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A similar contrapposto stance, twisted upper torso, and a long contour-hugging veil characterize the sculpture. [15] In the mid-19th century, there was a resurgence in popularity of the veiled woman motif after the example of Corradini partially due to the image of a veiled woman becoming an allegory for Italian unification. [16]
Olive was a curiosity. Her boldly tattooed chin was on display and people came to hear her story and witness the blue tattoo for themselves. She was the first known tattooed White American woman as well as one of the first female public speakers. Olive entered the lecture circuit as feminism was developing.
The face is veiled, and the figure and features are all seen. It is a perfect gem of art". It was then kept at the Bishop's Palace next to the Catholic Cathedral in St. John's until 1862, when Bishop Mullock presented it to Mother Mary Magdalene O'Shaughnessy, the Superior of the Presentation Convent.
Veronica holding her veil, Hans Memling, c. 1470 The Veil of Veronica, or Sudarium (Latin for sweat-cloth), also known as the Vernicle and often called simply the Veronica, is a Christian relic consisting of a piece of cloth said to bear an image of the Holy Face of Jesus produced by other than human means (an acheiropoieton, "made without hand").
Today, she's an established tattoo artist residing in New York City, helping to shatter the stigma surrounding women with tattoos. This woman has covered her entire body in tattoos, shedding ...
The fringed veil drapes over her face, head and shoulder, and dangled unevenly above her feet. Her translucent attire further highlights the contour of her body. The illusion of a diaphanous veil and clinging dress created by the craftsmanship of Benzoni are the most noteworthy and skillful aspects of the sculpture. [6]
Roman women were expected to wear veils as a symbol of the husband's authority over his wife; a married woman who omitted the veil was seen as withdrawing herself from marriage. In 166 BC, consul Sulpicius Gallus divorced his wife because she had left the house unveiled, thus allowing all to see, as he said, what only he should see.
One scene shows her in the house's sculpture gallery. The first sculpture shown is the Veiled Vestal, with the camera focusing on the figure's face whilst panning around it. It then cuts to show a wider view with Elizabeth closely regarding the figure's face while the camera pans around the rear of the sculpture.