Portrayal of Women in Art Over the Years: The Objectification of Women in Nude Form by Elyiana Iniguez

Intro:

elyianainiguez — 2024-12-09 06:05:40 UTC

This paper will employ a close visual analysis of lustful portrayal of women by different artists of different styles and periods in order to show the different social cultural use of nude female forms as main focuses in art. Although nudity has been seen as a glorified aspect of art in many different cultures and periods, I argue that many nude women portrayed in art are reduced of their beauty and natural state and seen to be objectifications, suggesting a common erotic image of women for contemporary viewers.

Early nudity was particularly related to complex sets of formal ideals, philosophical concerns, and cultural traditions while later nudity focused on artistic innovation in the Renaissance and later academic traditions of the 17th century and later. The first nude portrayals are commonly associated with the western world consisting of the Greek and Roman cultures. These ancient cultures mainly portrayed the male nude forms in order to glorify the human body and the shape of humanity. These nude figures were mainly depicting ancient Gods and heroes in their prime while focusing on geometric clarity and organic equilibrium. Women nudity was very scarce but when finally being practiced, the figures were very distinct and mainly symbolized divinity of procreation. The female body was also portrayed as formally focusing on idealized proportions based on mathematical proportions. It is thought that female nudity may have contained sex appeal “yet they were never totally prurient in intent.” (Sorabella).

The objectification of women usually comes to play with the perception of hypersexualization among women. As we know, women have been depicted in nude forms before, but when a woman is depicted in nude as their original selves, the act of sexual liberation comes into play. Some aspects of hypersexualizing women are women pictured in the nude form in daily settings, nature, or even decorous exhibits. The hypersexualization of women is commonly associated with the patterns and aspects of the theory, The Male Gaze. The Male Gaze is a term made by historians that help classify art works as being produced for the male audience by a heterosexual viewpoint. This theory usually represents women as sexual objects and conveys women as an idealized image. The art was frequently marketed as "the study of women" and featured nude women in scenarios that were expressly designed to attract the audience's attention for enjoyment. One method for attracting a male audience was to depict intimate moments of a naked woman, particularly when adding visual distance between the viewer and the painting. The male gaze is a direct source of objectification for women. “[Objectification includes denial of anatomy, denial of subjectivity, not taking people’s feelings into account, but also treating them as mere instrument- Martha Nussbaum” (Lomography). Some main aspects of women objectification seen through the male gaze is enhancing women's anatomy such as elongating such proportions as the waistline, hair, and breast. Women are even objectified by dehumanizing the individuals when removing one's face (removing identity), concealing aspects of the woman’s backstory, and displaying women in perfectly posed stances.

In my art exhibit, I will be showcasing works mostly from the 1600s to the 1900s, including Olympia, Susanna and the Elders, The Turkish Bath, Large Odalisque, and Le Déjeuner sur l’herbe (Luncheon on the Grass). All of which feature nude women as the major focus and are portrayed through the male gaze and aspects of hypersexualization, leading to the ultimate conclusion that these nude women are objectified.

1. Titian, Venus of Urbano, 1538, High Renaissance, oil on canvas, 119.20 x 165.50 cm

elyianainiguez — 2024-12-09 06:12:34 UTC

In Titian’s Venus of Urbano we are presented with a nude woman seductively reclined in a bed. A hypersexualized female body is seen when the viewer has no clue as to who this woman is, creating an idealized beauty and generic image of a sexy nude figure in an elegant room.The formal aspects of the Male Gaze theory are evident in the emphasis on the elongated and curved pelvis as the focal point, surrounded by soft, luminescent skin and long blond hair running down her shoulders. This skin features a pink blush on traditionally idealized parts of the female body, such as the cheeks, knees, feet, and fingers. A more flirtatious and sexual image is seen when the woman is seen to be giving a frisky glance at the viewer who we assume to be a male. A flirtatious tone is further emphasized by the woman's surrogate-like pose, particularly as she gently places her hand over her genitals, giving the impression of both flaunting and caressing them. Her genitals also become a focal point through the alignment of the partial wall's base and the floor pattern, which converge at that spot, underscoring a desired image or implication aimed at a male audience. The picture can clearly illustrate a male audience when including insights of marriage and love through the picture of a sleeping dog hinting at marital fertility and the roses which can be associated with Venus and the constancy of love. Also the bed cushions being of a crimson red color hint signal passion and inflamed desire likely coming from a lover. Through the help of these aspects along with the idea that this painting acted as an “installation…intended for a private viewing hung alongside other highly sexualized paintings showcasing nude female bodies arranged in classicizing poses…” (Jewitt) we can determine this woman is objectified.

