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Iconographic Representation in Greek Art, 2008.
An analysis of the ancient Greeks' representation of their gods.
1,560 words (approx. 6.2 pages), 3 sources, MLA, $ 51.95
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Abstract
This paper examines the representation of gods in Greek art, and the very rigid patterns and canons that had been imposed by the masters of the past. The paper holds that those rules were followed religiously by art pupils, who learned the crafts to continue traditions. This is one reason why artistic representations of gods and goddesses show very similar features and obey to the same anatomical rules of body structure and proportion. The Greeks believed that the gods were perfect and their goal was to represent this perfection by finding the key to flawless harmony of features and lines. The paper argues that this created some troubles in representing a vast range of deities, since they all looked alike for following the same anatomical rules. The paper concludes that Greek representations of gods or heroes usually present only the best part of those characters, even if sometimes placed in human positions, with weaknesses, adversities and frustrations.
From the Paper
"In Greek mythology Aphrodite was the goddess of love, lust, beauty and femininity. Although modern culture often refers to her as 'the goddess of love' it is important to state that ancient Greek conception of love was different from our days. The spiritual, romantic meaning of love, given by Christianity, is not what her power refers to. She is the goddess of sexual love."
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Diverse Methods of Pointillism, 2008.
A comparative analysis of the painting style of the pointillists George Pierre Seurat and Tim McWilliams.
1,963 words (approx. 7.9 pages), 6 sources, MLA, $ 62.95
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Abstract
Pointillism is often thought to be a relatively congruent painting style, utilized to create a sense of an object, often realistically without ever utilizing real forms and lines as a tool. This paper discusses how two accomplished pointillists, George Pierre Seurat and Tim McWilliams are far from contemporaries, as they are from two very different periods in two differing nations and how both embraced pointillism as their style of choice but with significant differences in style and completed results. By comparing the style and technique of Seurat's "Sunday Afternoon on the Island of La Grande Jatte" (oil on canvas, 1884-1886) with McWilliams' "Chicago Skyrockets" (acrylic on canvas, 2004), it attempts to show how the artist's distinct characteristics become evident.
From the Paper
"In a play on Words McWilliams calls his art form, neo-pointillism, as he feels he embodies the neo-impressionist movement, with a whole new modern flair of the dot, utilizing the very recognizable imagery of modern artists such as those of Andy Warhol. Many of McWilliams works reflect the style of Warhol in content, as one of McWilliams's favored subjects are the faces of iconic figures, such as Elvis and Einstein and to a lesser degree the iconography of the Chicago skyline, as is seen in the work detailed here. As McWilliams is a contemporary working artist, there are only limited literary representations of analysis of his works. In a local newspaper an article that depicts the nature and inspiration of his admired works, Hostettler summarizes the manner in which McWilliams works. "I'm pushing it (pointillism) toward its limits with color use." McWilliams said. "My work has been influenced by so many things since then." McWilliams said "...About 15 colors, which are used straight from the tube for maximum potency, are blended onto the canvas to produce the painting." (Hostettler NP) "
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Art History: (The School of Athens), 2008.
An overview of the Renaissance period in art.
1,260 words (approx. 5.0 pages), 3 sources, MLA, $ 42.95
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Abstract
This paper discusses and explains the Renaissance period in the history of art. The author also provides a detailed account of Raphael's work: "The School of Athens" and provides ideas and substitutes for his own version of the painting.
From the Paper
"The master introduced the scene inside a temple of Roman inspiration, possibly following the projects of Bramante for the Vatican basilica, linking the idea of the temple of philosophy evocated by Marsilio Ficino. The figures are situated in several groups presided by the two great classic philosophers: Plato and Aristotle, representing the most important ethic doctrines of the Greek world: idealism and realism.
"Both characters dialogue and advance before a group of figures that form a hall. At the left Socrates conversing with a group of young people; on the first place Zeno. Over the steps Heraclites, taking Michael Angelo's figure, probably as homage to the decoration of the Sistine Chapel, Diogenes lying on the steps, Euclid with his disciples, Zoroaster and Ptolemy with the globe of the sky and earth. In those figures they represent the "Trivium" and "Quadrivium"."
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African Rock Art, 2008.
Looks at African rock art as true art.
1,545 words (approx. 6.2 pages), 9 sources, APA, $ 50.95
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Abstract
This paper argues that African rock art is both art and ethnographic records, created by hunter-gatherers, herders and later farming communities five or six thousand years B.C. The paper relates that rock art includes rock engravings (petroglyphs) and rock paintings (pictographs) depicting comparable themes and images but traditionally present a limited number of details and human figures. The paper describes the techniques used in creating the art and contends that African rock art is art because art is in the perception of an individual. The paper includes color pictures, map and graphs.
