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