Pregnancy in art includes all artistic works depicting pregnancy in women. In art as in life, it is often unclear whether the actual state of pregnancy is meant to be displayed. A common visual indication is that a woman's movement puts an open hand protector in her abdomen. Historically, married women are at the stage of pregnancy for most of their lives until menopause, but this depiction in art is relatively uncommon, and is generally confined to certain contexts. This may continue even in contemporary culture; Although some recent artwork depicts pregnant women, an author "is surprised by the shortage of visual images... pregnant women in the public visual culture". A study conducted by Pierre Bourdieu in 1963 found that the vast majority of 693 French subjects thought that photographs of a pregnant woman could not, by definition, be beautiful.
There are two subjects that are often depicted in Western narrative art, or historical paintings, where pregnancy is an important part of the story. This is an unpleasant scene commonly called Diana and Callisto , which shows when the discovery of Callisto's forbidden pregnancy, and the biblical scene of the Visitation. Gradually, portraits of pregnant women began to emerge, with a special mode for "pregnancy portraits" in elite portraits of about 1600 years.
As well as being the subject for portrayals in art, pregnant women are also consumer of the arts, with some special types of work developed for them, including Madonna del Parto images of Mary.
Video Pregnancy in art
Traditional culture
Images of pregnant women, especially small statues, are made in traditional culture in many places and periods, though rarely one of the most common types of images. These include ceramic figures from some Pre-Columbian cultures, and some figures from most ancient Mediterranean cultures. Many of these seem to be related to fertility. Identifying whether the numbers are actually meant to show pregnancy is often a problem, as well as understanding their role in the culture.
Among the oldest examples of pregnancy depictions are prehistoric statues found in most Eurasians and collectively known as Venus sculptures. The most famous is Venus Willendorf, an oolitic limestone statue of a woman whose breasts and hips have been exaggerated to emphasize her fertility. These statues exaggerate the abdomen, hips, breasts, thighs, or vulva of the subject, but the extent to which the numbers seem to be pregnant varies greatly, and most do not seem to be pregnant at all. An inevitable subjective survey of the corpus of about 140 statues concluded that only 17% of them represented a pregnant woman, which stretched to 39% "which might represent pregnancy".
- Western Art>
- Cook, Jill, Venus statues, Video with Dr. Jill Cook, European Prehistory Curator, British Museum
- Ferrie, Frank, "Piero della Francesca's Madonna del Parto and Functions of the Immagine Maria's Pictures", Dandelion , London, December 2, 2010. online. Date accessed: May 15th. 2017
- Hall, James, Theme Dictionary and Symbols in Art Hall of Wee, 1996 (2nd ed.), John Murray, ISBN: 0719541476
- Hearn, Karen, "Fatal Fertility? Elizabethan and Jacobean Pregnancy Portraits", 2000, Costume: The Journal of the Costume Society Vol. 34, Problems. 1, Pages 39-43
- Jolly, Penny Howell, Imagine 'Magdalena Pregnant' in Northern Art, 1430-1550: Overcoming and Unraveling Sinner-Saint, 2016, Routledge, ISBNÃ, 1351911236, 9781351911238, google book
- Klepp, Susan E., Revolutionary Conception: Women, Fertility, and Family Restrictions in America, 1760-1820 , 2012, UNC Press Book, ISBN: 0807838713, 9780807838716, google book
- Matthews, Sandra, and Wexler, Laura, Pregnancy Picture , 2013, Routledge, ISBNÃ, 1136766235, 9781136766237, google book
- Mitchell, Elizabeth Kathleen, "William Hogarth and Matrix Engraver's Pregnant Ballmer", at Balada and Broadside in England, 1500-1800, 2010, Ashgate, google book
- Roberts, Helene E., "Pregnancy" in The Encyclopedia of Comparative Iconsography: Themes Described in Artwork , 2013, Routledge, ISBNÃ, 1136787933, 9781136787935, google book
- Schiller, Gertud, Iconography of Christian Art, Vol. I , 1971 (Trans England from Germany), Lund Humphries, London, ISBN 0853312702
- Taiz, Lincoln and Lee, Flora Unveiled: Discovery and Rejection of Sex in Plants , 2017, Oxford University Press, ISBNÃ, 0190490268, 9780190490263, google book
- "V & amp; A", "Renaissance labor", Victoria & amp; Albert Museum
- Karen Hearn, Marcus Gheeraerts II: Elizabethan Artist , Tate, London 2002
In Europe, pregnancy depictions are largely avoided in classical art (apart from small numbers), but then Western art has two often-described subjects where pregnancy is an integral part of the narrative.