Table of Contents:
This is Art?
Ethnographic Records
This is Art
Rock Art Links
The Rock Art Research Institute's Perceptions
This is Art!
Complicated Pictures?
Perceptions
From the Paper
"Ethnographic records or rock art, created by hunter-gatherers, herders, and/or later farming communities, is displayed in the majority of Africa countries. Southern African rock-art, however, traditionally records experiences reflecting the belief systems and rituals of the indigenous people of their particular region. Although a minimum of 14,000 sites are currently on record, more exist, not yet formally recorded and projected to exceed 50,000 sites in the Southern African region."
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The Life of Isadora Duncan, 2008.
This paper discusses the life of Isadora Duncan and looks at her influence in establishing dance as an art form.
1,013 words (approx. 4.1 pages), 3 sources, MLA, $ 35.95
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Abstract
In this article, the writer discusses that the name Isadora Duncan stands for freedom of spirit and its universality. She is considered the founder of modern dance philosophy. The writer notes that due to her, among others, at the beginning of the twentieth century, dance became an academic object of study. The writer maintains that it is clear and beyond any doubt that Isadora Duncan brought innovations in the technique of the dance, but furthermore she also changed the role dance played in people's lives all over the world. The writer concludes that one may not have heard about Isadora Duncan, but people all over the world enjoy watching people dance on stage or dancing themselves on the ring dance without knowing that they owe some part of their pleasure to such pioneers as Isadora.
From the Paper
"She lived a tumultuous life, always on the verge, like her dance. She had two unofficial relationships and one child from each of them. She was also married for a short period of time to the Russian poet, Serghei Esenin. Her life was full of terribly tragic, but also happy moments. She made life achievements, founded a dance school that brought her legacy to the next generations and changed dance forever. She danced as she lived: free of any restraints and ready to confront old mentalities and break the rules. She set an example for the women at the beginning of the twentieth century. She dared to go over the limits set by the narrow minded and brought her understanding of art and her talent all over Europe and the USA. She freed dance from the ritualism and the rigid form imposed by ballet and made it regain its natural roots, finding inspiration in the Greek forms of art among others. Nature itself was another of the important sources of inspiration in her work."
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Religious Paintings by Caravaggio, 2008.
An iconological study of five religious paintings by Michelangelo Merisi da Caravaggio.
1,150 words (approx. 4.6 pages), 3 sources, MLA, $ 39.95
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Abstract
This paper examines religious works by Michelangelo Merisi da Caravaggio: "The Deposition of Christ in the Sepulcher", "Madonna di Loreto", "The Calling of Saint Matthew", "The Martyrdom of Saint Mathew" and "The Crucifixion of Saint Peter". All of these works are oils on canvas and present themes from the New Testament. The author describes each painting, its history, biblical content and the techniques used, which are characteristic of Caravaggio.
Table of Contents:
"The Deposition of Christ in the Sepulcher"
"Madonna di Loreto"
"The Calling of Saint Matthew"
"The Martyrdom of Saint Mathew"
"The Crucifixion of Saint Peter"
From the Paper
"The original commissioner had ordered a more complicated assemble with more display of architecture and a larger number of spectators assisting the scene in terrified impotence. However, Caravaggio managed, after a couple of abandoned attempts, to compact the scene to the most essential elements without losing the dramatic expression its commissioner had requested.
"Affected chiaroscuro gives expression to the moment and brings the scene closer to the viewer, involving them as part of the action."
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Man in a Gray Hat, 2008.
A description of the artist's self portrait "Man in a Gray Hat" by Pierre Daura.
1,243 words (approx. 5.0 pages), 3 sources, APA, $ 42.95
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Abstract
The paper is a critical essay of a self portrait. In analyzing the self portrait "Man in a Gray Hat" by Pierre Daura the viewer can see the entire representation of his rich style. The paper is a discussion of the artist's style and manifestations and artistry in painting and appears to reflect the opinion of the artist himself and the way he would expect others to see him.
