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Inspiration of making the breastplates: Feminism movement

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Inspiration of making the breastplates: Feminism movement

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Inspiration of making the breastplates: Feminism movement

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Inspiration of making the breastplates: Feminism movement

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From goodness to ? Beauty of Breast Movement

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From goodness to ? Beauty of Breast Movement

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¿Cómo es una mujer hermosa?
¿Cómo es una mujer hermosa? Esa definición ha cambiado mucho a lo largo de los siglos. http://cnn.it/2DaMiSF
Posted by CNN en Español on Friday, March 9, 2018

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Not on view

A large H-shaped nose pendant almost entirely obscures the face at the center of this gold, kidney-shaped pectoral. Both the shape of the pectoral and the form of the nose pendant are hallmarks of Yotoco-period Calima art. The Yotoco period was the second of three societies-Ilama, Yotoco-Malagana, and Sonso-to successively occupy the Cauca Valley region in west-central Colombia. The three societies are known collectively as the Calima culture.

The upper portions of the eyes are just visible above the H-shaped pendant, and the head itself is surmounted by a dome shaped cap with a small rectangular crest at the top. Two large, circular, convex ear pendants with concave, circular centers hang from gold wires. The H-shaped pendant itself bears a smaller, more stylized embossed face. Through layers of adornment and repetition, the pectoral simultaneously reveals and conceals faces

Faces in Yotoco artwork are often inexpressive, and represent idealized types rather than true portraiture. This type of face is also commonly found on headdress ornaments (see 66.196.24), where they also bear little variation across different works. Some scholars have suggested stylistic similarities between Calima gold figures and stone sculptures found at San Agustín, an archaeological site in west-central Colombia, due to the recurrence of impassive faces with dome-shaped caps as a central motif. The design along the border of the pectoral, framed by a row of raised dots, resembles decorative details painted on ceramics from this region

The pectoral was shaped by first hammering a gold-copper alloy known as tumbaga into a sheet, which was subsequently cut into the desired shape. The artist could then add details by working the sheet with a bone or metal tool over a soft anvil made of leather or a sack of fine sand. It is likely that the face in high relief was shaped over a mold.

The pectoral would have been worn over the chest, suspended by a cord through the two small holes located directly above the cap. Pectorals would have been worn as part of a suite of ornaments with similar iconographic elements that adorned the torso, neck, and head, almost entirely obscuring the face (see 66.196.23, 1974.271.51, and 1991.419.40). Dressed in full regalia, Calima elites would have shone brightly, channeling the sun's divinity and force as a source of life and renewal.

Andrés A. Bustamante, 2015

Published References

Falchetti de Sáenz, Ana María. "The Darién Gold Pendants of Ancient Colombia and the Isthmus." Metropolitan Museum Journal, vol. 43 (2008), p. 43.

Jones, Julie, and Heidi King. "Gold of the Americas." The Metropolitan Museum of Art Bulletin, vol. 59, no. 4 (Spring, 2002), p. 12.

Exhibitions

New York, Museum of Primitive Art, 1957, 1959, 1966.

Los Angeles, Los Angeles County Museum of Art. "Gold Before Columbus," March 15-May 1 1964.

New Orleans, Isaac Delgado Museum of Art. "Art in Ancient and Modern Latin America in U.S. Collections," May 10-June 16 1968, no. 187.

Boston Museum of Fine Arts, December 1 1968-January 12 1969; Chicago Art Institute, February 1-March 9 1969; Richmond Museum of Fine Arts, March 24-April 20 1969. "The Gold of Ancient America: Masterpieces from the Pre-Columbian World."

New York, Metropolitan Museum of Art. "Art of Oceania, Africa and the Americas from the Museum of Primitive Art." May 19-August 17 1969, extended to September 1, 1969.

Further Reading

Botero, Clara Isabel, Roberto Lleras Pérez, Santiago Londoño Vélez and Efraín Sánchez Cabra. The Art of Gold, The Legacy of Pre-Hispanic Colombia: Collection of the Gold Museum of Bogotá. Mexico, D.F.: Fondo de Cultura Económica, Banco de la República, 2007.

Jones, Julie, ed. The Art of Precolumbian Gold: The Jan Mitchell Collection. New York: Metropolitan Museum of Art, 1985.

Jones, Julie, and Heidi King. "Gold of the Americas." The Metropolitan Museum of Art Bulletin, vol. 59, no. 4 (Spring, 2002).

Pérez de Barradas, José. Orfebrería Prehispánica de Colombia Estilo Calima. Bogotá, Colombia: Banco de la República, 1954.

Morand, Marie Claude. Calima: Colombie précolombienne. Martigny, Switzerland: Foundation Pierre Gianadda, 1992.

Schrimpff, Marianne Cardale, ed. Calima and Malagana: Art and Archaeology in Southwestern Colombia. Bogotá, Colombia: Pro Calima Foundation, 2005.

