Monday, December 7, 2009

Historical Overview

Angelina Lance
Body Image and Health Analysis
2nd Century - 20th Century

Throughout history there have been widespread views about the ideal body and the physiological differences between men and women. The following is an analysis and overview of the differentials observed between the second century and the twentieth.
In the second century Claudius Galenus, also known as Galen, a well-respected Greek physician, wrote extensively on medical albeit philosophical subjects. He believed men and women to be extremely similar, the only difference being women lacked the as he called it, vital heat, to force the reproductive organs to be external and visible. Even though his theory was that men and women’s bodies were physically equal other than the inversion of women’s organs, he never considered them equal. He viewed women’s bodies as inferior to men’s because of the retention, considering the male make up to be one of perfection. He was considered something of a medical authority and had a wide following from Greek and Roman medical writers.
Body ideals in Ancient Greece were much different than they are in most of the world today. The ideal body was extremely proportional. Mathematic equations were used to portray what the perfect body should look like. It was believed a perfectly proportioned body would bring balance and harmony to life.
Skip forward to sixteenth century France, to one of the centuries most famous stories of gender role and the thought process behind the opinions of them. Author Michel de Montaigne’s story of pseudohermaphroditism concerning Marie / Germain is a prime example of how intersexed people were thought of as curiosities. The story says, Marie while running after her swine in a field, jumped over a ditch causing her internal heat to come out, thus anatomically now having a penis. She was renamed Germain and was one of many subjects in stories of the oddity of intersexed people found in Western Europe during that time. At that point in medical history it seemed an impossibility for a woman to become a man considering women were viewed as inferior and imperfect. Gaspard Bauhin, a Swiss botanist, explained that this oddity must have happened due to nature always trying to reach a state of perfection.
At this point in history the body ideal for women was much slimmer than before. Art history shows us the ideal woman during this time being slender everywhere but her stomach area, the opinion was that the most beautiful women would have a slightly larger stomach mimicking the look of pregnancy. Men at this time were still expected to be very proportional as before.
Due to the coming of the scientific revolution many new ideas concerning human anatomy completely discarded the popular doctrines of Ancient Greece and the Middle Ages. This time in history paved the way for beginnings of modern science. Many new findings and ideas came about due to the dissection of human bodies, instead of animal bodies, previously used in scientific observation. The scientific findings due to this change led to first hand observations contradicting Claudius Galenus’ theories. Andreas Vesalius, a surgeon from Brussels, compiled the most complete description of the human body to date, in 1543. De humani corporis fabrica (On The Fabric of the Human Body), was considered a masterpiece. His findings directly challenged the theories of Galen, which had been so well respected. History shows that Vesalius was just one of the many contemporaries moving forward and away from Galen’s findings, laying the groundwork for the study of modern anatomy.
The body image for women at this time went again to the idea of being proportional, she was not just large in her stomach anymore, but slightly large all over. The ideal was a look that was soft everywhere. Women were portrayed within art much more sexually than ever before. With the history of body ideals for women shifting from religious pieces of art, to more provocative and much more worldly. Men on the other hand were expected to be very large, with puffed up chests, massive arms, and thick muscular legs. They were portrayed to ideally have very warrior-like features.