From the Paper
"The portrait intends to express the artist disposition in a certain day of his life, although this state of mind is presented more clearly through the elements that compose the environment than the facial expression itself. The interpretation of those feelings can be made in a symbolist way if the viewer examines the rich colors that characterize Daura's work. The saturation of hues used to give the image vigor and life, contrast with the stylization of forms that reveal the personal interpretation of the image. The use of space is rather limited and may even bring a sensation of cloister. The character is not displayed on a wide open stage, but the scene is limited and the personage presented from a close distance that creates an intimate communication between the figure and the perceiving viewer."
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Eastman Kodak Marketing Strategy, 2008.
A discussion on Kodak's marketing strategy in the light of the introduction of digital processing.
978 words (approx. 3.9 pages), 7 sources, APA, $ 34.95
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Abstract
The paper relates the change of photography from paper film to digital processing. Specifically dealing with this subject, the paper relates Kodak's marketing strategy in view of the modernization of picture taking and discusses the risks and opportunities afforded to Kodak.
Outline:
Key Concerns Regarding Kodak's Strategy and Market Structure Changes
Strengths and Weaknesses
Opportunities and Threats
Maintaining a Growth Strategy
Marketing Recommendations
From the Paper
"Secondly, a strength could be also considered Kodak's favorable corporate image (and implicitly a significant brand equity) that results from the values which are said to lead the staff's behaviors ("respect for the dignity of the individual, integrity, trust, credibility, continuous improvement and personal renewal, recognition and celebration"), a transparent management which allows shareholders to have a realistic and up-to-date image of the operations performed, strong Human Resources policies and commitment to the community (http://www.kodak.com/global/en/corp/historyOfKodak/qualityAndEthics.jhtml?pq-path=2217/2687/2694).
Thirdly, the company is renown for its permanent research and development process which is accountable for the numerous and important breakthroughs released on the market. Fourthly, an essential strength is the know how that the company receives due to its external alliances with universities, government laboratories and companies which are considered to be promising in terms of contributing to info imaging breakthroughs (http://www.kodak.com/US/en/corp/kea/index.jhtml?pq-path=2217/9240).
"Unlike strengths, weaknesses seem to be far less numerous. Yet, one could mention the high cost of raw materials which impact prices and implicitly demand (http://www.dpreview.com/news/0009/00092602kodakshares.asp), the huge sums of money claimed by research and development activities and the reputation for being one of the "worst corporate polluters in USA" (http://en.wikipedia.org/wiki/Kodak) which has been somehow softened due to the environmental policies implemented during the last few years."
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Typographic Design, 2008.
Looks at typographic design for the film and computer screen.
4,010 words (approx. 16.0 pages), 12 sources, APA, $ 108.95
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Abstract
This paper reviews the historical evolution of typographical design as it has influenced new media technology, including film and computers. The author examines ten historical periods starting in 1900 and ending in 2007. The author expresses that he prefers new type designs that deal with the traditional concerns of legibility, readability, economy, flexibility and transparency.
Table of Contents:
Objective
1900 to 1910 Art Nouveau
1910-1920 "Futurist"
1920-1930 - The Bauhaus Movement
1930-1940 "End of Bauhaus - Typographic Journey"
1940-1950 - Hollywood Film Credits
1960-1970 - Youth Culture & Change
1970-1980 - Experimentation and Weingart
1980-1990- IBM launches PC Typography
1990-2000 - Digital Technology and TrueType Internet and Multimedia
2000- 2007
From the Paper
"Lester Beall is stated to have assisted in launching the modern movement in American design during the decades of the 1920s and 1930s. During the last twenty years of his career, Beal pioneered corporate identities for corporations including Martin Marietta, Connecticut General Life Insurance and International Paper Company. During this time period immigrants that were talented reached America from Europe and American design was known to be: "...pragmatic, intuitive, and more informal in its approach to organizing space.""
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Mario Livio's "The Golden Ratio", 2008.
A review of Mario Livio's book "The Golden Ratio: The Story of Phi, the World's Most Astonishing Number', which chronicles the history of this number.
1,260 words (approx. 5.0 pages), 1 source, APA, $ 42.95
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Abstract
This paper explains that Mario Livio's book "The Golden Ratio: The Story of Phi, the World's Most Astonishing Number", chronicles the history of, not of a person, thing, or concept, but a number. The paper then relates that this number phi, or notion of proportionality or the 'Golden Ratio', however, has been invested with so much cultural, emotional, and religious importance that it has taken on a character of its own. Next, the paper points out that the reason that phi is astonishing is because, for centuries, our fascination with proportion and beauty has made its properties an object of wonder. The paper concludes that, although Livio ultimately deflates the mystery of phi, his book is a helpful explanation not just of the number but also of why balance and symmetry dominates so many modern discussions of art and architecture.