Callisto
In Greek mythology the nymph of Callisto becomes pregnant by Zeus (Jupiter to Rome) in disguise. His pregnancy was visible while he was bathing, and his angry darling, Artemis (Diana) sent him away; Jupiter's wife, Juno, then turns him into a bear. Some classical portrayals tend to show this transformation, but later in the day the traumatic discovery of the invention is most often described, especially from the Renaissance and so on, using the Roman poet Ovid as its source.
What was typical of the composition was first seen in Titian's Diana and Callisto (1559), in which Callistress's stomach was exposed as a point of Artemis/Diana accusing him and his other followers of reacting various reactions. Although Ovid puts the discovery in the ninth month of Callisto's pregnancy (Metamorphoses II, 441-465), in his paintings it is generally shown with a rather simple lump for late pregnancy. But this is precisely when the scene shows the moment when her first friends first realized that she was pregnant. It is clear that the main attraction of the subject is the opportunity to describe a group of naked women, although it can be claimed that it illustrates the serious consequences of an unwanted pregnancy.
Virgin Mary
The image of Mary is by far the most common image featuring a pregnant woman in post-classical Western art, and may remain so until modern day. When Mary's conception of Jesus, called the Good News, is one of the most common subjects in traditional Christian art, but the portrayal of later in pregnancy is also common. Unlike many other types of pregnancy portrayals, there is usually no ambiguity as to whether Mary is meant to be shown while pregnant, even where pregnancy is not clearly visualized.
The Visitation, a meeting between two pregnant women, Mary and Elizabeth, as recorded in Luke Luke 1: 39-56 , is very often illustrated, but their pregnancy is usually not visually stressed, at least until the painting beginning of the 15th century Netherlandish. Medieval thought states that Elizabeth was pregnant about seven months at the meeting, and Mary was about one.
The full loose clothing used in religious art, as in normal medieval life, makes it difficult to detect in any case. In late medieval paintings they can be displayed with a vertical slit in their clothes; Medieval women's dresses have openings that are normally covered by straps when dressed, but can be left open during pregnancy. It may be either up front or on the side, and is used in the art to denote pregnancy, although from about 1450 such gaps, revealing the contrasting colors of underwear, becomes fashionable and can be seen in the art of an unmarried slim woman.
In some cases one or another place hands on another bump, as in Rogier van der Weyden's version of Leipzig (illustrated). Some images, mostly Byzantine or Medieval Late Germany, show their unborn children in the womb, as if in a modern cutaway image. In German images they are naked (though usually with halos) and John the Baptist bows down or kneels to Jesus, who raises his hand in blessing. It should be emphasized that in all periods, most portrayals have little visual indication that women are pregnant; his story is famous for his audience.
Several other images show Virgin pregnant with Saint Joseph or other relatives, including several Travel to Bethlehem for birth. The latter is a standard part of the Byzantine cycle, but rarely in Western churches. There are several pictures of Joseph and Mary looking for shelter or turning away at the inn in Bethlehem, mostly from the northern Alps after 1500; in Mary it is usually obviously pregnant.
The rare subject of Doubting Joseph is also needed to build Mary's pregnancy, and some versions show this by openings that are not bent in her clothes or Jesus that can not be cut. In this scene, based on Matthew 1: 18-25 and apocryphal elaboration, Joseph was agitated by his bride's pregnancy, but was later convinced by the angel who came to him in a dream, first of his four dreams at Matthew. Mary is often shown spinning during pregnancy; the rotating figure with the "cutaway" is illustrated to have Joseph's head appear through the tracery on the left.
In a similar painting in Budapest, where Mary spun while Joseph slept and the angel appeared to him, the unborn Jesus was not seen in the present painting, but can be seen in the underdrawing with infrared reflection. Either the artist or guardian changed his mind at that moment, or it was overpainted later, perhaps because the motive became indecent or primitive. The other similar picture is only from Mary, especially as a statue; this is called Maria gravida ("Mary Pregnant") and is included below.
A number of early Dutch paintings show Mary Magdalene with the same opening in her dress. Penny Howell Jolly has proposed that this motif symbolizes his "spiritual pregnancy," although in his account of the most famous example, Descent from the Cross by van der Weyden (circa 1435, now Prado) Lorne Campbell notes things that do not change, but relate it only to the sad condition of Mary Magdalene.
