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Gallery of Beauties The Nymphenburg Palace seen from its park. The Gallery of Beauties (German: Schönheitengalerie) is a collection of 38 portraits of the most beautiful women from the nobility and bourgeoisie of Munich, Germany, gathered by King Ludwig I of Bavaria in the south pavilion of his Nymphenburg Palace. [1]
Her images of women are decidedly softer than those of men. With less dramatic lighting and a more typical distance between the sitter and the camera, these images are less dynamic and more conventional. [8]: 175 Cameron almost exclusively photographed younger women, never making a portrait even of her neighbour and good friend Emily Tennyson.
Barnum also produced a booklet about another of his Circassians, Zoe Meleke, who was portrayed as an ideally beautiful and refined woman who had escaped a life of sexual slavery. The portrayal of a white woman as a rescued slave at the time of the American Civil War played on the racial connotations of slavery at the time. It has been argued ...
My young mind knew a similar device – the View-Master.Those white “reel” discs held dozens of images that also could appear in 3D, scenes of Yosemite or Batman or Mickey Mouse.
In about 1791 Utamaro gave up designing prints for books and concentrated on making single portraits of women displayed in half-length, rather than the prints of women in groups favoured by other ukiyo-e artists. In 1793 he achieved recognition as an artist, and his semi-exclusive arrangement with the publisher Tsutaya Jūzaburō ended.
Sarah Baartman (Afrikaans: [ˈsɑːra ˈbɑːrtman]; c. 1789 – 29 December 1815), also spelled Sara, sometimes in the diminutive form Saartje (Afrikaans pronunciation:), or Saartjie, and Bartman, Bartmann, was a Xhosa-Khoekhoe woman who was exhibited as a freak show attraction in 19th-century Europe under the name Hottentot Venus, a name that was later attributed to at least one other woman ...
Portrait d'une femme noire, 1800, Marie-Guillemine Benoist, Louvre; Dr. Susan Waller, "Marie-Guillemine Benoist, Portrait of Madeleine," in Smarthistory, September 26, 2018. James Smalls, "Slavery is a Woman: 'Race,' Gender, and Visuality in Marie Benoist's Portrait d'une négresse (1800)", Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004)
1790s: Women: "age of undress"; [7] dressing like statues coming to life; [16] Greek fashion started to inspire the current fashion, and fillet-Greek classical hairstyles and high waisted clothing with a more triangular hem started to find its way; pastel fabrics; natural makeup; bare arms; blonde wigs; accessorized with: hats, Draped turban, gloves, jewelry, small handbags – reticules ...