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Detail of the lady's head. The painting was executed in oils on a relatively small, 54 cm × 39 cm (21 in × 15 in) walnut wood panel. [9] [10] It depicts a half-height woman turned toward her right at a three-quarter angle, but with her face turned toward her left. [11]
The woman's bulky green oversleeves were painted with the same yellow and blue paint used in the rest of the woman's clothing, worked at the same time in a wet-on-wet method. Broad strokes in the painting of the clothing suggests the coarse, thick texture of the work clothing.
Kang explains that while Éduoard Manet and Edgar Degas painted bathing scenes that were "immediately associated in the press with women of easy virtue and prostitution, the women in Morisot's boudoir paintings, such as Getting Up, The Mirror, and Woman at her Toilette, were viewed as 'charming,' 'virginal,' 'chaste,' and exuding a 'fashionable ...
The vagina represents a powerful symbol as the yoni in Hindu thought. Pictured is a stone yoni found in Cát Tiên sanctuary, Lam Dong, Vietnam.. Various perceptions of the vagina have existed throughout history, including the belief that it is the center of sexual desire, a metaphor for life via birth, inferior to the penis, visually unappealing, inherently unpleasant to smell, or otherwise ...
The legendary rape of the Sabine women is the subject of two oil paintings by Nicolas Poussin. [a] The first version was painted in Rome about 1634 or 1635 and is now in the Metropolitan Museum of Art in New York City, catalogued as The Abduction of the Sabine Women. [1]
The Woman Taken in Adultery is a painting of 1644 by Rembrandt, bought by the National Gallery in London in 1824, as one of their foundation batch of paintings. It is in oil on oak, and 83.8 x 65.4 cm. [1] Rembrandt shows the episode of Jesus and the woman taken in adultery from the Gospel of Saint John.
Woman in a Tub (or The Tub) is one of a suite of pastels on paper created by the French painter Edgar Degas in the 1880s and is in the collection of the Hill-Stead Museum in Connecticut. The suite of pastels all featured nude women "bathing, washing, drying, wiping themselves, combing their hair or having it combed" and were created in ...
In The Eternal Feminine, by contrast, Cézanne places the woman in the center of the canvas, and she displays her body with no shame, unlike the woman in Courbet's painting, who holds a drape to partially cover her body. Cézanne's painting nonetheless resembles Courbet's composition in dividing the figures into a left and right group.