2. Gentileschi, Susanna and the Elders, 1610, Italian Baroque, Oil on canvas, 170 x 119 cm

elyianainiguez — 2024-12-09 06:14:12 UTC

In this picture, Susanna and the Elders, the theme of objectification is a little more obscured especially because the artist is a woman. The background story highlights the objectification and hypersexualized desire men project onto women, presenting this dynamic through a woman's perspective of a similar experience. This approach makes the scene feel more authentic from a female point of view. The features of Susanna aren't as idealized as men artists who portray the same story make it. In this case we can observe a malaise nude woman who is seen to be in discomfort and repulsion when awkwardly turning her head and body away from the men. Though the natural softness and curve of her skin along with the peaking breast can resemble little aspects appealing to the male gaze. Hypersexualization can be seen when the men are pictured during a woman’s bath time, a place they are forbidden to be, violating her privacy. The depiction of the “spare background keeps the viewer’s attention focused on the interaction between Susanna and her oppressors, and emphasizes the sense of entrapment”(Baskind) and aiding the idea of how unnatural it is to see men in this environment, especially being clothed among a nude woman. The portrayal of this specific event also emphasizes the nude woman herself when “There is a stark contrast between the heavily robed, shadowy men…”(Foundations) highlighting the pale nude figure. The men continuously taunt the nude woman when whispering in her ear and brushing against her hair hinting at their sexual desires with the woman. The woman is told being told that if she does not submit to sexual frolic with the men, sexual violence will occur along with the mis information of her being accused of adultery. The lustful image men project onto this woman, coupled with the hypersexualized desire for her body, culminates in the portrayal of her being objectified by men.

3. Ingres, The Turkish Bath, 1862, Orientalism, Oil on Canvas, 108 cm

elyianainiguez — 2024-12-09 06:15:53 UTC

In Ingres’s painting The Turkish Bath the use of a tondo (circular) frame “provides a sense of intimacy and enclosure, drawing the viewer’s gaze into the languid atmosphere” (Artchive) suggesting that the painting is depicted through the male gaze especially when composed of a female only atmosphere. The bathing room is clearly seen in the male gaze when showcasing nude women in perfectly posed stances when rinsing off, chatting, drinking, and dancing. These women can also be seen to be as dehumanized figures hinting at characteristics of objectification because it is known that the male artist was not among the women in their bathing room, “[Ingres] takes figures from previous pictures, in particular The Valpincon Bather in which we see the woman with her back towards us” (Museoteca). The non-life like figures are especially seen to be fictional when being illustrated symbolizing decorative patterns like arabesque and cold lighting that towns down relief of the figures. Hypersexualization of the women is clearly expressive when the nude women are depicted in an oriental and luxurious background. The women's bodies are also depicted with palpable softness showing interest in sensuality of the female body along with being dressed in jewelry and fabrics. Lastly, eroticism is shown when there are two women closely seated next to each other with one caressing the breast of the other woman lying beside her suggesting images of objectification in the male gaze.

4. Edouard Manet, Olympia, 1863, oil on canvas, 1863,130 x 190 cm

elyianainiguez — 2024-12-09 06:18:26 UTC

In Edourd Manet’s painting Olympia, we are presented with a modernistic depiction of a nude woman.The woman is portrayed in a seductive attitude, exhibiting her body in a way that suggests a dirty and obscene beauty. Though some aspects of the male gaze usually enhance female bodies to create a more appealing look, Manet’s Olympia does the quite opposite; he keeps the natural round stomach of the girl along with her short legs and strong hands paired with her delicate shoulders.The display of one's natural physique was severely criticized by viewers, who said, "[her] red hair is positively ugly, her face is stupid, her skin is deathly pale" (Arte 7:32), resulting in the diminution of one's inherent beauty. The visual distance between Olympia and the viewer suggests that the woman is in the presence of a male customer. Her hand resting on her thigh conveys an immodest connection between her and the viewer. The decorative divider in the background and the presence of a servant holding up a gift of flowers—possibly symbolizing payment for sex—suggest that the woman is part of a brothel. Especially as the woman is depicted naked yet adorned with ornaments, creating a more lustrous image, it suggests she is portrayed in a manner that aligns with the concept of the Male Gaze. The ribbon, or what appears to be an orchid flower in her hair, is thought to symbolize a sexually suggestive form. The shoes slipping off her feet and the black cat are believed to reference loose women, with the term “chausson (slipper), which referred to an “old prostitute” (Dolan, pg. 1) The loose hold of the shawl conveys a playful and teasing image, while its spillage beneath her figure may symbolize her social class within the spectacle of feminine allure. At the same time, it hints at the woman losing the sense of clarity she once possessed signifying the image of being objectified.

