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are women in art pandering to the male gaze?
by：MX machinery
2019-08-31
On the occasion of International Women\'s Day, Yogesh Pawar focuses on the debate about whether the way women are portrayed is related to male gaze, whether it is the social of male superiority or the fact that only female artists are less. . .
When you look at art, what is your impression of being fair to 90% women?
They rarely make their own decisions, especially in the face of a crisis, when most people choose to be romantic, care about others, and develop roles, having their older, stronger male partners take on the role of leading and fighting evil, or their mothers seem to be the most important and even the only celebrations do have exceptions, but the elephant in the room has to be solved, says Jayashree Patankar, an artist who has restored almost extinct Chitra kathi-style pain.
\"A cursory look at the representation of women, especially the female body in art, we can see the status of women and their position in society, she stressed and added: \"How the eyes of men shape our thoughts about them, and most importantly, why the long-standing Society continues to package them into deification and deification\" is related to the parent-teacher society, compared with women, it is related to more male artists.
\"Unlike Patankar, based in amudabad, he is the head of the Institute of Design and expression Arts and Learning (IDEAL)
For all the art world, it is wrong to use too wide brushes, he said.
\"The artists and old masters of the Renaissance certainly did not do so,\" she asserted and added, \"the qualities of beauty, grace, sadness and so on really fit more naturally into the features and forms of women.
She added, \"artistic expression is a license that artists must be allowed to enjoy, and even on the gender line, it is not a license for review.
\"According to her true art, this is not objective.
\"This is how artificial art, which tries to shock or attract reactions, does.
She cited examples that were exceptions to stereotypical descriptions of women and femininity.
\"A wonderful painting by delphiix, showing a woman raising the banner of freedom in war --
I thought of the destroyed landscape.
The female form is flowing, elegant, and for me, naturally fits all the attributes of compassion, beauty, etc.
Look at Pietta, for example.
It depicts exquisite sadness and resignation.
The helplessness expressed in that upward hand. .
The body of the dead Christ has a beautifully carved male body on her lap. . .
Strong but broken
She also quoted Amruta Shergill (
\"Look at the helplessness of the young girl in red \")
And the work of Vrindavan Solanki (
Men and women are equal here.
Take a look at his silent dialogue series, which shows men and women who are equally strong, brave and elegant. ”)
She observed: \"Whether gender stereotypes are expressed in someone\'s work depends on the artist and what they are starting to portray.
People should not ignore the role of the audience\'s interpretation, and the audience also stereotype art in their own way.
The artist will tell his story when he/she sees it.
This is her/his privilege.
Patankar also believes that the \"progressive liberal left\" should not fall into the trap and box of the rights it charges.
\"Not all women who choose to live in traditional models want to be saved.
The tradition is not necessarily bad.
She said and gave her own example.
\"My husband and I
The law has always been very supportive of my work.
Whenever I concentrate on my work, my husband will gladly accept my control.
According to her, \"it\'s wrong to be right on the extreme side, but so is the left side.
Mandaba brought the Italian Baroque artist Artemisia Gentileschi (1593–1653).
\"One of the greatest art women of her life, she focuses on progressive ideas for women, which are far ahead of her time,\" she said . \" She performed very well at work and changed her job forever.
Her rape, the court\'s ruling, the lack of female help in her life, and the experience of the trial itself.
Her work then focuses on the image of solidarity between women, powerful women, and a graphic depiction of catharsis for her.
As Marianne North says, many of her paintings about strong women are considered to be similar to that of.
Eighteen years ago, Judith W. man criticized the feminist view of tarragon in a research paper in her exhibition catalogue, it is found that the sexual immoral old stereotype of tarragon has been replaced by feminist interpretation of tarragon painting.
\"Without denying that gender and gender can provide an effective interpretation strategy for the art survey of mugwort, we may wonder if the application of gender reading creates too narrow expectations, she said, and added, \"support Garrard\'s monograph and be reiterated by R in a limited manner
Ward Bissell gives certain assumptions in his \"Raisins\" Catalogue: The full creativity of mugwort only appears when describing strong, confident women, she will not be involved in traditional religious images, such as Madonna and children, nor will she be involved in virgins who respond to the Angels, and she refuses to give in to her personal explanation, to suit the taste of her supposed male customer.
This stereotype has a double limiting effect, resulting in scholars questioning the attribution of pictures that do not conform to the model and giving a smaller evaluation of pictures that do not conform to the model.
\"When it comes to the image of women, especially male artists, who tend to cater to the eyes of men, poet, art critic, cultural theorist Ranjit hosgodes admits: \"there is a strong flow of water in the West and West --
Historically, the figurative art of the style of objectifying the female body, most of which must have been created by male artists.
