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Wednesday, February 13, 2019

Defining Beauty for Men and Women in Portraiture Essay -- Masculine Fe

Defining cup of tea for Men and Women in Portraiture ... A thing of beauty is a joy forever Its loveliness increases it will never Pass into wind ... What is beauty? Seemingly a continually evolving and infinitely elusive deification - mankind has been obsessed with the concept of beauty throughout the ages. Portraiture, as an inseparable channel of visual communication, has traditionally been the medium through which definitions of beauty are graphically expressed. Particularly in the spiritual rebirth where portrayalure often served celebratory or commemorative purposes, it was crucial that portraits were accepted as aesthetically gentle reflections of the social ideals of the time. Hence by comparing and contrasting a be given of different portraits of depicting men and women of the Renaissance such as Titians La Bella, Bronzinos Eleonora de Medici, Sofonisba Anguissolas Self Portrait, Vasaris Alessandro de Medici, Bronzinos Cosimo de Medici as Orpheus and Pedro Berrugue tes Portrait of Federico da Mentelfeltro, viewers can gain an accord of the conceptual differences in definitions of masculine and feminine beauty during this period.Titians La Bella Portrait of a Woman in a Blue preen (1536) is a captivating example of Renaissance ritratto (portraiture) demonstrating ideals of feminine beauty. It throws the image of a vibrant young woman. With smooth, light skin tone and delicate travel face the woman is clearly defined as an exceptional beauty. close in at a slight angle to the picture frame, La Bella emerges from the pertinacious neutral background with subtly averted gaze, at once both inviting and refrained. by the conflict of La Bellas seductive yet submissive presentation, the portrait captures the essence of Renaissance female beauty perfectly, presenting the mildly sensual temperament of the womans image as a joy in itself.To complement her dignified demeanour, La Bella wears an amazingly intricate and extravagant dispirited gown . For a period when women were without a public voice and remained dependant on signs of visual identity such as clothing and jewellery, such a display of finery implies significant wealth and social status. Considering the seductive rendering of the framework utilising costly lapis lazuli, it is clear Titian desired to present an image of ultimate feminine loveliness. The portrait is free from overt art... ...re often used as spanking means of propaganda communication. Beyond these conventional images we have such images as Cosimo de Medici as Orpheus and Self Portrait by Sofonisba. Which, although rare, were recognised as beautiful portraits of the time, and present and much more unusual and intriguing visions of beauty. Through the exploration of this diverse range portraiture, the contrasting ideals of masculine and feminine beauty in the Renaissance have been explored. Yet overall, no matter what the gender orientation of the subject, it the uncovering of such passionate a nd artistic talent presented which is essentially beautiful. Consequently, the soaring appeal of such glorious images is still appreciated today, and will dwell to delight viewers for generations to come. BibliographyPaola Tingali Women in Italian Renaissance Art (Manchester 1997)Geraldine A. Johnson & Sara Greico image Women in Renaissance and Baroque Italy (Cambridge 1997)Patricia SimonsPortraiture Facing the Subject ed Woodhall (Manchester 1997)Lorne CampbellRenaissance Portraits (Yale 1990)Alison ColeArt of the Italian Renaissance Courts (Everyman Art program library 1997)

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