Abstract :
In the masculine societies, the identities attributed to woman by masculine forces, place the woman to a closed place, due to the fertility and letting the masculine power to be the decisive or the architect of these places. The acceptability of the sanctified woman is confined with the veil of the body and virginity, creating the “inner” circumstance, while the woman who are not approved by the masculine forces are left “exogenous”, being subjected to social differentiation. Western painting art has shaped the religion’s holy form and codes over woman’s body. On the other hand, nudity which is not approved in social context becomes the inspiration of masculine creativity under the criteria and sanctuary of artistic acceptability, while the woman’s body is spatialized with its nudity. The imputed identities to woman and the places which are shaped by fantasies, with images of woman’s sexuality, serve the masculine power. In this context, the visibility of masculine power over woman’s body faced imaginary transformation, with the creativity of the artists over woman and place. The visibility of time’s spirit is established upon the sexualized objects attributed by the imagery of delusions of masculine power. The aim of this study is to present the usage of woman image as body in the history of western art and the relation between woman’s imputed identity and pictorial place; examining the spatialization of woman’s body in historical context.
NaturalLanguageKeyword :
Woman , Place , Nudity , Gender , Masculine Power