5. Edouard Manet, Le Dejeuner sur l’herbe (Luncheon on the Grass), 1863, oil on canvas, 207 x 265 cm

elyianainiguez — 2024-12-09 06:19:52 UTC

In Luncheon on the Grass, Manet depicts a nude woman among two dressed men in a nature scene. This painting off the bat seems to give a hypersexualized image of the nude woman that embodies and visualizes sexuality. To the left bottom corner we can see that the woman had taken off her dress before eating and socializing with the men, giving a scandalous image towards the woman's nature and appearance. And among the food on top of her dress is an oyster hinting at female sexuality. The nude women especially among clothed men creates a lustful image and is thought as diminishing her allure and “absurdity… of the nude in accompaniment of dressed males in an outdoor setting,[is] a highly improper event…” (Læssøe pg 195). It is not specifically known, but it can be inferred that the woman is a prostitute. The character’s elongated body (mostly being her long legs and arms) and larger than life depiction has aided in continuous aspects of objectification of a woman's body. A sexual tension can be felt among the nude woman when her foot points towards the crotch of the man with a hat while he points at her. The nude model seems to be “highlighted” with a studio lighting with minimal shadows making her look dehumanized and helps make her nudity known to the viewer. With her gaze struck towards the viewer, it resembles an aspect of the male gaze leading to the idea of objectification.

Works Cited

elyianainiguez — 2024-12-09 06:36:51 UTC

Jewitt, J. R. (n.d.). Titian, Venus of Urbino. Smarthistory. Retrieved December 8, 2024, from https://smarthistory.org/titian-venus-of-urbino/

FOUNDATIONS: SUSANNA AND THE ELDERS. (2021). In History today (Vol. 71, Number 9, pp. 4-). History Today Ltd. https://caccldiablo.primo.exlibrisgroup.com/permalink/01CACCL_DIABLO/1tubmvq/cdi_proquest_miscellaneous_2586552183

Baskind, Samantha. 2020. 'Susanna and Gentileschi Exposed' , in The Visual Commentary Of Scripture ed. by Ben Quash. (London: The Visual Commentary on Scripture Foundation). [Accessed 8.12.2024]https://thevcs.org/susanna-and-elders#susanna-and-gentileschi-exposed

Artchive. (n.d.). The Turkish Bath, Jean-Auguste-Dominique Ingres, 1862. Retrieved December 8, 2024, from https://www.artchive.com/artwork/the-turkish-bath-jean-auguste-dominique-ingres-1862/

Museoteca. (n.d.). The Turkish Bath by Jean-Auguste-Dominique Ingres. Retrieved December 8, 2024, from https://museoteca.com/r/en/work/2119/ingres_jean_auguste_dominique/the_turkish_bath/!/

ARTE France, Infobase, film distributor, ARTE France, & Infobase, film distributor. (2016). Manet [1832-1883]. ARTE France,.

https://caccldiablo.primo.exlibrisgroup.com/permalink/01CACCL_DIABLO/106b8ud/alma991003631331105345

Dolan, T. (2015). Fringe Benefits: Manet’s Olympia and Her Shawl. The Art Bulletin (New York, N.Y.), 97(4), 409–429. https://doi.org/10.1080/00043079.2015.1043828

Læssøe, Rolf. Édouard Manet’s Le Déjeuner sur l’Herbe as a veiled allegory of painting. Winthrop University, JSTOR. Retrieved December 7, 2024, from https://faculty.winthrop.edu/stockk/Modernism/Manet%20Dejeuner.pdf

additional information (if glitching occurs):

elyianainiguez — 2024-12-09 07:37:13 UTC

Additional Information: link to overview of whole art show (not in Slide form)- https://padlet.com/elyianainiguez/portrayal-of-women-in-art-over-the-years-the-objectification-udd6oq8r3umfyea2 link to Google Doc Drive (incase works cited links don't work in padlet slideshow)- https://docs.google.com/document/d/1huaAQYsyjj_hE5G_pbVgRhZ_mhaEHlrxuArOEfenHIc/edit?usp=sharing Note: links used for images are not the sources for the information and quotes for the images!!