religion in conversation with one another. The image on the left shows a medieval sculpture of Mary and Jesus titled Virgin and Child in Majesty, currently on display at the Metropolitan Museum of Art in New York City. This sculpture is an example of a “Throne of Wisdom,” in which Mary’s lap acts as a throne upon which Jesus sits, with divine wisdom. The sculpture depicts Mary as clearly feminine and Jesus as clearly masculine, with Jesus adopting the face of a man rather than an infant. Mary’s hands point to the importance of Jesus as well as her role as his caretaker, holding him close.  The image to the right shows a contemporary sculpture by Henry Moore titled Mother and Child: Hood, installed in St. Paul’s Cathedral, London, in 1983. Moore does not offer explicit representations of gender in the bodies of the figures, as they are much more abstract. While potentially suggestive of a more genderless, modern understanding of Christ and religion overall, the sculpture may also speak to entrenched notions of gender concerning the Mary and Christ or motherhood - viewers may automatically assume the gender of genderless statues. The sculpture does not provide a clear indication of status either, with its smooth, slate-like substance offering little decoration or detail beyond the shapes of the figures themselves. The emphasis on shape and form further emphasizes the idea of mothers as caretakers, with the infant figure nestled in the mother figure. Examining these sculptures in tandem with one another allows viewers to experience evolving conceptions of religion from the Middle Ages to the modern era, while reflecting upon what has stayed the same. While gender and status may not hold the same importance now that they once did, society and art still understand mothers as nurturing forces.

Lizzie

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Lizzie

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The Virgin Mary Enthroned (12th Century) 

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The Virgin Mary Enthroned (12th Century) 

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This medieval icon depicts the Virgin Mary seated on a throne, her hands in prayer, symbolizing her purity and divine grace. Adorned in rich robes and a golden halo, she epitomizes the ideal of virginity and motherhood in medieval Christian piety. Mary’s serene expression and gentle demeanor convey a sense of peace and tranquility, inviting viewers to contemplate her role as the Mother of God and the embodiment of divine love. The throne upon which she sits signifies her exalted status as the Queen of Heaven, while the intricate details of her attire and surroundings reflect the reverence and devotion accorded to her by believers. Through her depiction, the Virgin Mary serves as a beacon of hope and inspiration, offering solace and guidance to those who seek her intercession.

Callie

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In Sarah Maple’s “Snow White and the Scientist,” the artist presents a reinterpretation of the classic fairy tale character within a contemporary context. In this artwork, Snow White is depicted alongside a scientist, suggesting a departure from the traditional narrative where she is often portrayed as a passive victim awaiting rescue by a prince. The presence of the scientist introduces themes of inquiry, knowledge, and intellectual curiosity, positioning Snow White as an active participant in her own story rather than a passive bystander. Maple’s portrayal challenges traditional gender roles and stereotypes, suggesting that women, like Snow White, are capable of pursuing their own paths and engaging in intellectual pursuits. Through this subversive imagery, Maple prompts viewers to reconsider the agency and autonomy of female characters in fairy tales and society at large, inviting a critical examination of gender dynamics and power structures.

Callie

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The Last Supper and the Agony in the Garden

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The Last Supper and the Agony in the Garden

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The medieval painting of The Last Supper and the Agony in the Garden is a fresco painting depicting the Biblical scene of The Last Supper. While Leonardo da Vinci’s The Last Supper is arguably the most famous interpretation of the Biblical story, this painting came almost 200 years beforehand. As does da Vinci's, this painting shows Jesus at the center of the table surrounded by the 12 apostles. The painting is done in a traditional medieval style, gold halos surrounding each of the figures, decorative goblets and silverware covering the table. What makes this piece unique though, is what lies underneath the table. Jesus is seen kneeling in the Garden of Gethsemane, coming to terms with the fact that he is meant to die on the cross the following day. This Biblical scene came after the gathering of The Last Supper, and the small square painted below the table acts as a symbolic tribute. While The Last Supper is often thought of in a way that emphasizes Jesus’ humility and sacrifice as he prepares to die for our sins, the Agony in the Garden emphasizes that Jesus struggled with his decision to leave the Earth, showing a side of humanity that we can relate to. In the end though, he chose God and Heaven, just as we are taught to do. The painting highlights the level of sacrifice that Jesus showed and these actions being memorialized in art form.