Reuben\'s sexy, meaty women, Inness\'s women bathe with their bare flesh, and Klimt\'s women exist as porn, decoration, and danger.
But he added, \"At the same time, even in this tradition, there are very complex moments in which women, as art subjects, resist the eyes of men.
I think of many of the wife portraits that Bonnard had in the bathtub, in which the woman\'s body refused to be an object of erotic pleasure.
Or a woman with Egon Shearer, rendering with sharp, pointed wires, stressing herself.
Here is Kollwitz\'s strong elegy to mourn the women.
Of course, there is also the whole tradition of Indian sculpture, in which voluptuary and erotic are not simply subject to the gaze of men, and the image of the goddess apasaras is no exception, the river gods and yaxs inspired the sublime awe, not the pawn of the male gaze.
In the transmission of objectivity as artistic expression, he drew a clear line between the two.
\"Artistic expression is related to the relationship between the performance of the female body and the gender, benefiting from the focus on art history, and how it is negotiated between objectifying women and recognizing their autonomy.
Today, the naive objectifying of the female body is unacceptable, \"he said, and cited examples of his own favorite paintings/sculptures depicting women:\" Love Letters\"
January s Dutch artist.
This is one of my favorite paintings, showing two women, a young woman, one holding the piano, and her maid, who brought her a letter.
The stage of the painting is painted with a raised curtain, and the whole scene is dramatic, not only because of the romantic resonance of the moment, but also because of the complicated relationship between women, this makes them lose power asymmetry in collusion, mischief and happiness.
But it\'s not a show for anyone.
It was a performance that deliberately ignored the audience.
The two women are more vulnerable than employers and employees, who look at each other rather than in front of the audience.
Their eyes crossed each other, not for the eyes of men, really.
But there is no description of women (
To this extent, so do men)
In art, it can be seen from social gender stereotypes that people like women look beautiful and compassionate, while men are usually given attributes such as courage, strength and leadership.
Like Mandaba horscott, it is strongly believed that this has nothing to do with serious art.
\"However, in some periods, such stereotypes are indispensable for romantic pop art and, of course, for promotional arts-especially racism and gender --
The art of typing in Nazi countries, presenting women as babies
Use machines and people as war machines, with seemingly attractive, commemorative, artificialheroic manner.
Hoskote said: \"any visual representation of dealing with stereotypes is not art, either advertising or publicity, and it is difficult to distinguish between the two in certain periods and places! ”Ahem!
When you look at art, what is your impression of being fair to 90% women?
They rarely make their own decisions, especially in the face of a crisis, when most people choose to be romantic, care about others, and develop roles, having their older, stronger male partners take on the role of leading and fighting evil, or their mothers seem to be the most important and even the only celebrations do have exceptions, but the elephant in the room has to be solved, says Jayashree Patankar, an artist who has restored almost extinct Chitra kathi-style pain.
\"A cursory look at the representation of women, especially the female body in art, we can see the status of women and their position in society, she stressed and added: \"How the eyes of men shape our thoughts about them, and most importantly, why the long-standing Society continues to package them into deification and deification\" is related to the parent-teacher society, compared with women, it is related to more male artists.
\"Unlike Patankar, based in amudabad, he is the head of the Institute of Design and expression Arts and Learning (IDEAL)
For all the art world, it is wrong to use too wide brushes, he said.
\"The artists and old masters of the Renaissance certainly did not do so,\" she asserted and added, \"the qualities of beauty, grace, sadness and so on really fit more naturally into the features and forms of women.
She added, \"artistic expression is a license that artists must be allowed to enjoy, and even on the gender line, it is not a license for review.
\"According to her true art, this is not objective.
\"This is how artificial art, which tries to shock or attract reactions, does.
She cited examples that were exceptions to stereotypical descriptions of women and femininity.
\"A wonderful painting by delphiix, showing a woman raising the banner of freedom in war --
I thought of the destroyed landscape.
The female form is flowing, elegant, and for me, naturally fits all the attributes of compassion, beauty, etc.
Look at Pietta, for example.
It depicts exquisite sadness and resignation.
The helplessness expressed in that upward hand. .
The body of the dead Christ has a beautifully carved male body on her lap. . .
Strong but broken
She also quoted Amruta Shergill (
\"Look at the helplessness of the young girl in red \")
And the work of Vrindavan Solanki (
Men and women are equal here.
Take a look at his silent dialogue series, which shows men and women who are equally strong, brave and elegant. ”)
She observed: \"Whether gender stereotypes are expressed in someone\'s work depends on the artist and what they are starting to portray.
People should not ignore the role of the audience\'s interpretation, and the audience also stereotype art in their own way.
