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Jan van Eyck, The Arnolfini Portrait, 1434.Oil on wood

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Jan van Eyck, The Arnolfini Portrait, 1434.Oil on wood

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In The Arnolfini Portrait by Jan van Eyck, the female figure depicted on the right side of the page is an example of how the depictions of women in art focus on their idealization. One example in this portrait is the idealized facial features like the high hairline and the ideal body and style. The figure is tall and elegant and the style of clothing demonstrates her wealth and status. This is just one example of many idealized depictions of women in art, but it highlights that because of the historical idealization of women in art, unidealized feminine figures in art are rare. This portrait is one of many that strengthens the connection of the depiction of women and, often times, contemporary beauty.
Jean Robertson and Deborah Hutton,
The History of Art: A Global View (London: Thames & Hudson Ltd., 2021)

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Botticelli, Birth of Venus, 1484-86. Tempera on canvas

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Botticelli, Birth of Venus, 1484-86. Tempera on canvas

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In The Birth of Venus by Botticelli, the central figure of Venus demonstrates the connection between beauty and feminine subject matter in art. It does so by idealizing the figure of Venus. She is shown in an impossible and unnatural pose. She appears large and powerful, but still hyper feminine and beautiful through idealized body and facial features. Additionally, her long hair that conceals her nudity draws towards her femininity.
Jean Robertson and Deborah Hutton,
The History of Art: A Global View (London: Thames & Hudson Ltd., 2021)

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Michelangelo, Tomb of Giuliano de’Medici, New Sacristy(Medici Chapel), San Lorenzo, Florence, 1519-34

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Michelangelo, Tomb of Giuliano de’Medici, New Sacristy(Medici Chapel), San Lorenzo, Florence, 1519-34

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An example of a female figure in sculpture is shown through the allegory of night in this sculpture by Michelangelo. She is depicted idealized in the form of her body, as she appears very naturalistic and muscular. Despite the sculpted muscular form, she still appears feminine because of her long legs, breasts, and facial features. She appears beautiful on the tomb, as she appears lively and well fit, contrasting the location. Her pose also adds a sense of grace and elegance, adding to her beauty. Despite being nude and unfinished, this depiction of a woman in art still appears beautiful, demonstrating their connection.
Jean Robertson and Deborah Hutton,
The History of Art: A Global View (London: Thames & Hudson Ltd., 2021)

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Parmigianino, Madonna of the Long Neck,1534, oil on panel, Baiardi Chapel, SantaMaria dei Servi, Parma

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Parmigianino, Madonna of the Long Neck,1534, oil on panel, Baiardi Chapel, SantaMaria dei Servi, Parma

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In Parmigianino's Madonna with the long Neck, the madonna figure is depicted in the mannerist style, and appears elongated, especially with the neck of the figure. She appears strong, beautiful, and graceful. The idealization of this figure is common, as the status of being jesus' mother elevates her. Additionally, her beauty is emphasized through this piece. This example of a depiction of a religious female figure's beauty in art shows that the depiction of women and the idea of beauty's connection is innate.
Jean Robertson and Deborah Hutton,
The History of Art: A Global View (London: Thames & Hudson Ltd., 2021)

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Pendant portraying Queen Idia, thelyoba (mother of the king),kingdom of Benin, 16thC, ivory,iron, copper

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Pendant portraying Queen Idia, thelyoba (mother of the king),kingdom of Benin, 16thC, ivory,iron, copper

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This pendant from the Kingdom of Benin showcases the beauty of the mother of the king. She is decorated ornately, and the pendant is carved to likeness of a face. She has a headpiece and African facial features, of contemporary beauty. The detail of the sculpture demonstrates the statues of the mother of the oba, and to the the people of Benin, this pendant would have showcased her beauty and fame.
Jean Robertson and Deborah Hutton,
The History of Art: A Global View (London: Thames & Hudson Ltd., 2021)

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Artemisia Gentileschi, Judith BeheadingHolofernes, c. 1619-20, oil on canvas, Uffizi, Florence

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Artemisia Gentileschi, Judith BeheadingHolofernes, c. 1619-20, oil on canvas, Uffizi, Florence

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In this painting by Gentileschi, the two female figures, primarily the right figure of Judith demonstrates the connection between women and beauty. She is depicted as strong and powerful, holding down and beheading a grown man. The light illuminates her face showing her importance, but also casting light onto her face and body. In this light we see her natural but muscular arms and chest, as well as her determined grimace. Despite not appearing classically beautiful, both women portray power and beauty by being placed at the top of the composition and being illuminated by the light.
Jean Robertson and Deborah Hutton,
The History of Art: A Global View (London: Thames & Hudson Ltd., 2021)

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Antonio Canova, Pauline Borghese as Venus, 1808. Marble, life-size

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Antonio Canova, Pauline Borghese as Venus, 1808. Marble, life-size

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This portrait marble statue that combines mythology and portraiture is of a reclining woman. She is relaxed and leans on one arm while holding and apple. She is nude from the waist up, yet. despite the lack of stylish clothing to portray beauty, her naturalistic body leans comfortably and beautifully, while her face rests naturally as well. She is eye catching, bright white and a still capture of beauty. This naturalism is the main source of the beauty of women within art, including this piece.
Jean Robertson and Deborah Hutton,
The History of Art: A Global View (London: Thames & Hudson Ltd., 2021)

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Jean-Honoré Fragonard, The Swing, 1766. Oil on canvas

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Jean-Honoré Fragonard, The Swing, 1766. Oil on canvas

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In this painting, the central female figure wears bright pink tones against a background of green. She appears relaxed as she swings, and her face and body appear naturalistic. She is elegant and graceful and fits the contemporary depictions of beauty at that time. She is the figure that is mainly visible, pointing to her importance. She fits the standard of beauty through her elegant and long figure. This playful painting sports a playful and beautiful female character. This playful and beautiful figure supports the idea that depictions of women appear beautiful in art, as she appears light, relaxed, and stunning.
Jean Robertson and Deborah Hutton,
The History of Art: A Global View (London: Thames & Hudson Ltd., 2021)