Julianna

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Last Supper (Part of the ‘Gentile Embrace’ Series)

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Last Supper (Part of the ‘Gentile Embrace’ Series)

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Because the story of the Last Supper is so important to Christianity, it would make sense that contemporary interpretations have come into play in recent years. That is why I chose to include the painting Last Supper (Part of the ‘Gentile Embrace’ Series) by Johan Andersson done in 2019. This painting is a modernized rendition of the Biblical story with Jesus and the apostles seated at the table. Except, in this version, the apostles are replaced by depictions of lay people, specifically people that have been outcast by society or by the Church. These include criminals, addicts, people who are homosexual, and single mothers. This depiction is meant to highlight that Jesus would have shared a dinner table with anyone, regardless of the types of people they are labeled as. He sacrificed himself for us so that we might all be forgiven for our sins. This progressive interpretation of the Last Supper juxtaposes the traditional story, showing how Biblical narratives can transcend into contemporary times with some revision.

Julianna

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Physical: Christ as The Man of Sorrows. About 1520–1525. By Quentin Metsys (Netherlandish, 1465 or 1466 - 1530). On view at Getty Center, Museum North Pavilion, Gallery N203. Framed painting (unspecified materials). https://www.getty.edu/art/collection/object/109P8R?altImage=83b96328-5408-4ce7-94c2-e59ff9562982 

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I have chosen Quentin Metsys’s Christ as The Man of Sorrows as my medieval piece and shimoda7’s Jesus of Nazareth as my modern piece for my collections. Both depictions of a biblical Jesus bear his signature crown of thorns; however, where one looks down in glum contemplation, the other looks up in awe. From this we see the most immediate sign of how the modern version has a lighter, more positive composition. Since he is looking up, the viewer might surmise that he is looking towards the kingdom of God. In this sense, the viewer may be able to identify a hint of hope and admiration in Jesus’s eyes. In opposition, Quentin’s Jesus possesses a woeful demeanour, which may be interpreted as Jesus looking down from heaven in disappointment. His almost closed eyes arguably convey shame, supporting this notion. This dark theme continues once we analyse the details of his body, which seems gaunter and more malnourished than the modern version. Both thorned crowns are wicked, yet the modern version does not draw as much blood as the medieval one. The more hopeful and positive composition of the modern depiction of Jesus in juxtaposition to the medieval version could be used to mirror the difference in the quality of life now compared to then. Today, life lacks many struggles that were normal in the medieval period, such as war, disease, crime, and starvation. The modern version’s lighter aura arguably conveys how far removed we are from this way of life. We might also focus on the different types of art production, with the medieval counterpart being an elegant framed painting, and the other being a graphite drawing. From this, we can surmise that the medieval depiction of Jesus would have been written by a far wealthier and established artist, compared to the other, which comes from a freelance artist that focusses entirely on pencil drawings.

-Max

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Physical: Jesus of Nazareth. Published: Oct 17, 2007. By DeviantArt user, shimoda7. Readily viewable anytime on deviantart.com: https://www.deviantart.com/shimoda7/art/Jesus-of-Nazareth-67216996. Shimoda used a graphite pencil on A3 (30x42cm) paper, which took approximately 30 hours to complete.

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-Max

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This bright and decorative painting depicts conventional, medieval gender roles. The woman is situated in the background, whilst her husband (presumably) completes his respective knightly duties. Our eyes are drawn to the man in front of the painting because of the scene that he is involved in, which looks like the slaying of a dragon. This painting is a depiction of courtly and chivalric love, with the same scenes illustrated along the border. The border is gaudy and bright, speaking to the detail-oriented nature of Lathem's work. This piece of artwork traditionally portrays gender roles during the medieval ages, as well as expresses the typical female reliance a woman has on a man/her husband.

-Lily

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This poster for the popular movie, The Hunger Games: Catching Fire depicts one of the main characters, Katniss Everdeen. In this poster (as well as in the film), Katniss challenges conventional femininity by posing with a crossbow in a fiery setting. Shooting a crossbow amidst fire is quite a masculine activity, meaning that Katniss’ involvement alludes to her own, inherent masculinity. Not pictured is her love interest and confidant, Peeta Mellark. With him, he challenges the gender roles previously set up during the medieval age by those like Saint George and his wife.

- Lily

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Title: Manuscript Illumination with Initial V, from a Bible. Date: ca. 1175–95. Geography: Made in Burgundy, France. Culture: French. Medium: Tempera on parchment. Dimensions: Overall: 10 13/16 x 6in. (27.5 x 15.2cm). Mat size: 19 1/4 x 14 1/4 in. (48.9 x 36.2 cm).