From the Paper
"But ultimately, astrophysicist Mario Livio says that creating this mysterious proportion is no different than a person cutting a piece of string into pieces. While the 'Golden Ratio' appears in many natural phenomena, some supposed appearances are really not true 'Golden Ratios' (such as the Pyramids and Parthenon) and all appearance of perfection is based in human notions of proportionality. It is evidence of humans looking at nature, not that nature or God through nature looking back at us. We see perfection and proportionality because we are looking for it in nature."
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H.E. Huntley's "The Divine Proportion", 2008.
A review of H.E. Huntley's book, "The Divine Proportion", which argues that mathematics can be beautiful.
1,175 words (approx. 4.7 pages), 1 source, APA, $ 40.95
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Abstract
This paper explains that H.E. Huntley, in his book "The Divine Proportion" claims that beauty exists as a principle, which is external and transcendent to any individual human being's ability to create either equations or art. The paper also discusses Huntley's arguement that the 'Golden Ratio', also known as phi, is the supreme proof that God is a mathematician and that the mathematician and creator God appreciates nature. The paper concludes that Huntley's book is clearly not aimed at mathematicians, given that he is trying to defend his profession and the beauty of math; however, most people lacking fairly solid math skills would find this book a very difficult read, except for its first and last chapters.
From the Paper
"Huntley's last chapters shift somewhat from the defense of the 'Golden Ratio' as proof of the existence of universal ideals of beauty and proportionality, and moves on into a more general defense of mathematics as a discipline that is in pursuit of beauty no less than sculpture or art. But why does mathematics need to defend itself as beautiful, to hold its place beside art, poetry, and philosophy? The divisions between the disciplines that did not exist for the ancient Greeks say more about the development of our culture into a split between the sciences and the arts than a failure to recognize the capabilities of mathematics' contribution to the world in general."
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Andy Warhol's "16 Jackies", 2008.
This paper discusses how the "16 Jackies" were manipulated by Andy Warhol to portray the emotional detachment of society caused by the mass media.
828 words (approx. 3.3 pages), 4 sources, APA, $ 29.95
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Abstract
The paper explains that Andy Warhol helped make viewers aware of the way that modern imaging affects emotive response. The paper shows how Warhol multiplied the poses of Jackie Kennedy in order to illustrate how the images were repetitive and thus desensitized by the mass media.
From the Paper
"The 16 Jackies by Andy Warhol was created after the assassination of John F. Kennedy's assassination in 1963. The 16 images presented in the series are merely reflecting four different poses of Jackie Kennedy before and after the death of her husband, the president. The four images (from top to bottom) reflect Jackie coming into Love Field in Dallas, Texas, after the flight; the next image is Jackie at the swearing in ceremony of Lyndon B. Johnson after JFK's death; Jackie grieving at the capitol; and finally, Jackie smiling in the car right before JFK was assassinated. With each image there are three duplicates that simply follow a repetitious sequence, much like one would see in a film roll. In this manner, the images are stacked upon one another, yet they all reflect a similar pose that depict Jackie at various stages of experience before and after her husband's death."
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Postmodernism of Resistance and Reaction, 2008.
A review of art works by Hans Hofmann, Damien Hirst and Sherrie Levine and how they portray postmodernism of resistance or postmodernism of reaction.
1,421 words (approx. 5.7 pages), 10 sources, MLA, $ 47.95
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Abstract
This paper discusses the concept of postmodernism of resistance and postmodernism of reaction. It explores this concept and use examples of art to illustrate what is meant by this contrast. The paper describes and discusses art works by Hans Hofmann, Damien Hirst and Sherrie Levine and shows how these artists portrayed postmodernism of resistance or postmodernism of reaction.
From the Paper
"Instead, I would argue that the art world needed to wait another ten years to see true examples of "postmodernism of resistance" - in the form of artwork such as Damien Hirst's, which embodied what has been termed a "striking analogue for the relationship between aesthetic and lived experience" (Hopkins 228). Here was something that was utterly different, in that it was not merely a reaction against the formalism of Modernism. Instead, it embodied a sweeping paradigm shift, relocating art within the paradigm of installation. In so doing, it resists Modernism to the extent that it even places new demands upon the viewer of art - for example, often she must move. Indeed, her movement may inform the meaning of the artwork - something scarcely contemplated in the formalism of Modernism. Moreover, rather than form following function, function becomes irrelevant."
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Kazimir Malevich and Piet Mondrian, 2008.
