美国艺术作业代写 女性品牌
Keywords:美国艺术作业代写 女性品牌
如前所述,珍妮·萨维尔的女性品牌——和她的作品——大范围在肉体的意义上,在一个大型女性身体占据了一个很大的物理空间,以及在他们的生产也大(的身高和尺度以及他们的身体超过他们的帧)。当考虑到推广不健康的生活方式的动机，这可能会被认为是有问题或麻烦的，并有可能导致“骨感羞耻”。这样一来，人们很容易忽视这些画作，因为公众往往不愿面对他们的不安全感。我认为这是一种艺术价值、生活方式和社会矩阵的意识形态冲突——艺术家和观众的关系可以被看作是对社会秩序的激进命题的检验。这些女性体型庞大的传统事实表明，她们不太值得关注，也不满足于男性的目光或男性的理想，在一个以方阵为中心的哲学或社会中。这些毫无悔意的胖女人挑战着父权制社会对女性隐形或隐藏的渴望。一种通常让女性感到内疚、羞耻、不女性化的传统——我认为，所有这些特征在品牌上都是无法识别的。我甚至可以说，肥胖几乎是罪恶的，可以与暴食和懒惰等罪相提并论，值得通过节食和减肥来忏悔。然而，可以认为“理想”身体和生活方式的话题是一个社会结构，它会随着时间的推移而改变和塑造。例如，1555年，维纳斯在一面镜子前(图2)，提香的一幅画展示了一个性感撩人的女人，那时曲线是财富的象征——很容易与我们在珍妮·萨维尔的品牌中看到的丰满、曲线优美的女人相媲美。我认为这两幅人物画的对比，即使相隔近437年，也证明了时尚的体型是如何随着时间的变化而变化的，理想的身材是一种社会建构。无休止的审查的恶性循环。
美国艺术作业代写 女性品牌
As previously mentioned, Jenny Saville’s woman in Branded– and in a range of her paintings- are large in a corporeal sense, in that a large female body occupies a big physical space, as well as being large in their production also (in the sense of height and scales as well as their bodies exceeding their frames). This could be seen as problematic or bothersome when considering a motive of possible promotion of unhealthy lifestyles and giving potential to ‘skinny shame’. In this way, it is easy to dismiss these paintings as the public tend to not want to be confronted with their insecurities. I believe this is an ideological conflict of values of art, lifestyles and social matrixes- the artist and audience relationship can be seen as the testing of the social order by radical propositions.The fact that these women are large traditionally suggests that they are less desirable to look upon and don’t satisfy the male gaze or male ideal in a phallocentric philosophy or society. These unapologetic fat women challenge the established patriarchal society desires for women to be invisible or tucked away. A tradition that generally makes women feel: guilt, shame, unfeminine- all of which traits, I would argue, are not recognisable in Branded. I would go far as to say that fatness feels almost sinful and can be compared closely to sins like Gluttony and Sloth, worthy of repentance by diets and weight-loss. However, it can be argued that the topic of the ‘ideal’ body and lifestyles is a social construct which changes and moulds over time. For example, Venus at a Mirror 1555, (Figure 2.) a painting by Titian displays a voluptuous woman when curves were a signifier of wealth- easily comparable to the fleshy, curvy woman we see in Jenny Saville’s Branded. I think that the fact these two figure paintings are of comparison, even being nearly 437 years apart, proves how fashionable body types fluctuate through time and the ideal body is a social construct. An endless vicious cycle of constant scrutiny.
