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Essay / Research Paper Abstract
We play a bit with language when we talk of the woman as object in western art, or the "objectification" or "objectified" woman as subject of western art. What this means is that a woman is seen as the subject of a piece of art, in a way that is detached. How this "detachment," of the female form appears in art, will be the subject of this 5 page discussion. Bibliography lists 5 sources.
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5 pages (~225 words per page)
File: D0_BBwjtart.doc
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on using this paper properly Introduction We play a bit with language when we talk of the woman as object in western art, or the "objectification" or "objectified" woman
as subject of western art. What this means is that a woman is seen as the subject of a piece of art, in a way that is detached.
How this "detachment," of the female form appears in art, will be the subject of this discussion. Nude as ideal beauty
It is not as though the female has not been displayed throughout all of art history. During the times of the Romans and the Greeks, she was represented as the
goddess ideal, larger than life, and seldom totally nude. According to Cole, after surviving the dark times of the Medieval Ages, the early Italian Renaissance again saw the
nude both made and female on a more human scale. Yet for the female, this was an idealized form of beauty, something to be looked at or "gazed upon."
Boticellis Birth of Venus (after 1482) is an example of this ideal beauty. Look carefully at the central figure casually standing on the seashell; notice where she is
looking. By the tilt of her head and the direction of her eyes you will see that she is looking, almost staring at the lower left of the viewer.
The argument is made that when the female nude is not "allowed" to look back at the viewer by the painter, she then
is objectified. Venus is only to be looked upon - she is not to look back. Idealized sexuality The Venetian artist, Tiziano
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