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Manuscript Illumination with Initial V, from a Bible

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Manuscript Illumination with Initial V, from a Bible

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Claire

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Title: Classic Comics No.2: Ivanhoe. Date: 1942. Maker: Gilberton Company, Inc.. Culture: French. Physical Description: Paper (overall material). Measurements: 7 1/2 x 10in.; 19.05cm x 25.4cm.

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The “Manuscript Illumination with Initial V, from a Bible” highlights an initial, “V” which comes from a five-volume Bible that boasted massive size and intricate decoration. It belonged to the Cistercian abbey of Pontigny, a monastery that, in the twelfth century, was a haven for scholars like Sir Thomas Becket. This Initial marked the opening of the Book of Leviticus. It refrained from the traditional gold and figural imagery, instead opting for a bold and vibrant palette (Manuscript Illumination with Initial v, from a Bible, 2022). Similarly, the comic book that I have chosen: Ivanhoe, is decorated with a detailed Initial, “I” as well as a vibrant color palette of blues, reds, and greens. Moreover, the “boldly painted miniature” that is the Initial V in the manuscript, serves to amplify the meaning of the scripture (Boehm, 2009). With a comic book, the story unfolds through visuals, where the illustrations are just as important for understanding as the text. These two pieces, one Medieval and one Modern, thus function in similar ways, relying on decoration and illustration to convey and amplify meaning.

Monastic life appealed to many in the Middle Ages, particularly women. As these monasteries grew in number and wealth, demand subsequently rose for devotional objects and books. Books were also needed for everyday use in the liturgy: for mealtimes, prayer, and other meetings (Sorabella, 2013). Thus, a large part of monastic life was reading but also book production and copying texts. This process of medieval copying was no easy task, it required great skill and training, and finishing a single copy could take several weeks. Monastic scribes worked long days in small, quiet, and isolated rooms within the monastery (Corwin, 2016). Thus, the effort required for medieval copying reflects the highly specialized process that is comic book creation. When making a comic book, dozens of people perform precise roles: penciller, inker, colorist, letterer, editor, and printer. Multiple artists work together to produce the comic according to the writer’s script (Larson, 2014).

Finally, it is important to note that this particular manuscript, to which the Initial V belongs, functioned differently from something like the books of hours. The books of hours were handheld books intended for individual devotion; however, this Bible and others like it were created on a much larger scale to accommodate shared, communal worship (Boehm, 2009). A comic book, while perhaps more similar in size to a book of hours, functions more like the Bible as a book for public consumption. In comparison, after a comic is printed, it goes through a marketing process involving press releases, advertisements, and social media. Then, the comic goes through a distribution network to ensure it reaches retailers and, soon, the buying public (Larson, 2014).

Claire

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Currently housed at The Met, 1400, Steel, silver, copper alloy, leather

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Throughout our course, we have read many tales of chivalric heroes combating evil with swords such as this one. These swords belonged most prominently to knights who were tasked with defending their homelands and upholding their chivalric masculine values. Although this particular sword is thought to be a ceremonial object rather than a weapon that actually saw battle, it demonstrates the sword’s status as a powerful symbol of medieval masculinity. Inscribed with a quote from the Aeneid, “here, too, virtue has its due reward,” this sword served as an intentional symbol to its owner of the importance of virtue and the rewards of a virtuous, chivalrous life.

-Shannon Gear

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Currently on display at Leavesden Studios' Warner Bros. Studio Tour London, originally created for Harry Potter and the Chamber Secrets (2002) based on a variety of real medieval sword designs

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The sword’s reputation as a symbol of chivalry and masculine power is one that has endured in modern times, evidenced by the Sword of Gryffindor from the Harry Potter series. In the series, the sword is an important relic of one of Hogwarts’ founders, Godric Gryffindor, who was known for valuing courage and chivalry above all else. Just as the swords of legendary heroes like King Arthur aided them in their heroic quests, the Sword of Gryffindor becomes an important tool for Harry in his journey to defeat Voldemort once and for all. The Sword of Gryffindor is just one example of the enduring legacy of medieval ideas of masculine chivalry as well as the sword’s lasting symbolic significance in popular culture.

-Shannon Gear

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Judy Chicago (American, b. 1939). The Dinner Party (Trotula place setting), 1974–79. Mixed media: ceramic, porcelain, textile. Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation, 2002.10. © Judy Chicago. Photograph by Jook Leung Photography

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Trotula’s place setting at Judy Chicago's historical feminist installation, The Dinner Party, combines references to her role as a doctor with childbirth and caretaking. The Tree of Life in the runner highlights Trotula’s profession as a gynecologist, and draws on the imagery's evolving heritage, beginning in ancient times and continuing into Christianity, as a symbol of life and regeneration. In creating the runner, Chicago chose to use the trapunto technique with a quilt that can be dated back to 11th century Sicily. The white fabric of the runner is reminiscent of swaddling cloth, and the piece itself is a quilt, creating a visual link to the familiar baby blanket.