An examination and comparison of the views of Kasimir Malevich and Piet Mondrian on the relationship between non-objective art and spirituality.
1,308 words (approx. 5.2 pages), 6 sources, MLA, $ 44.95
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Abstract
This paper explains non-objective art and then compares and contrasts how Kazimir Malevich and Piet Mondrian expressed their perceptions of the intimate connection between the spiritual and the non-objective through their writings and their paintings. The author concludes that Malevich tended to link non-objective artwork explicitly with western, organized religion; while Mondrian favored a more diffuse type of spiritualism reminiscent of eastern religions.
Outline
Introduction
Part I: Malevich's "take" on the Relationship between the Spiritual and the Non-Objective
Part II: Mondrian's "take" on the Relationship between the Spiritual and the Non-Objective
From the Paper
"Ultimately, what Malevich was really after - certainly in his "Suprematist" work - was to strive after something more ethereal and to leave the "earth" behind. Suffice it to say, this striving after the metaphysical, along with the perception that non-objective art could uncover a new kind of logic, hearkens back to spirituality in the sense that religion also demands that people disassociate themselves from the flesh, live for the world beyond this one, and put their trust not in humanism or in common logic but in a faith or "beyond reason-ness" that relies on intuition more so than anything else."
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The Skill of Photography, 2008.
This paper discusses the benefits of acquiring the skill of photography.
1,152 words (approx. 4.6 pages), 5 sources, MLA, $ 39.95
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Abstract
The paper relates that photography is a skill that anyone can learn. The paper advises the use of a cheap camera and a little time in order to acquire the skill. The paper shows the importance of photography by referring to the quote about a picture being worth more than a thousand words.
Outline:
Why Learn the Skill of Photography
Techniques in Taking Quality Pictures
From the Paper
"An old saying is that a picture is worth more than a thousand words. Why? A picture can catch memories that might be forgotten otherwise, a picture can be used as evidence in courtrooms or when filing insurance after a fire and/or a picture can be used when discussing life with families or friends. Sitting down and looking at a scrapbook of photos creates a bond with loved ones or friends. Ever want to describe an experience that happened in life? Photographs are great ways to describe the experience and even the emotion of the experience. Photography is a skill that is simple to learn and it is one that does not cost a lot of money. "
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Monet and Sunset, 2008.
This paper analyzes the style of impressionism and oceanic/seaside themes in Claude Monet's painting "Marine View with a Sunset".
1,100 words (approx. 4.4 pages), 6 sources, APA, $ 38.95
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Abstract
This study analyzes the style of impressionism and oceanic themes that arise in the piece, "Marine View with a Sunset" by Claude Monet. The writer notes that with Monet's background as a son of a marine supply tradesman, he implies a deep love for the oceanic seaside and its various lighting and movements. By understanding this infatuation with the way that light, movement, and his brush strokes created this painting, one can understand the impressionistic values he implies in his perception of the sea. In essence, this study examines the impressionistic techniques used to create this ocean scene in relation to Monet's understanding of marine life from his own familial background and in the European art culture of the late 19th century.
From the Paper
"In this manner, Monet used short brush strokes that appeared unfinished, but were essentially a deliberate and nuanced way of changing how lighting, color, and images were abstractly located and applied in the composition.
"The location of the sailboats in the painting reveal how Monet sought to change the focal point often used by painters in realist schools from Great Britain. By placing the boats lower than the horizon line, they were actually becoming non-objects that took the focus off of them as normative objects that centralized the composition. This type of painting took precedence in many of his painting the depict sunsets and sunrises where the light was often bleak, yet filled with obscure colorations that took away the focal points of the sailboats as essential aspects of "Marine View with a Sunset"."
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Constructivism in the Contemporary Arts Classroom, 2008.
A review of Eliza Pitri's article "Teacher research in the Socio-constructivist Art Classroom."
1,006 words (approx. 4.0 pages), 1 source, APA, $ 35.95
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Abstract
This paper discusses an article that explores socio-constructivism, a creative student-centered approach to teaching in today's American arts classroom. The author notes that although the article, "Teacher Research in the Socio-Constructivst Art Classroom" by Eliza Pitri is often repetitive and pedantic and contains a detailed description of the components of socio-constructivism as well as practical instructions for teachers who wish to implement it. The paper concludes with a brief analysis of how the use of this approach might impact pedagogy in the author's school.