By the seventeenth and eighteenth centuries anatomical study began to flourish. The newfound availability of the printing press gave great minds the chance to exchange ideas on such subjects. European intellectuals and philosophers were coming to the conclusion that there was a separation between the mind and the body. The findings brought a change to the idea of what differentiates a woman from a man. No longer was it considered a lack of internal heat, but a biological difference. Not only did these findings show differences between men and women but differences that far surpassed just an internalization of the male reproductive system. Jacques Moreau de la Sarthe, an anthropologist, went as far as to say that not only were men and women different biologically, but were different in every conceivable respect, physically and morally. Thus, coming out of the eighteenth century, the idea of male perfection and vital heat gave way to the studies of biological differences.
Women’s ideal shape changed drastically at this point in time. They were expected to be petite with very small waist lines. Using corsets to tightly pull and over time configure extremely tiny waists that would not normally be possible. Men on the other hand were portrayed ideally as very athletic, large in stature and very tall with thick muscular necks.
With the nineteenth century came the theory of evolution. Charles Darwin, an English naturalist, believed women were inferiorly developed. He said feminine qualities such as compassion, sympathy, and then want to nurture belonged to an inferior stage of human development. Darwin believed that masculine qualities such as reason, aggression, and intellect proved men superior, and further evolved. He is famous for observing that “The chief distinction in the intellectual powers of the two sexes is shown by man attaining to a higher eminence, in whatever he takes up, than woman can attain - whether requiring thought, reason or imagination or merely the use of the senses and hands.” Biological differences noted and aside at this point, it was still widely believed that a woman‘s body, no matter how different, was still inferior to man’s.
Women were finally free of the ideal body shape needing a tight corset to be attainable, the body ideal shifted back to a softer, thicker look reminiscent of over 200 years before. For once, after almost 2000 years, the buttocks became quite the center of attention when it came to the female image, expected to be large and round, women wore bustles under their dresses that made their backside appear bigger, rounder and were used to hold the heavy fabric up so that it didn’t fall limp causing a flat backside.
By the time of the turn of the twentieth century anatomy was no longer just a subject taught to doctors and medical students. Anatomy in simpler forms was being taught to everyone, all the way down to young school children. Things like paper dolls and full plastic anatomical models were being used to teach the ins and outs of the human body. Which due to extensive research with cadavers were finally extremely accurate. Today, students of anatomy can use high tech computer programs to more fully learn about the human body.
Due to World War I, the Great Depression and World War II, society as a whole changed drastically, right down to body ideals and gender roles. No longer were people worrying about curves or muscularity. It was the age of practicality, and the ideal body was one that was healthy and alive. History saw the line between men and women blur drastically. The need for women in the workplace and at war meant the beginning of equality between the sexes. Women were now performing jobs and had rights that were formally only done and given to men. The focus on which gender was superior and what were considered ideal body images were shifted to that of mere survival.
Today, we look for the popular body ideal from the same venue we did in Ancient Greece, art. Art today is very often brought to us through the media. Television, magazines, the internet all constantly bring us pictures of what the world looks at as the ideal body. Women in the modeling and print industry are ideally extremely tall and thin, very waif like, with little to no curves. On the other hand, women in the television and movie venues are often shorter, with small waists, large breasts and a round buttocks. Men are tall, very athletic and extremely muscular. Just as the body ideals of old needed corsets to be achieved, body ideals today are pushed to limits not normally attained by all people. Things as dangerous as eating disorders and steroid use and as serious as plastic surgeries are on the rise due to the emotional strain and pressure of attaining the societal body ideals.
Although we see so many different opinions and points of view throughout history, two things remain a constant. Science is always moving forward, always reexamining truths and there have always been certain body ideals put forth by society that personify the perfection of that era.