Trotula’s plate features a birthing image, as well as serpentine imagery that resembles the caduceus, a symbol for medicine and doctors that is now used as the symbol for the American Medical Association. These serpentine forms also reference the Aztec fertility goddess who served as the patron of midwives. Chicago chose the snake motif “because of its historical association with feminine wisdom and powers of healing” (Chicago, A Symbol of Our Heritage, 74).

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Armor for Field and Tilt, of Count Franz von Teuffenbach (1516-1578)

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The first object I chose is from the Worcester Art Museum collection.  It is entitled Armor for Field and Tilt, of Count Franz von Teuffenbach. It is from the 1500’s and created in Europe. Specifically it was made by an Austrian artist by the name of Stefan Rormoser. It consists of multiple materials. Made of steel, brass, lampblack and restored leather, there are elaborate markings and details throughout the entire suit. It even includes initials on the nape of the helmet to indicate that it was by Stefan Rormoser. According to Worcester Art Museum, this armor is homogeneous meaning that every piece was specifically crafted for an Austrian noble named Franz von Teuffenbach of Styria. This object relates to the stereotypical roles of gender we have discussed in class all semester. The elaborate nature of the armor highlights the status of knights and knighthood in this time period and pairing that with the intended use of armor being to joust shows the emphasis for physical strength during this time period. It also shows the class status of a man like Franz von Teuffenbach to have beautiful and detailed armor. - Molly

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Poster for Monty Python and the Holy Grail (movie from 1975)

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For my second object, I chose a movie poster for the 1975 film Monty Python and the Holy Grail. While the film is most definitely a comedy, it retains some of the styles and motifs from medieval times that make the tropes and ideas still recognizable amongst stupid jokes and bad special effects. I couldn’t find a higher quality picture of this poster but I believe you can still see enough details to understand the connection. The men in this poster are all dressed in various costumes that depict knighthood or men’s roles from the time. Specifically, the man on the far right of the goblet is in knight-like attire. This object as a whole shows how the fame of knighthood and the allure of chivalry still exists as it is carried over into our media. The lasting gender implications of it also remain. For a movie where it is definitely not historically accurate, the movie still only includes men as the main characters and in the roles of the knights to highlight on the poster. The costuming of having a headset to mimic the look of traditional knighthood is one example of the lasting effects of medieval art and artifacts as well as the role of gender within that time period and how it is reflected in our society today. - Molly

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I chose The Seven Deadly Sins collection by Paul Cadmus and Septenarium pictum as my pieces for my collection. Both works depict the Seven Deadly Sins in their own respective manners. Septenarium pictum is a piece with more utility for Christians during this time period. It illustrates all the sins on the outskirts of a circle. In the layers within that circle are a number of prayers, gifts, virtues, and beatitudes, which all fixate around the image of Christ in the center. Cadmus’ work is more focused on aesthetic appeal. His depictions are visceral and incredibly colorful in comparison to the images within the Septenarium pictum. I felt that even without the inclusion of prayers, beatitudes, etc., that these pieces invited viewers to engage in critical thought. The depictions of figures so corrupted by their respective sins that they dwindle the line between human and non-human is striking. Whereas the Septenarium is more focused on everyday people engaged in acts which correlate with those respective sins. Both pieces are reflective, however they differ in the nature of the exercise. While the Septenarium is fully cemented in a religious context, Cadmus’ piece is more secular yet equally introspective. It invites viewers to consider basic human morality as all the sins take on physical forms.