The artist will tell his story when he/she sees it.
This is her/his privilege.
Patankar also believes that the \"progressive liberal left\" should not fall into the trap and box of the rights it charges.
\"Not all women who choose to live in traditional models want to be saved.
The tradition is not necessarily bad.
She said and gave her own example.
\"My husband and I
The law has always been very supportive of my work.
Whenever I concentrate on my work, my husband will gladly accept my control.
According to her, \"it\'s wrong to be right on the extreme side, but so is the left side.
Mandaba brought the Italian Baroque artist Artemisia Gentileschi (1593–1653).
\"One of the greatest art women of her life, she focuses on progressive ideas for women, which are far ahead of her time,\" she said . \" She performed very well at work and changed her job forever.
Her rape, the court\'s ruling, the lack of female help in her life, and the experience of the trial itself.
Her work then focuses on the image of solidarity between women, powerful women, and a graphic depiction of catharsis for her.
As Marianne North says, many of her paintings about strong women are considered to be similar to that of.
Eighteen years ago, Judith W. man criticized the feminist view of tarragon in a research paper in her exhibition catalogue, it is found that the sexual immoral old stereotype of tarragon has been replaced by feminist interpretation of tarragon painting.
\"Without denying that gender and gender can provide an effective interpretation strategy for the art survey of mugwort, we may wonder if the application of gender reading creates too narrow expectations, she said, and added, \"support Garrard\'s monograph and be reiterated by R in a limited manner
Ward Bissell gives certain assumptions in his \"Raisins\" Catalogue: The full creativity of mugwort only appears when describing strong, confident women, she will not be involved in traditional religious images, such as Madonna and children, nor will she be involved in virgins who respond to the Angels, and she refuses to give in to her personal explanation, to suit the taste of her supposed male customer.
This stereotype has a double limiting effect, resulting in scholars questioning the attribution of pictures that do not conform to the model and giving a smaller evaluation of pictures that do not conform to the model.
\"When it comes to the image of women, especially male artists, who tend to cater to the eyes of men, poet, art critic, cultural theorist Ranjit hosgodes admits: \"there is a strong flow of water in the West and West --
Historically, the figurative art of the style of objectifying the female body, most of which must have been created by male artists.
Reuben\'s sexy, meaty women, Inness\'s women bathe with their bare flesh, and Klimt\'s women exist as porn, decoration, and danger.
But he added, \"At the same time, even in this tradition, there are very complex moments in which women, as art subjects, resist the eyes of men.
I think of many of the wife portraits that Bonnard had in the bathtub, in which the woman\'s body refused to be an object of erotic pleasure.
Or a woman with Egon Shearer, rendering with sharp, pointed wires, stressing herself.
Here is Kollwitz\'s strong elegy to mourn the women.
Of course, there is also the whole tradition of Indian sculpture, in which voluptuary and erotic are not simply subject to the gaze of men, and the image of the goddess apasaras is no exception, the river gods and yaxs inspired the sublime awe, not the pawn of the male gaze.
In the transmission of objectivity as artistic expression, he drew a clear line between the two.
\"Artistic expression is related to the relationship between the performance of the female body and the gender, benefiting from the focus on art history, and how it is negotiated between objectifying women and recognizing their autonomy.
Today, the naive objectifying of the female body is unacceptable, \"he said, and cited examples of his own favorite paintings/sculptures depicting women:\" Love Letters\"
January s Dutch artist.
This is one of my favorite paintings, showing two women, a young woman, one holding the piano, and her maid, who brought her a letter.
The stage of the painting is painted with a raised curtain, and the whole scene is dramatic, not only because of the romantic resonance of the moment, but also because of the complicated relationship between women, this makes them lose power asymmetry in collusion, mischief and happiness.
But it\'s not a show for anyone.
It was a performance that deliberately ignored the audience.
The two women are more vulnerable than employers and employees, who look at each other rather than in front of the audience.
Their eyes crossed each other, not for the eyes of men, really.
But there is no description of women (
To this extent, so do men)
In art, it can be seen from social gender stereotypes that people like women look beautiful and compassionate, while men are usually given attributes such as courage, strength and leadership.
Like Mandaba horscott, it is strongly believed that this has nothing to do with serious art.
\"However, in some periods, such stereotypes are indispensable for romantic pop art and, of course, for promotional arts-especially racism and gender --
The art of typing in Nazi countries, presenting women as babies
Use machines and people as war machines, with seemingly attractive, commemorative, artificialheroic manner.
Hoskote said: \"any visual representation of dealing with stereotypes is not art, either advertising or publicity, and it is difficult to distinguish between the two in certain periods and places! ”Ahem!
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