WOMEN

Ranging artists- men and women- who yearn to portray  women in different ways, using line form medium and colour. These artists convey their perceptions using the power of art as a vehicle namely to drive their conceptual intentions. NEW and OLD. CONTEMPORARY and TRADITIONAL.

The iris is a familiar image in Western art, frequently used in Christian iconography; its swordlike leaves were especially employed as a symbol for Mary's suffering, a pictorial metaphor which might also have been familiar to O'Keeffe from her Catholic upbringing and her parochial schooling.The enlargements and abstractions derived from the flower have often been explained in gynecological terms, almost clinical in their precision. Such explicicatons, once the province of Freudian critics, have more recently been repeated in feminist interpretations of the flower. Linda Nochlin, for example, read Black Iris III as a "morphological metaphor" for female genitalia, insisting that the connection is "immediate", "concrete", and "that the two meanings are almost interchangeable." In this merger of botany and anatomy, Nochlin found reflection of "the unity of the feminine and the natural order", a concept which enjoyed great vogue early in last century.
In early May of 1932, while Frida was in Detroit, she got pregnant. Realizing that Diego didn't want children and knowing that there were some risks with her with the pregnancy, Frida chose to stop the pregnancy with abortion as she had the previous one. A local Detroit specialist give her medication and castor oil to compel the premature birth which failed, and Frida chose to carry the pregnancy to full term. She was told by doctors that she could carry the kid to full term and deliver through a cesarean operation. Unfortunately that didn't come true. On July fourth she endured an horrible life threatening miscarriage. Frida cannot finish this painting due to the physical and psychological pain from the miscarriage. This painting depicted what would have happened if the baby is delivered by cesarean. This painting is also an expression of hope and fear.
Best known for laying aggressively directive slogans over photographs that she finds in magazines, Barbara Kruger developed a visual language that was strongly influenced by her early work as a graphic designer- evident in 'Fate.' Informed by feminism, Kruger's work critiques consumerism and desire, and has appeared on billboards, bus cards, posters and in public parks, train station platforms, and other public spaces.
Cindy Sherman established her reputation, and a novel brand of uncanny self-portraiture, with her “Untitled Film Stills” (1977-80), a series of 69 photographs of the artist herself enacting female clichés of 20th-century pop culture. Although her work continually reexamines women’s roles in history and contemporary society, Sherman resists the notion that her photographs have an explicit narrative or message, leaving them untitled and largely open to interpretation. “I didn’t think of what I was doing as political,” she said. “To me it was a way to make the best out of what I liked to do privately, which was to dress up.” Always in meticulous costumes, wigs, and makeup, Sherman has produced series in which she dresses as women from history paintings, fashion, and pornography
Del Kathryn Barton has become a well known name among the Australian public and the art community. Her profound style has bewitched her fans, and her portrayal of sensitive subject matter such as the body, children in art, and her flourished, decorative style has wound up her critics. In the world of art, there exists many types of feminisms, and it is fair to say that Del Kathryn Barton’s art can be considered feminist art. Barton’s art is mystical; it embraces ideas of femininity, female sexuality and motherhood, and aligns women with nature. Her art both works within a feminist frame and troubles it. While her artwork illustrates women as one with nature, this can also be seen to assist the woman/man and nature/culture binaries. There is certain eroticism in nature, animals and woman, and Barton’s treatment of these subjects illustrate the automatic sexualisation of these ideas.
In this painting, Vermeer depicts a young woman at her music with an older gentleman. This painting shows the typical courtship during the 17th century in Europe. It also focuses on the importance of music when it comes to love. The room that they are shown in is one of higher class, most likely belonging to a person of haute bourgeoisie. The painting is very reminiscent of Vermeer’s other works.
Richter's fascinating and technically complex style of using oil paints is exquisitely portrayed in Helga Matura. The caption of his inspired image was a clipping from Revue magazine from 16th March 1966 which stated 'Helga Matura (Murdered good-time girl: Helga Matura).' She was murdered by a person unknown on 26th January 1966.
This portrait of a young woman sitting in a Paris prison is an expression of human misery. Her hunched shoulder, crossed arms, and blank stare embody deep despair. By restricting his palette to blue, Picasso accentuate the feeling of sadness. Picasso's elongated treatment of the figure was inspired by the paintings of Spanish painter El Greco.
Through this famous artwork, Gauguin describes his experience of Tahiti and its inhabitants on his arrival in 1891. He describes the woman in the portrait thus: “She was not pretty – at least not by European standards – but beautiful.” Disillusioned with Europe and the Western art scene Gauguin took his leave and went in search of a new beginning in the Pacific Islands. The era’s passion for “the primitive” took hold of him, possibly deeper than with any other artist. The girl’s choice of clothing and the painter’s choice of composition connect her to the European portrait tradition from the Renaissance – but her native features resist any kind of Europeanising.
Zonaro painted portraits, landscapes and historical paintings. It is claimed that “Zonaro was one of those who made a major contribution to the development of western style art in Turkey.” He was a prolific artist who created hundreds of works, most of which are of the Ottoman Empire. An exhibition of his work in Florence in 1977 "received wide acclaim in the art world." Most of Zonaro’s works remain in Istanbul, and many of them are on display in the city’s leading museums. His pictures can be found in the state museums such as the Istanbul Military Museum. Young Girl Carrying a Pumpkin highlights his acute attention to detail and expertise in realism.
No Woman No Cry is a painting created by Chris Ofili in 1998. It was one of the works included in the exhibition which won him the Turner Prize that year (the first painter to win the prize since Howard Hodgkin in 1985). The Financial Times has described it as "his masterpiece". The painting is in mixed media, including acrylic paint, oil paint, and polyester resin. Against a golden background, it depicts the portrait of a black woman with braided hair weeping. Each tear includes an collaged image of Stephen Lawrence, who was murdered in 1993 and whose mother, Doreen, was leading a campaign in 1998 for an inquiry into the failed murder investigation; the campaign for the inquiry was successful, with the final report declaring in 1999 that the police department conducting the investigation was "institutionally racist."
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