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"Yvain rescues the lion", miniature from Garrett MS. No. 125 (ca. 1295 CE) kept at Manuscripts Division, Department of Rare Books and Special Collections, Princeton University Library

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When thinking of curating a medieval and modern “exhibition” it was hard not to think of one of the most popular pieces of literature in the modern times that was inspired by the middle ages directly. I decided to choose a specific cover of the Game of Thrones novel written by George R.R. Martin and beautifully illustrated by Ted Nasmith. I connected this novel to a medieval artwork depicting Yvain and the lion inspired by Chretien de Troyes’ work . When reading the story of “Yvain the Knight of the Lion” the imagery of a human being gaining the trust and power of an extremely powerful animal like a lion was hard to forget. I inevitably had already connected this to the character of Daenerys Targaryan (even though I never fully finished the series of Game of Thrones) who emanates power as she gains control over dangerous dragons. The specific artwork I chose to represent Yvain and the lion called “Yvain rescues the lion” illustrates the scene where Yvain saves the lion from the dragon, which in the story is followed by the Lion submitting to Yvain. The cover of Game of Thrones that I chose depicts Daenerys Targaryan in the line of fire from a giant dragon. In the story of Game of Thrones Daenerys encounters a similar story of Yvain where she is kind of an underdog and gains the alliance of dragons. Going from having no power and being controlled, she becomes one of the most powerful characters. Game of Thrones to me represents a similar narrative of unexpected power and control over mystical beings.

-Emma

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Artist: Ted Nasmith, Author: George R. R. Martin, Year: 2014, Material: novel

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-Emma

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late 15th century; extensively restored and completed ca. 1926

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-Jack

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Released in 2022, Materials: Digital Media (in-game materials include gold, textiles, and other fictional metals)

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These artifacts explore gender roles across time: the juxtaposition of the late 15th-century Gothic Armor and the Tree Sentinel Armor from Elden Ring is particularly illuminating. The Gothic Armor, with its roots in the medieval period, reflects a society where martial prowess and the art of war were closely intertwined with masculine identity. Men were the knights, the protectors, and the physical embodiment of their religion or God’s will, cloaked in armor that served as both defense and a status symbol.

Elden Ring, while allowing any player to assume the role of the knight, also holds a mirror to this historic gender dichotomy through its narrative and characters. In the game, male figures often embody the archetype of the knight or a deity’s champion, representing and protecting their beliefs with sword and armor. In contrast, the prominent female characters are depicted as consorts or maidens, roles steeped in service and guidance. They exist in relation to the Tarnished—chosen warriors—bestowing wisdom and transforming rune fragments into strength, fulfilling a promise of unity and support preordained by grace. However, beyond this supportive role, much about them remains shrouded in mystery, echoing a historical lack of narrative for women beyond their relationships to men.

While the Gothic Armor is a relic of its time, representing the male-dominated martial culture of the 15th century, the Tree Sentinel Armor from Elden Ring perpetuates certain gendered archetypes under the guise of fantasy. Men are the visual symbols of strength and divinity, while women, though revered for their guidance and wisdom, are cast in roles of ancillary support, much like the unseen forces that bound and guided knights of old.

By examining these artifacts side by side, they display the persistence of traditional gender roles within Elden Ring, a reflection of the same values encapsulated by the Gothic Armor of Germany and Italy. Yet, the game also diverges from reality by offering an egalitarian approach to who can don the armor, challenging historical constraints. It’s a narrative choice that both acknowledges the gendered traditions of the past and opens a dialogue for modern interpretations, encouraging players to question and perhaps redefine the roles that have been long established by history and culture. -Jack

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"Shrine of the Virgin", 1300, Oak and Linen Sculpture

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"Shrine of the Virgin", 1300, Oak and Linen Sculpture

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"Shrine of the Virgin", 1300, Oak and Linen Sculpture

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-John O.

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SOUTHERN GERMAN, PROBABLY FRANCONIA, EARLY 16TH CENTURY | THREE
FIGURES FROM A CRUCIFIXION GROUP. limewood, with traces of polychromy 83cm.,
32⅝in.

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Three Figures from a Crucifixion Group,” is a medieval piece with radiocarbon dating back to around AD 1200. It sits in a private European collection and is up for auction for around 15,000 GBP. As the title suggests, the piece depicts three figures and their reaction to the Crucifixion of Christ. Specifically, the figures are Mary,

Saint John, and the Virgin Mary, from left to right. The dynamic between the man and the woman made this piece catch my eye. The women are seen to be distraught, overcome with sadness, and overwhelmed by their emotions, so much so that the Virgin faints, and Mary must cover her face. Meanwhile, Saint John is looking upward, seeming sad but more contemplative, perhaps stoic. Saint John also supports the Virgin as she faints in his arms. The Virgin fainting and the other woman covering her face suggest a sense of inactivity, merely being empathetic

witnesses of Christ, while the man seems more active. This piece speaks on gender roles and dynamics at the time, which juxtaposes nicely with the second piece, by famous artist Louise Bourgeois.

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Arch of Hysteria, 1993. Bronze, polished patina. Collection The Easton Foundation. Louise Bourgeois.

