In one work, Lynda Nead suggests in regard to an event surrounding this work of art that it symbolizes a rather crude perception of feminist views of male-engendered images of femininity. This work's provenance is first recorded in June 1651 in the collection of the Marqués del Carpio. With a partially drawn red curtain in the background, the title character's attention is drawn to the center of the painting, and the object of the title character's gaze is slightly obstructed by a pink tassels. (*) Titian's and Reubens's depiction of the same subject, unlike this work, has the title character sitting upright. One of this painting's alternate titles is due to its place in the Moritt Collection in Yorkshire and in 1914 the suffragette Mary Richardson famously attacke
In one work, Lynda Nead suggests in regard to an event surrounding this work of art that it symbolizes a rather crude perception of feminist views of male-engendered images of femininity. This work's provenance is first recorded in June 1651 in the collection of the Marqués del Carpio. With a partially drawn red curtain in the background, the title character's attention is drawn to the center of the painting, and the object of the title character's gaze is slightly obstructed by a pink tassels. (*) Titian's and Reubens's depiction of the same subject, unlike this work, has the title character sitting upright. One of this painting's alternate titles is due to its place in the Moritt Collection in Yorkshire and in 1914 the suffragette Mary Richardson famously attacked it. Also the title of a Francis Boucher painting, the only surviving female nude by its painter, for 10 points, name this work of Diego Valezquez showing the title figure looking at reflection of herself held up by Cupid.
In one work, Lynda Nead suggests in regard to an event surrounding this work of art that it symbolizes a rather crude perception of feminist views of male-engendered images of femininity.
The {Toilet of Venus} [or The {Rokeby Venus} or {Venus at Her Mirror}]