Angelina Lance
History Works Cited

"The Beginning of the Scientific Revolution." The Beginning of the Scientific Revolution. Ed. Serge Noiret. CARRIE, 10 May 2006. Web. 28 Nov. 2009. .

Bergman, Jerry. "The History of Evolution's Teaching of Women's Inferiority." The History of Evolution's Teaching of Women's Inferiority. Revolution Against Evolution, 21 Apr. 1998. Web. 29 Nov. 2009. .

Cichon-Hollander, G. W. "The European Ideal Beauty of the Human Body in Art." The European Ideal Beauty of the Human Body in Art. The Art History Archive, 31 Oct. 2007. Web. 29 Nov. 2009. .

"Bustle." Bustle. Wikipedia, n.d. Web. 29 Nov. 2009. .

"Galen Biography." Galen Biography. Ed. Richard L. Gregory. N.p., n.d. Web. 28 Nov. 2009. .

Gallagher, Catherine, and Thomas Laqueur, eds. The Making of The Modern Body : Sexuality and Society in the Nineteenth Century. N.p.: University of California, 1987. Print.

"Learning Anatomy in the 20th Century." Learning Anatomy in the 20th Century. Ed. Nancy Growald Brooks. Smithsonian NMAH, 1 Nov. 2001. Web. 30 Nov. 2009. .

Norstedt, Gudrun. "Herms Place In Society." Herms Place In Society. N.p., 5 Jan. 2000. Web. 28 Nov. 2009. .

"Sexual Dimorphism." Sexual Dimorphism. Wikipedia, n.d. Web. 29 Nov. 2009. .

Artificial Anatomy

Artificial Anatomy NMAH Logo
History Preservation Collection Body Parts

History
Before Papier-Mache
What is Papier-Mache?
Comparative Anatomy
Learning Anatomy in the 20th Century

Photograph of the details of the skeletal, nervous, and circulatory systems
Details of the skeletal, nervous, and circulatory systems


By the early 20th century, the study of anatomy had moved beyond the domain of medical students and doctors. Schoolchildren learned about anatomy by playing with multilayered male and female paper dolls. Inexpensive plastic anatomical models that could be assembled and painted became popular with students in the 1950s and 1960s. Students today have both the models that were available in the past and modern computer programs that can demonstrate both the structure and functions of the human body.

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Photograph of a female paper doll
Female paper doll. At right is the cover of the paper doll. Pages lift up to reveal the organs and systems of the human body. About 1920. Gift of Lois Greene Stone.

"Learning Anatomy in the 20th Century." Learning Anatomy in the 20th Century. Ed. Nancy Growald Brooks. Smithsonian NMAH, 1 Nov. 2001. Web. 30 Nov. 2009. .

The european Ideal Beauty

The European Ideal Beauty
The Art History Archive - European Art
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The European Ideal Beauty of the Human Body in Art
A Short Introduction to European History & Culture

By G. W. Cichon-Hollander

The ideal of the perfect human body is a result of culture: religious functions, economy, advertisment, and other factors.

The definition of beauty is not an immanent and objective quality of things, since every age, place and social class formed its own ideal of it, ideal beauty is corresponding with the aesthetic feeling of people of a respecting period.

"History of art" as a relatively young science earlier was called subjectively "aesthetics". Art was supposed to evoke religious contemplation and/or sensuos and mental delight, as the ancient poet Heliodor postulated.

However according to the great historian Ranke the task of an historian is plainly "to tell as it really was..", and not his own opinions or feelings.

Actually nowadays we are not any more allowed to call something objectively beautiful, only "to me it is beautiful" or "I like it", especially since art expresse the disorder and confusion of mankind.

It seem, that there is no more ideals and "anything goes"...

Now I am delighted to go on a short trip through our history of culture with this exquisite audience!

Prehistoric Times

This is a photograph of the so called Venus of Villendorf in Austria from prehistoric times, about 20.000 years ago. It is believed, that it had ritual functions concerning fertility.

It does not correspond very much to our present sense of an ideal body, because we expect beauty to evoke sensuous and mental delight as an image of harmony and perfection.

This sculpture is small in size, only approx. 11 cm of limestone, but great in design, as it is very elaborately composed and carried out.

1. "Venus of Willendorf"

10.000-15.000 b.c. Austria
limestone, 11,5 cm; Vienna

Ancient Egypt

Some 3 1/2 thousand years ago in ancient Egypt, this, part of an ivory chest, was decorated with a carved relief of a garden promenade of Tut-anch-Amun an his wife Anch-es-Amun.

We see a unique and refined fashion, delicate and fastidious an even, slim female body.

The ladies were shaved entirely! (Sometimes even their heads!) And to emphasise this, their pleated skirts were worn wide open in front!

