Project 21 Images of Women
John Berger - ways of seeing Chapter 2 and 3
Berger argues that the tradition of the nude in paintings is almost exclusively that of the female form which is then presented to the male viewer. The female nude is then possessed not only by the male collector but almost the male viewer. Looking at women is defined by their appearance and thus the male gaze operates.
Task 1 We are asked using magazines and newspapers as a source to construct a visual study essay showing the visualisation of woman today
The above six pictures of the female form from a woman's perspective
the above 6 pictures of females from a man's perspective
In the first six pictures it is interesting to note that they reflect Lacan's theory of the mirror phase these are what we would like to achieve in looks ourselves but have to realise that a most of these are air brushed etc so have the feeling of being inadequate.
In the second six we see the interpretation that the male enjoys looking at and would like to find someone in their image (Berger's argument) The social presence of a man is to have the promise of power which he embodies this maybe moral, physical, social sexual etc i.e to have power over the woman. Where as
the woman expresses her own a attitude of herself by gestures, voice, opinions, clothes taste etc. From her earliest childhood woman have been taught to survey herself at all times. Men look at women where as women watch themselves being looked at.
The Future Unvielded 1912 oil on canvas by Suzanna Valadon Geneva
Here Suzanna Valadon does not adopt the typical masculine approach in representing a naked woman. She has placed the figure in a private area, (traditionally a woman's place was within the domestic sphere). The woman is not alone nor placed as an object of desire for a man's pleasure. She reclines on a sofa her naked body fully exposed she is relax and in a confident pose she appears to be completely indifferent to her nakedness as though it is quite a natural state, and does not offer her body as a exhibit for the male spectator, her eyes are looking down at the fortune teller as she deals the cards she is fully absorbed in her own thoughts disinterested in pleasurable experiences for a male audience.
Valadon's painting could be seen as a statement that this woman is not to be regarded as an object of male sexual desire and defies male objectification of the female subject.
This is an erotic painting on canvas- which depicts lesbianism. It was commissioned by a Turkish diplomat and art collector who lived in Paris. This painting was not permitted to be shown publicly (due to the nature of the subject) until 1988 when is was exhibited by a picture dealer. In 1872 it became a subject of a police report! The painting shows two naked women lying asleep on a bed entwined in an embrace as couples do. The setting is a bedroom with various textiles and ornamental furnishings - in the background there is a dark blue velvet curtain which ties in with the subject matter and in the right corner a table with a decorative flower vase. In the foreground is a small wooden table with three items, a small vessel a transparent vase and a cup there is nothing else in the painting to overshadow the main image - Courbet worked curves between the women a broken peal necklace and hairpin scattered on the bed is reference to the nature of their previous activity. These painting has been interpreted as a realist painting detailing the bodies without glossing over their imperfections.
The Tepidarium by Sir Lawrence Alma-Tadema 1881 oil on panel Liverpool
The word Tepidarium was a warm Roman Bath. This picture carries a strong erotic charge rare for a Victorian painting of a nude. The woman reclines in a pose of exhaustion on a marble couch beside the bath Her face is flushed perhaps because she has just emerged from the hot bath. In one hand is a strategically placed ostrich feather fan, barely concealing her genitals. She holds the fan as if it about to drop from her grasp. In her other hand she toys with a strigil ( a bronze implement used to scape oil or sweat off the body. This implement combines archaeological authenticity with a explicitly phallic shape, and the general air of sensuality is enhanced by the contract of the fur rug the silken cushions and the naked body.
The above three paintings are those which would possibly hold more interest to the male viewer
Girl with white dog 1950 Lucian Freud Tate oil on canvas
This painting is of Freud's first wife when pregnant she looks contented and relaxed sitting by a window with her faithful white dog. The drapes behind her are muted also the cover on the bed gives a contract to the plain coloured dressing gown. One would imagine that she and her dog are both looking at the artist.
Reclining nude 1942 oil on canvas Victor Pasmore Tate
Pasmore produced a series of small and tender portraits and nude studies of his wife,Wendy. This one presents her in a quiet and intimate manner with the parted curtains adding to the personal time alone. Notice how the light shines across her body and the bed.
Morning 1926 Dod Protor oil on canvas Tate
The was voted Picture of the year at the R.A. summer exhibition in1927 its popularity has been displayed in New York and a tour of Britain in 1927-1929. It shows a young girl reclining on her bed in the morning almost awake. The light from the window gives a powerful sense of volume and peace also the muted colours make it a joy to look at.
These three paintings above I think would be more interesting to the female eye.
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