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Pectoral with Face | Calima (Yotoco) | The Metropolitan Museum of Art

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Not on view A large H-shaped nose pendant almost entirely obscures the face at the center of this gold, kidney-shaped pectoral. Both the shape of the pectoral and the form of the nose pendant are hallmarks of Yotoco-period Calima art.

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Armor (Morohada-Nugi-Dō Gusoku) | Japanese | The Metropolitan Museum of Art

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Cuirass (Armor for the Torso and Hips) and Greaves (Lower Leg Defenses) | Japanese | The Metropolitan Museum of Art

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The lavish decoration of this cuirass focuses on the theme of archery. The silver character yumi in the center of the breastplate is Japanese for "bow" (弓). Below, there is a golden arrow entwined by dragons.

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reasts. Boobs. Tits. Jugs. Whatever lovely word you want to use to describe them, there is no denying that these soft, warm, sensitive and pretty ingenious areas on a woman's body have been the focus of art, literature, poetry, photography, music since they all began.

From the one-breast-uncovered messages of Renaissance paintings to sculpted breastfeeding goddesses spilling milky waters into fountains across Italy to lad-mag titillations and the rising popularity of Instagram accounts such as 4thtribodies embracing the natural changes of women in motherhood, I feel safe in saying that we all like breasts.

From a personal perspective, the last three-and-a-half years have taken me from a AA to a C to a DD to a slightly altered A; through pregnancy, colostrum and breastfeeding. Of all my body parts that might chart this recent history - of life, sex, motherhood, relationships, worry, passion - it has got to be breasts: days when they felt so grabbed I longed to flee (or lock myself in a room and cry), days when I stared in disbelief at the food my body was somehow producing in sync with my baby's tears and yells; days I felt so strange seeing a child sucking nipples that hitherto only grown men (or teenage boys) had ever wrapped their lips around.

So I have a newfound amazement at and increasing confusion about why these body parts are not celebrated more. For this reason, I have chosen to focus on breasts in books. As my own book is a mixture of poetry and prose, I thought I'd include both in this list. I could have cited many more, but I hope this gives an air of the variety of inspirations that breasts can provide.

2. The Color Purple by Alice Walker (novel)
Last week, my daughter and I stared at the purple crocuses coming through the soil. I forced her to look closely and told her about the The Color Purple. Walker's character Celie has one of the saddest breast stories I know, but one which is still so common: alienation from her own breasts; abuse of her own flesh; a physical and mental lack of ownership over her own skin. It's more moving than any other book I have read featuring this subject.

Femen activists perform the Nazi salute near flags reading "Heil Le Pen" as they demonstrate against France's far-right Front National (FN) in Paris Photograph: Thomas Samson/AFP/Getty Images

Danielle Darrieux Erno Crisa in the 1955 Italian film of Lady Chatterley's Lover directed by Marc Allegret. Photograph: -/AFP/Getty Images

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reasts. Boobs. Tits. Jugs. Whatever lovely word you want to use to describe them, there is no denying that these soft, warm, sensitive and pretty ingenious areas on a woman's body have been the focus of art, literature, poetry, photography, music since they all began.

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The London-born artist and designer grew up in Islamabad, Pakistan, before relocating to New York, where she has spent the past year working on a collection for her university thesis. In the later processes of her research for 'Azaadi', Japanwala traveled to Pakistan where she spent time speaking to victims of domestic violence about their experiences. Returning to New York after this affecting trip, she completed 'Azaadi', imbuing the collection with the stories of the women she spoke to. The result is an intimate selection of sculpted garments that illuminate the female body in both fabric and plaster. The artist created grey plaster molds of her own nude body to symbolize shields of armor; a metaphor for the protection of said women. The hand molds are taken from the women Japanwala spoke to, bringing together parts of their bodies with hers.

Her artist statement explains the journey of understanding the precarious experience of being a woman in Pakistan: "I wanted to use casts of my own body as vessels to highlight the strength of the women who weren't afraid to fight to live on their own terms", she explains. "[And] also, the fragility that comes with being an outspoken woman in Pakistan". Azaadi, which means 'freedom' in Urdu, is a compelling way for Japanwala to express both herself and the lived experience of many.

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The Powerful Feminist Symbolism Of Misha Japanwala's Azaadi - IGNANT

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The London-born artist and designer grew up in Islamabad, Pakistan, before relocating to New York, where she has spent the past year working on a collection for her university thesis. In the later processes of her research for 'Azaadi', Japanwala traveled to Pakistan where she spent time speaking to victims of domestic violence about their experiences.

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Bare Reality : 100 Women, Their Breasts, Their Stories, Laura Dodsworth

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A bronze breast plate,SOUTH INDIA, 17TH CENTURY

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A bronze breast plate,SOUTH INDIA, 17TH CENTURY

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https://www.christies.com/lot/lot-a-bronze-breast-plate-south-india-17th-5049937/?

