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Mirth & Girth is a portrait painting by School of the Art Institute of Chicago (SAIC) student David K. Nelson, Jr., depicting the deceased popular African-American mayor of Chicago, Harold Washington wearing only a bra, G-string, garter belt and stockings. [2]
In the 19th century, the female nude abounds more than ever—especially in the second half of the century—more than in any other period in the history of art. However, the female role changes to become a mere object of sexual desire, in a process of dehumanization of the female figure, subjected to the dictates of a predominantly macho society.
The Slave Market (French: Le Marché d'esclaves) is an 1866 painting by the French artist Jean-Léon Gérôme.It depicts a Middle Eastern or North African setting where a man inspects the teeth of a nude, female Abyssinian slave in the context of the Barbary slave trade.
The women soldiers were rigorously trained in pain, endurance and speed. Once training was completed they were given uniforms. [ citation needed ] By the mid-19th century, they numbered between 1,000 and 6,000 women, about a third of the entire Dahomey army, according to reports written by visitors.
Some regard Francisco Goya's La maja desnuda of around 1800, as "the first totally profane life-size female nude in Western art", [7] but paintings of nude females were not unknown, even in Spain. The painting was hung in a private room, along with other nudes, including the much earlier Rokeby Venus by Velasquez .
Models (painting) Morgan le Fay (painting) Moses and his Ethiopian wife Zipporah; Mother and Child (Cassatt) Mother with a Child and a Chambermaid; Mother with Child; A Mother's Duty; Mothers, Sisters; Mrs. Atkinson (Gwen John) The Musician (Bartholomeus van der Helst painting) Musidora: The Bather 'At the Doubtful Breeze Alarmed'
An artist has commemorated Remembrance Day by painting poppies and soldiers on to used tea bags to honour those who “sacrificed their lives so we can live freely today”. Caroline West, 50 ...
Judith is shown wearing a cobalt blue dress with gold accents and her maidservant wears a red gown. Both women have their sleeves rolled up. As a follower of Caravaggio, Artemisia Gentileschi makes use of chiaroscuro in the painting, with a dark background contrasting with the light shining directly on the scene of Judith beheading Holofernes.