2. Ankhesenamun, Wife of Pharoah Tut

~ 1350 b.c.; Cairo; Ivory chest (part ~ 30 x 20 cm)

Antiquity: Ancient Greece

This well known drawing by Leonardo da Vinci, about 1500, relates to the only achitectural treatise at all, to survive from Antiquity, by Vitruvus Pollio. Although it is unillustrated, it profoundly influenced art throughout history, especially in the period Renaissance.

Vitruv, in the first century b.c., reports the classical ideal of beauty as derived from symmetry and a modular relationship, of the parts to the whole on a mathematical basis. (The smaller part compares to the larger as this to the whole: this is called "The Golden Section" or the "Golden Mean".)

(AB cut at C, so that CB:AC = AC:AB; about 8:13).

3. Ideal Proportions

Leonardo, ~ 1500, after Vituvius (Vitruvian Man)
1st C. b.c.; Venice, Acad.

Architecture was seen as an imitation of nature with anthropomorphic - that is human - proportions! Vitruv distinguished the three column types as Doric, Ionic and Corinthian, the proportions deriving respectively from a man, a matron and a young girl. Art and science (and also nature) were considered as completely homogenous, as a unit.

Socrates postulated, that the main task of the artist was to give a standard idealised contour of the human body in exact proportions to gain Balance and harmony. We can still admire this in the statue of the "Aphrodite of Melos", better known as the "Venus de Milo", one of the most famous works of art history...

4. Venus de Milo

2nd C.b.c.
Paris, Louvre

... in the same way as this beautiful ideal image of a man's body, the so called "Warrior of Riace", found in the Mediterranean Sea a few years ago, now in Naples.

These personified ideals of classical beauty have influenced art throughout the centuries until today!

5. Warrior of Riace

Bronce, South Italy
Over 2m high; Reggio di Calabria

Antiquity: Hellenism/Ancient Rome

The Hellenistic conception of art derived from natural life, as the Romans were more pragmatic than the Greeks. It was realistic and therefore allowed the first individual portraits in history.

Here we have "Aphrodite Kallipygos", goddess with beautiful buttocks, made about 100 b.c.

For the first time the rear is the focus of attention, the main view.

6. Aphrodite Kallipygos

Marble, ca. 1,50 m
Copy of ~ 100 b.c.; Naples

Early Middle Ages

In these genesis scenes of the "Grandval Bible" from the early Middle Ages, about 840, we can see, how the consideration of physical characteristics, the proportions and harmony of the design, has become unimportant. The human being lived religiously, beyond earthly reality, in an eschatological world awaiting God.

7. Caroline Bookpaintry: Adam and Eve

Grandval Bible ~ 840; London, Brit. M.

Late Middle Ages

Here we see the paradise scenes on a miniature from one of the most beautiful books ever made, called " Les trés riches heures du Duc de Berry", a prayer book of the French king's brother, originating from about 1400.

An enormous change in art has taken place. We see the so called "Beautiful -" or "Soft Style", a luxurious, refined fashion again, with a slim silhouette.

Uniquely the ideal of a beautiful female body was having a belly and looking pregnant!

8. Trés riches heures: Paradise

Praying book of the Duke of Berry:
Limburg Bros. ~ 1440; Paris

Early Renaissance

This is the famous "Birth of Venus" by Sandro Botticelli, 1486.

The Renaissance intended to revive the classical antique style of symmetry and proportions as their ideal of beauty. The treatise of Vituv inspired the world. At the same time the artisan changed from a craftsman to a scientist and intellectual.

9. Birth of Venus Sandro Botticelli ~ 1486; Florence, Uffiz.

Now attention is drawn vehemently from religious to profane, worldly themes, for the first time in history except in the Hellenistic era of Ancient Rome. The ideals of "Humanism" that we see personified here in the painting of Giorgione "Sleeping Venus", Venice 1505, had an immense affect until modern times, as well as this special invention of a reclining nude!

