Throughout history, artists have depicted women to uphold different ideals of beauty that directly correlated with the world around them. The Bust of Queen Nefertiti, depicting the grace and power of a dominant Egyptian queen that corresponds with both the views of women as well as idealized beauty of the Amarna period; the Venus of Urbino, a piece that portrays the ideals of beauty, of the Renaissance that still remains fairly unknown in purpose and depiction; and Judith Slaying Holofernes, picturing the high levels of drama as well as the overwhelming authority of the Catholic church common within the Baroque period through the portrayal of a strong and heroic woman. Though from different times, all of these works reflect upon the artistic
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The bust is incomplete; however, it seems that such a depiction suggests that it was an intentional act. This is most likely due to the fact that this bust, unlike many other pieces of Egyptian sculpture, was not intended for a tomb; instead, it was used in order to create more sculptures of her. The face is of the bust is completely symmetrical and almost intact, but the left eye lacks the stone inlay present in the right. The use of plaster on top of the limestone allowed for the creation of subtle effects that modeled her face and made detail easier to accomplish. The wrinkles on her neck and the bags under her eyes suggest the artist’s attempts to depict aging. The queen is depicted wearing a modius, a type of flat-topped cylindrical headdress or crown that was worn by queens or goddesses, along with a broad collar with a floral pattern. During Akhenaten 's reign, royal portraiture underwent dramatic change, this change in artistic style is known as the Amarna period. Sculptures from this period deviate immensely from the previous Egyptian canon. Individuals are depicted in a more naturalistic as well as highly stylized manner, with large thighs, slim torsos, drooping bellies, full lips, and elongated neck and noses. Nefertiti was an Egyptian queen and …show more content…
Very little substantiated information is known about this distinguished painting, but it has become one of the main icons for the western tradition of the nude. The title of “Venus” was given to the piece later on due to the representation of the courtesan within her bed chamber. A multitude of Venetian paintings of unnamed women were also granted mythological titles; however, this piece is different as it depicts a non-mythological scene but rather one that fits the time period. ”Venus” is shown reclining upon a pillow couch, the linear play of drapery behind her directly contrasting with her idealized form, a revival of the classical antique style of symmetry and proportions. She is seen with a sleeping dog at her feet as well as two figures behind her that are depicted bending over a chest, most likely servants, appearing to be searching for garments. The painting was a commission for Guidobaldo II, the Duke of Urbino, an important patron of the arts at the time and of Titian in particular. No evidence given suggests that the painting was meant for anything more than private enjoyment; however, it is possible that the piece was meant to commemorate the Duke’s marriage to Giulia Varano, the Duchess of Camerino, as well as to display the idealized beauty of women during the period and serve as an
The bust is incomplete; however, it seems that such a depiction suggests that it was an intentional act. This is most likely due to the fact that this bust, unlike many other pieces of Egyptian sculpture, was not intended for a tomb; instead, it was used in order to create more sculptures of her. The face is of the bust is completely symmetrical and almost intact, but the left eye lacks the stone inlay present in the right. The use of plaster on top of the limestone allowed for the creation of subtle effects that modeled her face and made detail easier to accomplish. The wrinkles on her neck and the bags under her eyes suggest the artist’s attempts to depict aging. The queen is depicted wearing a modius, a type of flat-topped cylindrical headdress or crown that was worn by queens or goddesses, along with a broad collar with a floral pattern. During Akhenaten 's reign, royal portraiture underwent dramatic change, this change in artistic style is known as the Amarna period. Sculptures from this period deviate immensely from the previous Egyptian canon. Individuals are depicted in a more naturalistic as well as highly stylized manner, with large thighs, slim torsos, drooping bellies, full lips, and elongated neck and noses. Nefertiti was an Egyptian queen and …show more content…
Very little substantiated information is known about this distinguished painting, but it has become one of the main icons for the western tradition of the nude. The title of “Venus” was given to the piece later on due to the representation of the courtesan within her bed chamber. A multitude of Venetian paintings of unnamed women were also granted mythological titles; however, this piece is different as it depicts a non-mythological scene but rather one that fits the time period. ”Venus” is shown reclining upon a pillow couch, the linear play of drapery behind her directly contrasting with her idealized form, a revival of the classical antique style of symmetry and proportions. She is seen with a sleeping dog at her feet as well as two figures behind her that are depicted bending over a chest, most likely servants, appearing to be searching for garments. The painting was a commission for Guidobaldo II, the Duke of Urbino, an important patron of the arts at the time and of Titian in particular. No evidence given suggests that the painting was meant for anything more than private enjoyment; however, it is possible that the piece was meant to commemorate the Duke’s marriage to Giulia Varano, the Duchess of Camerino, as well as to display the idealized beauty of women during the period and serve as an