Oriental Female body as spectecle

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Oriental Female body as spectecle by Mind Map: Oriental Female body as spectecle

1. Orentialism

1.1. 'Other'

1.1.1. representation of oriental females

1.1.1.1. Oriental female body as exhibition

1.1.1.1.1. firelei-báez-sans-souci + Venus Hottenot

1.1.1.1.2. Picasso “Les Demoiselles + Robert Colescott-Les Demoiselles d’Alabama

1.1.1.1.3. Cindy Sherman-Untitled 264 + Titian-Venus of Urbano

1.2. interpretation of the East as fact

1.2.1. depiction of stereotype

1.2.1.1. Picasso “Les Demoiselles + Robert Colescott-Les Demoiselles d’Alabama

1.2.1.2. firelei-báez-sans-souci + Venus Hottenot

2. Appriopration

2.1. Political Commentary

2.1.1. commenting on gender

2.1.1.1. yasumasa morimura daughter of art history + A Bar at the Folies-Bergère-Manet

2.1.1.2. Cindy Sherman-Untitled 264 + Titian-Venus of Urbano

2.1.2. commenting on culture

2.1.2.1. Picasso “Les Demoiselles + Robert Colescott-Les Demoiselles d’Alabama

2.1.2.2. firelei-báez-sans-souci + Venus Hottenot

2.2. Contemporary View

2.2.1. Viewing historical paintings in contemporary day

2.2.1.1. Picasso “Les Demoiselles + Robert Colescott-Les Demoiselles d’Alabama

2.2.1.2. firelei-báez-sans-souci + Venus Hottenot

2.2.1.3. yasumasa morimura daughter of art history + A Bar at the Folies-Bergère-Manet

2.2.1.4. Cindy Sherman-Untitled 264 + Titian-Venus of Urbano

3. Female Figure

3.1. Spectacle

3.1.1. women as sexualized and objectified

3.1.1.1. Cindy Sherman-Untitled 264 + Titian-Venus of Urbano

3.1.1.2. Robert Colescott-Les Demoiselles d’Alabam +  Picasso-Les Demoiselles

3.2. fetishization of beauty

3.2.1. Differentiation of East vs. West beauty

3.2.1.1. yasumasa morimura-daughter of art history + A Bar at the Folies-Bergère-Manet

3.2.1.2. Picasso “Les Demoiselles + Robert Colescott-Les Demoiselles d’Alabam

3.3. Nude vs. Naked

3.3.1. body positioning

3.3.1.1. yasumasa morimura-daughter of art history

3.3.1.2. Cindy Sherman-Untitled 264 + Titian-Venus of Urbano

3.3.2. Artist Study of the body

3.3.2.1. Picasso-Les Demoiselles

3.3.2.2. Venus Hottentot

4. Symbolism

4.1. Clothing reflecting seduction

4.1.1. commentary of the Orient

4.1.1.1. Robert Colescott-Les Demoiselles d’Alabama + Picasso-Les Demoiselles

4.1.1.2. firelei-báez-sans-souci + Venus Hottenot

4.1.2. Female as sexual object

4.1.2.1. indication of class

4.1.2.1.1. Robert Colescott-Les Demoiselles d’Alabama + Picasso-Les Demoiselles

4.1.2.1.2. firelei-báez-sans-souci + Venus Hottenot

4.1.2.1.3. Cindy Sherman-Untitled 264 + Titian-Venus of Urbano

4.1.2.2. facial expression

4.1.2.2.1. Cindy Sherman-Untitled 264 + Titian-Venus of Urbano

4.1.2.2.2. yasumasa morimura-daughter of art history + A Bar at the Folies-Bergère-Manet

4.2. Reflection of cultures and tradition through objects

4.2.1. dog as symbolism for fertility

4.2.1.1. Titian-Venus of Urbano

4.2.2. Roses as a symbol for blooming and new beginnings

4.3. Background

4.3.1. Titian-Venus of Urbano

4.3.1.1. comparing this to Manet's Olympia-African American woman

4.3.2. yasumasa morimura daughter of art history

4.3.2.1. indication of gender and culture

4.3.3. Cindy Sherman Untitled 264

4.3.3.1. man in the background-suggestive of narrative