Should I Wait For Lcd Tv Price To Fall

THE REPRESENTATION OF WOMEN IN

The female figure has always been an object of representation in the visual arts, serving from time to time as a different symbol. The way to represent it and the symbolic role it played have changed over the centuries, keeping pace with the evolution of artistic techniques and styles, with a change of taste, and no less important element, with the different way of conceiving the role of women in society.
Since the dawn of civilization, the female figure, then, was the protagonist of human history: archaeologists have unearthed many sculptures of female deities, attributed the organization of the patriarchal tribe, the Paleolithic era.
In many ancient civilizations the woman was at the core of society, was the custodian of the principle of life, fertility and as such was rappresentata.La statue below, depicting a mother goddess in some Anatolian civilization (dating back to the first Chalcolithic ) is certainly a clear example of what has been said. The playing technique is not yet come to perfection: the figure is very stocky and almost sketchy, but it is clear that the symbolic importance. This sort of Magna Mater ahead of its time, "softly" session, is nothing but a personification of fertility, abundance, fertility.

Greek mythology, however, gives the woman a goddess-size impossible: think, for example, made representations to the statues, dating from the fifth century BC
While Roman mythology makes it more "human" and less powerful than the male gods, but not the cult of Magna Mater first, and then Ceres and Cybele, assumes less importance ...
Doing a nice jump from Roman times to the Middle Ages, we can see how different the way of representing the woman. E 'notice theocentric concept typical of this time, it involves every area of \u200b\u200blife, including art, which is an expression of the latter. Medieval art has almost always religious subjects. Subject to excellence are the sacred virgins occurring compound, soft and elegant, as in the case of Simone Mart ini (bottom left), or rich in humanity and human traits almost those of Giotto (bottom right)). So how can we define women seen by the artists of this era? Witches or angels? Undoubtedly angels, in unison with the poets and writers of the period.

Even during the centuries following the fourteenth century Giotto and Simone Martini, I just mentioned, the representation of the female figure is articulated primarily through sacred subjects, although they can count on the side of mythological subjects (the advent of 'Humanism onwards, many artists paint or sculpt subjects of this kind: among them, for example , include Sandro Botticelli ; Raphael, Michelangelo ; Tiziano ; Bernini, Canova etc..) and increasingly also subjects taken from real life.
In particular painting, from the seventeenth century, Caravaggio is to introduce the protagonists s real life in his paintings is very famous his "Death of the Virgin" (picture below), whose protagonist is depicted pouring on his deathbed, in a pose that certainly did not suit the theme and then caused a scandal, because the painter was painting the virgin walk naked. He even said that he had used as a "model" the corpse of a drowned woman (a detail, the latter being derived from swollen feet and stomach of the young woman), thus introducing the humble reality of everyday life in painting .

In fact, we can say that the female figure, despite the different styles and different taste, has always been represented with angelic features and delicate. Precisely for this reason, the question "Women in the Middle Ages witches or angels?" We can not answer that "Angels"!
In fact, paradoxically, and especially in painting, she is represented as a "witch" only in the late nineteenth and early twentieth century, when many artists express their concern and their uneasiness with the woman who is seen as a femme fatale, one who eats and submits to the man fully, and as such represent it on the canvas. Here

(middle figure) as Edward Munch, in 1894-95, depicted in an entirely new staff and the "Madonna" by communicating their own suffering and their terror.

The same suffering and terror that we find in many other artists. It would be impossible to list them all and for this reason it is necessary to make a small selection, but will be sufficient, in my opinion, to make clear what is claimed!
We could start with "The bride in the wind" (1914) by Oscar Kokoschka.

Continue "The angry" (1910), by Egon Schiele (top center)
ending with the "Judith 1" (1901) by Gustav Klimt
(bottom center)