From the Paper
"Expanding upon the work of earlier scholars, Pitri maintains that the socio-constructivist approach recognizes that people construct knowledge from the events and phenomena they come across in their lives. Citing a handful of scholars who have devoted themselves to the study of socio-constructivist epistemology and its implications for classroom instruction, Eliza Pitri writes that learners who actively pursue knowledge instead of simply sitting in a desk passively absorbing knowledge as articulated by someone else are learners who aggressively integrate new information and experiences into their pre-existing knowledge base; along the way, they revise and re-interpret "old" knowledge as part of an ongoing effort to reconcile it with "new" knowledge...."
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Michelangelo's Magnifici Tomb in the Medici Chapel, 2008.
A discussion of Michelangelo's Magnifici Tomb in the Medici Chapel, based on a study by Andrew Morrogh and a study by Estelle Lingo.
1,917 words (approx. 7.7 pages), 2 sources, MLA, $ 61.95
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Abstract
This paper discusses two studies of Michelangelo's Magnifici Tomb in the Medici Chapel towards complementary, as opposed to different, conclusions. The studies reviewed are Andrew Morrogh's "The Magnifici Tomb - a Key Project in Michelangelo's Architectural
Career" and Estelle Lingo's "The Evolution of Michelangelo's Magnifici Tomb - Program versus Process in the Iconography of the Medici Chapel".
The paper relates that both studies are authoritative and careful contributions to the study of the Medici Chapel, the tomb in question and the career of Michelangelo. The paper also asserts that their different vantage points on the Magnifici Tomb help along what should be a broad approach to any artifact or installation, investigating origins, features and salient details in relation to context, remembering that there shall forever be different opinions which can be powerful guides towards personal appreciation and further study.
Outline:
Introduction
Andrew Morrogh - The Magnifici Tomb as a Key Project.
Estelle Lingo - Program versus Process and Iconography
Discussion
From the Paper
"The errors made by Michelangelo included the level at which the viewer examined them, the focal point of three statues too low, a statue of the Madonna, on the other hand, requiring a higher viewing point. (p.594) As Morrogh concluded, imperfections and all, Michelangelo had been able to exercise considerable license in what he designed so tentatively and in its results, thanks to the nature of his patron. Michelangelo had mixed opinions concerning the tradition of classicism that would have satisfied many sculptors of his day, but his results were not just innovative but 'difficult' as Morrogh comments, still apt to draw mixed reviews from those examining the Magnifici Tomb in the present. From this article, the reader obtains much detail and most readers will enjoy the illustrations of very different drawings to which Morrogh refers, a familiar aspect of the Medici Chapel revealed to have been a much changing or even piecemeal affairs thanks to the patronage of Pope Clement who seems to have recognized Michelangelo's originality and given it free reign. One leaves this article with the impression of having enjoyed a 'solid' few pages of scholarship, the author plainly knowing far more on Italian Renaissance design and architecture of which this article indicates one quite small topic."
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Venus of Urbino, 2008.
This paper discusses the painting 'Venus of Urbino' while concentrating on Rina Goffen's work "Sex, Space, and Social History in Titian's Venus of Urbino".
843 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
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Abstract
In this article, the writer notes that Rona Goffen's "Sex, Space, and Social History in Titian's Venus of Urbino" argues that traditional essentialist analysis of Titian's 'Venus of Urbino' have missed key points of textual and historical evidence by concluding that the painting is the equivalent of Renaissance pornography. Instead, the writer points out, Goffen argues, Titian's famous work is actually a marital image that, despite overt sexuality, is nonetheless grounded in the social conventions of marriage during the Renaissance. The writer discusses that drawing on an impressive amount of historical scholarship into the period, Goffen illustrates how our modern conceptions of sexuality and marriage are at odds with those embraced during the Renaissance. The writer maintains that the end result has been a gross misinterpretation of 'Venus of Urbino' that debases the subject of the work without a clear understanding of its social and historical context.
From the Paper
"In other words, the act of sex itself may be biological and omnipresent for all human beings; this is natural. But the attached attitudes, beliefs, and representations of that sexuality is not natural but is instead informed wholly by cultural, social, and historical forces. These forces shape the way that individuals perceive the act of sex and incorporate its presence into their lives.
"Because of this fundamentally cultural basis for attitudes about sexuality, it follows that artistic representations of sexuality will change with time and not necessarily be comprehensible. Goffen argues that any interpretation of the obvious sexuality of Venus of Urbino must be tempered and informed by a clear knowledge of the historical period in which the painting was produced and the prevailing attitudes about sexuality that would have informed the artist and his original audience."
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