The progression of time has witnessed profound changes to the depiction of the women in the artistic sphere. Art can be seen as a mechanism for exploring many representations of the female form. Grace Cossington Smith’s The Sock Knitter (1915), celebrated as the first post-impressionist painting to be exhibited in Australia, Frederic Leighton’s idealized characterization of a reclining female figure in Cymon and Iphigenia (1884) and Henry Moore’s sculptural rendering Reclining Figure: Angles are all encapsulations of the worlds in which the were made. Through the manipulation of style and media, all works communicate a social understanding of the artist – individual products of social values that have influenced their depiction of women.
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Although Cossington was, a supporter of the Australian war-effort, it is implicit that her independence of mind, prompted the need to acknowledge the efforts of women, merely recognised within wartime society, let alone wartime art. This presented itself through Cossington’s conceptual practice, further enhanced by a fascination with post-Impressionism.
In 1909, Cossington started classes at the Royal Art Society of New South Wales, under the guidance of artist and teacher Antonio Dattilo Rubbo – an important figure in the development of her artistic career. In 1914, she returned to Rubbo’s classes, with an interest in post-Impressionism. Cossington’s radical debut of post-Impressionism in The Sock Knitter (1915), signified a challenge to the nationalist landscape tradition, as well as the decision to portray women’s efforts signified a change in focus from male heroism. The Sock Knitter is a tightly structured composition, …show more content…
Cymon and Iphigenia (1884), a work completed late within Leighton’s career displays development in his artistic practice, conceptually and aesthetically as his focus shifted to communicating narratives to the viewers. The alluring Iphigenia rests amongst her company of attendants and draws the enamoured gaze of a handsome young man. Despite his rough and simple clothing, the on-looking man is of noble decent, however by neglecting his studies and abandoning chivalry he had earned himself the name of Cymon, meaning ‘brute’. Cymon is entranced by Iphigenia beauty; even his dog stares attentively, serving as reference to the taming of Cymon’s bestial urges. One of the most salient elements in the painting, a small arc of a rising full moon beyond the horizon, pierces the darkness. It is situated in our line of sight, bolstering the connection between the heavens. Despite its brilliance, the moon does not outshine Iphigenia, whose beauty rivals the divine. Compositionally, Iphigenia is centralised within the painting in order to draw the viewer’s eye to her sensual figure. Leighton’s choice of colour palette is warm exhibiting apricot, oranges and peach for Iphigenia, hence given the setting the under the bright harvest moon. By contrast, the other figures have a
Although Cossington was, a supporter of the Australian war-effort, it is implicit that her independence of mind, prompted the need to acknowledge the efforts of women, merely recognised within wartime society, let alone wartime art. This presented itself through Cossington’s conceptual practice, further enhanced by a fascination with post-Impressionism.
In 1909, Cossington started classes at the Royal Art Society of New South Wales, under the guidance of artist and teacher Antonio Dattilo Rubbo – an important figure in the development of her artistic career. In 1914, she returned to Rubbo’s classes, with an interest in post-Impressionism. Cossington’s radical debut of post-Impressionism in The Sock Knitter (1915), signified a challenge to the nationalist landscape tradition, as well as the decision to portray women’s efforts signified a change in focus from male heroism. The Sock Knitter is a tightly structured composition, …show more content…
Cymon and Iphigenia (1884), a work completed late within Leighton’s career displays development in his artistic practice, conceptually and aesthetically as his focus shifted to communicating narratives to the viewers. The alluring Iphigenia rests amongst her company of attendants and draws the enamoured gaze of a handsome young man. Despite his rough and simple clothing, the on-looking man is of noble decent, however by neglecting his studies and abandoning chivalry he had earned himself the name of Cymon, meaning ‘brute’. Cymon is entranced by Iphigenia beauty; even his dog stares attentively, serving as reference to the taming of Cymon’s bestial urges. One of the most salient elements in the painting, a small arc of a rising full moon beyond the horizon, pierces the darkness. It is situated in our line of sight, bolstering the connection between the heavens. Despite its brilliance, the moon does not outshine Iphigenia, whose beauty rivals the divine. Compositionally, Iphigenia is centralised within the painting in order to draw the viewer’s eye to her sensual figure. Leighton’s choice of colour palette is warm exhibiting apricot, oranges and peach for Iphigenia, hence given the setting the under the bright harvest moon. By contrast, the other figures have a