10. Sleeping Venus Giorgione, Venice, 1505; Dresden


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Late Renaissance

11. Diamond Mine Maso da San Friano ~ 1570; Florence, Pal. Vecchio

A painting in the style of late Renaissance, also called Mannerism. The painter shows scenes of a diamond mine in the excessive manner of exaggerating, for example human limbs, far away from classical proportions.

Even this is Mannerism style, at beginning of 16th century! I must not withhold this extraordinary and singular ideal of a perfect male body from you, that was pursued by all gentlemen of the era, like this one with an arrow by Cranach.

12. Portrait of a Gentleman with arrow Lucas Cranach ~ 1530; Dresden

Baroque

What a Baroque splendour! Here the "Wife of King Kandaules" by Jacob Jordaens, contemporary of Rubens. Their ladies' stout, luxuriant and voluptuous bodies became proverbial!

13. The Wife of King Kandaules Jacob Jordaens 1646; Stockholm

13 a. The prey of the daughters of Leukipp; P.P. Rubens; Munich

Rococo/Luis-Quinze

Another change in the late baroque time: the Rococo, now ladies became graceful and petite, the ideal was a very slim waist line, the "wasp waist".

The Colours became refracted now with white or even dark.

Here is charming Leda of the Italian "Commedia dell'arte" by Franz Anton Bustelli, who lived in Munich, one of the most ingenious sculptors of 18th century!

14. Leda f. Commedia dell'arte, F.A. Bustelli, porcelain, ca. 20 cm

Early Romanticism

Again very famous paintings: Maya, the only nude by Goya, and to compare the "Dressed Maya". Now, in another classicistic era, the "Empire", the ideal again approaches Antiquity with a flowing silhouette (you may compare the composition with Giorgiones Venus!).

15. The Mayas Francisco Goya 1798; Madrid, Prado

Classicism

What perfect bodies Ingres shows us on his huge painting! Two antique divinities, Jupiter and Thetis, with classical proportions of beautiful athletic bodies.

16. Jupiter and Thetis

Jean Dominique Ingres, ~ 1810
~ 330 x 260 cm; Aix-en-Provence

Romanticism - Orientalism

Half a century later in a new epoch, we have the same artist with a different sense of beauty: soft curves and magical fairyland was discovered in the art of the middle of 19th century.

17. Turkish Bath, Ingres, 1862
108 cm; Paris

Impressionism

Toulouse-Lautrec's painting "Ball at Moulin Rouge" shows one generation later in the epoch of Impressionism the new fashion of slim waist again, but the "fin de siécle" has something unique in addition: the "Cul de Paris", the "Parisian Bottom", the buttocks are emphasised again after almost exactly 2000 years!

18. At the Moulin Rouge, Toulouse-Lautrec, ~ 1890 Philadelphia Coll. McIllhenny

Art Nouveau/Jugendstil

The new fashion in contrast called "Jugendstil" or "Art Nouveau" liberates the body contours from corset once again, as a hundred years ago. Here we see Hodlers huge painting "The Day II" of 1905.

19. The Day II Ferd. Hodler, 1905 ~ 160 x 360 cm; Zurich

Expressionism: The roaring Twenties

After the horror of the First World War only practicability is important. In the era of "Bauhaus" and the "Roaring Twenties" the difference between the sexes vanishes for the first time in art history. Curves are no longer an ideal, as here in the "Dancing in Baden-Baden" by Max Beckmann, 1920.

20. Dancing in Baden-Baden

Max Beckmann, 1920; Munich

Modern Era

Finally - another work of the so called "Classical Modern Era", the "Reclining Female Nude" by Modigliani, 1917, a beautiful and ideal body for us. In contemporary art the variety is vast an there seems to be no more universal ideal. Nevertheless the charming curves of Modigliani still delight our senses.

21. Reclining Female Nude Amadeo Modigliani, 1917; Milan


Cichon-Hollander, G. W. "The European Ideal Beauty of the Human Body in Art." The European Ideal Beauty of the Human Body in Art. The Art History Archive, 31 Oct. 2007. Web. 29 Nov. 2009. .