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Related Exhibition - Love and War: The Weaponized Woman,2006 - MFIT

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Related Exhibition - Love and War: The Weaponized Woman,2006 - MFIT

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All photographs by Irving Solero, courtesy of the Museum at FIT, unless otherwise noted.

Love & War is organized by Dr. Valerie Steele, director and chief curator; Patricia Mears, research curator; Fred Dennis, associate curator of costume; and Clare Sauro. assistant curator of accessories. It is made possible in part through the generosity of The Coby Foundation, Ltd., New York.

Website designed by Mai Vu.

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All photographs by Irving Solero, courtesy of the Museum at FIT, unless otherwise noted. Love & War is organized by Dr. Valerie Steele, director and chief curator; Patricia Mears, research curator; Fred Dennis, associate curator of costume; and Clare Sauro. assistant curator of accessories.

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‘coiled’ corset from The Overlook (Autumn/Winter 1999),Alexander McQueen 

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‘coiled’ corset from The Overlook (Autumn/Winter 1999),Alexander McQueen 

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McQueen was fascinated by the female torso and designed several showpieces which emphasised its form and distorted its physical properties.

The 'coiled' corset from The Overlook (Autumn/Winter 1999), combines meticulous craftsmanship, radical body adornment and was a unique collaboration between McQueen, Kees van der Graaf and jeweller Shaun Leane.

The corset is made of 97 handcrafted aluminium coils and has a 15-inch (22 cm) waist. The construction is similar to that of the cuirass (historical leather body armour designed for the torso in which the breastplate and backplate are fastened at the sides). In McQueen's version, the sides are screwed together, with the wearer inside. Kees van der Graaf created a plaster of Paris mould of model Laura Morgan's torso, onto which Leane then fitted the coils.

This was a physically demanding piece to make; Leane was only able to craft eight coils in a 16-hour day, curving, shaping, hammering and polishing the aluminium to achieve the final result. Laura Morgan modelled the piece, which took 15 minutes to put on, and almost as long to take off. The corset limits motion due to its high neck and extension to the upper hipline.

Two years previously, Leane had made a coiled neckpiece for McQueen's collection It's a Jungle Out There (Autumn/Winter 1997). The piece was inspired by the coiled brass and copper neckpieces worn by Ndebele women in South Africa, their elongated necks indicating wealth and status. The 'coiled' corset is an expansion of this ideal, scaled up in size up to include the entire torso.

McQueen and Leane took part in the V&A's Fashion in Motion series in 2001, and showed a retrospective of their longstanding collaboration that had begun when McQueen commissioned Leane to create the fob watch chains for Highland Rape (Autumn/Winter 1995). Around 3,000 people filled the Museum's main entrance to get a glimpse of the designs, which also included the yashmak from Eye (Spring/Summer 2000) and a mouthpiece from Eshu (Autumn/Winter 2000). The 'coiled' corset proved a highlight, with many visitors Museum marvelling at how the model managed to get into and out of it.

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The Museum of Savage Beauty explores the hidden stories and craftsmanship behind some of the most remarkable objects made by Alexander McQueen and his creative collaborators.

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WHO owns the breast?

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"...the womanly powers...were worthy of veneration"

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TIRESIAS-Cassils

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TIRESIAS-Cassils

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"We get to confront boobb-phobia"

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The breastplate of ancient Roman soldier

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The breastplate of ancient Roman soldier

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To enhance masculinity while protecting the body

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JOAN OF ARC

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AW21

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1

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YSL X Claude Lalanne 1969

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FALL 1999 READY-TO-WEAR

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Alexander McQueen spring/summer

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2

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TOM FORD ss20

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GOTHIC MEN'S BREASTPLATE

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ALEXANDER MCQUEEN SS ‘01 “Voss” collection

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ALEXANDER MCQUEEN SS ‘01 “Voss” collection

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The cuirass is a piece of armour that covers the torso – a forerunner of the bullet-proof vest. It was made from tough metal such as bronze or iron to protect the wearer as he went into battle. The fashion designer Alexander McQueen borrowed the shape of the cuirass but made a few tweaks to the design. His cuirasses were designed to emphasise the curves not of male muscles but of female breasts. Instead of metal, McQueen chose other materials. He made breastplates from plaster of Paris, leather and Perspex. For fashion curator Andrew Bolton, the McQueen cuirass that best captures the “tragic, poetic beauty” of his designs is one made of glass: a stunning object but a self-defeating form of armour. If struck, far from fending off the aggressor, a glass cuirass would shatter and pierce the wearer. Just before she went on the runway wearing one of McQueen’s glass corsets, the model Laura Morgan was warned, jokingly, “If you trip, you’re a goner!”

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