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This piece is to be left hanging from the ceiling, and is made from a bronze cast of a woman’s body. While this figure doesn’t necessarily show dynamics between men and women, it speaks on the modern female experience. The sculpture depicts a woman going through hysteria. While studying psychoanalysis, Bourgeois noticed that females were the primary hysteria patients doctors would analyze. Furthermore, the sculpture is left hanging to symbolise fragility, and the metal is glossy to act as a mirror for viewers to see themselves. The hysterical woman figure is put on display despite being unable to control how it looks, which comments on the shared experience of women in distress. When put next to our medieval piece, this abstract piece shows us how representations of womanly experiences have changed over time. Materials have changed, themes have changed, and maybe the woman in distress does not need anyone, or anything, to support it.

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"The Broken Column" Frida Kahlo, 1944, Oil Painting 

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"The Broken Column" Frida Kahlo, 1944, Oil Painting 

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"The Broken Column" Frida Kahlo, 1944, Oil Painting 

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(John O.) This pairing showcases two unique representations of feminine figures, both exhibiting the physical female body as a medium for life and religious enlightenment, but also as a means of the pain and suffering that is at times associated with the body and pregnancy. The medieval piece on the left is a shrine to the Virgin Mary, showcasing her nurturing baby Jesus when closed, and when opened displaying the Holy Trinity. The piece on the right is a self-portrait completed by Frida Kahlo that was created following a life-altering accident at age 18 where she suffered major internal injuries, ultimately forcing her to be unable to bear children in her lifetime. In a direct sense, both of these pieces depict the power of female motherhood and femininity, yet the medieval and more religious Virgin Mary is one of beauty and sanctity, while Kahlo’s self-image is fragmented and broken. The concept of a nurturing and loving mother is crucial to early medieval understandings of femininity, with love and a religious application of the loving image of Mary as a guiding light to early Christians. In crucial contradiction, the expression of Kahlo’s figure is not a loving and religious guiding light, but an expressionless feminine body that more strongly advocates how pain and sadness are a crucial and implicit aspect of social life for many females. Fundamentally, both of these pieces in conjunction showcase the level of empowerment and truth that has developed in artistic representations of the female body, as both images hold truths of their own contextual time period. Yet the more contemporary is not afraid to recognize the more frightening possibilities of life, a more “human” image of the female self, where one’s broken struggles can be brought together to form a whole individual. Both of these pieces showcase that coming together to find truth, and how internally from each more female perspective, one can find truth within themselves.

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Title: “Virgin and Child”
Artist: Claus de Werve
Date: 1415-17
Materials: Limestone, paint, guilding

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In the sculpture, Mary holding Jesus depicts idealized motherly love that all mothers are supposed to have as a result of procreating. Mothers are supposed to protect their children from harm and nurture them to grow up to be strong and successful. Women have started wearing gold jewelry adorned with images of the Virgin Mary and Jesus as an expression of their devotion to their children as well as to their faith. Women, but mothers specifically, are often thought to be beautiful and elegant, the Virgin Mary is the epitome of this. By curating golden jewelry that has both the Virgin Mary and Jesus on it, men and women are using it as an expression of grace as well as aestheticism.

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This piece of artwork is a sumptuous tapestry from a series designed for the French king Charles VII's chamber as the colors red, white, and blue indicate in the background. It depicts courtly love scenes with fashionable courtiers and ladies, woven with intricate metal threads in clothing, jewelry, and even background details like leaves and roses. The specific scene that is depicted captures a moment of courtship, where a lover offers his heart to his lady while she combs his hair, exchanging her girdle as a token of affection.The production of such tapestries, based on painted designs, required years of meticulous weaving by skilled artisans. Hung on castle or manor walls, these tapestries not only insulated the rooms, but also displayed the owner's wealth and taste. The hues of yellow that bounce off the tapestry would provide the illusory feeling of literal gold being woven into the fabric. The color and the sheer dedication required to complete these daunting tapestries only added to the prestige of owning such a piece. 

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From a series titled, “Police Work,” where photographer Leonard Freed captures photos of officers in New York. Leonard Freed is a legendary photographer accreted for taking pictures of events occurring at the peak of the civil rights movement. Leonard often took photos depicting black struggle and police brutality, but he also seemed to have an impartial hand to play within all of this. His willingness to capture our history from every angle only proves his prowess as a photographer. The piece itself is a representation of love and tradition. While the earlier piece depicts courtship, the photographer shows us the end of that road and the start of an entirely new journey between husband and wife. -Leo