Madonna del Parto is the name for the Virgin Mary figures especially related to pregnancy and childbirth, or showing a pregnant virgin. This is not very common; the most famous is the fresco by Piero della Francesca, where the pregnant Mary has a prominent opening that is not protruding in the front of her dress, and another on the side. However, this depiction falls out of fashion during the Renaissance, and Piero is the latest known from Tuscany. It attracts the attention of pregnant women or those who worry about it, as well as those who want a pregnancy. The French queen Claude, who had seven children before dying at the age of 24, had a painting from
Some of these Mary images display the view of Jesus " in utero in, as found in some of the images from Visitation (see above), and many have the same protective attitude of the hand in the stomach, which also features portraits of expectant mothers when this begins to appear.After Counter-Reformation is visualized in womb Jesus becomes rare, and instead Mary can be displayed with Kristogram "IHS" on her stomach.
In the Eastern Orthodox icon, the in utero Jesus, who is usually well-dressed, remains part of the tradition for certain representations to this day. It is found in one of Russia's most famous icons, the 12th-century Ustyug Annunciation at Tretyakov Gallery, Moscow, which has a Child Birth Size displayed inside the chest area, and in the Mary icon of a type known as Pomozhenie rodam in Russian, translated as "Help in childbirth" (or "Succor in travail").
Portrait
In the Late Medieval Period, portraits of pregnant-looking women began to be painted, though the dress for the dress that congregates in front makes it difficult to interpret or identify with confidence. Arnolfini's portrait by Jan van Eyck in 1434 may be an example of pregnancy, but the views of art historians today are mostly against this, since virgin saints are often shown in the same way. The virile martyr and the "daughter" of Saint Catherine of Alexandria, usually wearing a high fashion in this period, are also the patron saints of labor, so there may be a deliberate level of ambiguity in his image.
Several portraits of Italian Renaissance suspected of pregnant women show they wear underwear called "guarnello", often associated with pregnancy or the period after childbirth. These include Leonardo Da Vinci's Mona Lisa, where the garment was first seen under infrared scans in 2006, indicating that Lisa del Giocondo, the caregiver, was pregnant or had just had a baby when she was painted. Another painting with guarnello is Botticelli Portrait of a Lady Known as Smeralda Brandini , in which the nanny also holds a hand over the bump. This is a feature seen in many images such as the Visit scene where pregnancy is certain, and it may show in cases where it is much less clear, including some portraits by Anthony van Dyck. Raphael is another example, with a pregnant woman seated with her left hand on her stomach, but such a description is rare in Renaissance art.
The exception to this is the "pregnancy portrait" (the term first used by Karen Hearn, a Tate Britain curator) of a woman shown as a heavy pregnant, usually standing up. This is primarily found in England, where fashion may have been popularized in about the 1590s by Marcus Gheeraerts the Younger, the Flemish English painter, who is the leading English painter of these portraits. Part of their reasons may be a risk to the mother giving birth and some may become posthumous.
There are some previous examples of portraits of courts in the Continent of Europe, and in England, but the main group of English portraits dates from the late 1580s to about 1630. At about the same time as the English example of Margaret of Austria, the Queen of Spain sent her portrait while pregnant to close friends and relationships women. The example illustrated below by the painter BartolomÃÆ' © GonzÃÆ'¡lez y Serrano, who was sent home to Habsburg Austria, only changed his official standard portrait by swapping his daughter with a dog or an ordinary chair on the left, and taking it out. dressed up front. Maybe no fresh poses required for the artist. Her daughter, Anne of Austria, Queen of France, painted herself as 8 months containing the future of Louis XIV of France, who was born 23 years in her marriage. Portrait of their poor cousin, Holy Roman Queen Maria Leopoldine of Austria, who died in childbirth at the age of 16 1649, the year of the portrait was dated, possibly a posthumous adaptation of her wedding portrait.
Then portraits of pregnant women tend to be family members or at least friends of the artists; relatively few women, or their husbands, choose to assign expensive portraits (often only once in a lifetime) that indicate they are pregnant, although many women spend at least the early years of their pregnant marriage life. The most common moment for a woman to paint her portrait is after her marriage, when any advice on pregnancy will be undesirable. In some well-documented cases, the subject of the portrait can be well represented in pregnancy when the portrait is painted, but it is "pressed" or "hidden" in the image. It is a relatively simple matter for painters to remove or add a pregnant belly to a painting. Some paintings (which are not portraits, though no doubt the model of the circle is used) from Vermeer have been said to show pregnant women, but most of these discount specialists. A specialist does not know of any portrait showing a pregnant woman from all Dutch Golden Age paintings. In contrast to the 16th century style, "a mode developed by the 1620s is helpful for someone who tries to hide a swollen belly", albeit only in portraits.
In 1904 the portrait of his wife by Lovis Corinth, dated five days before birth, shows a profile display that emphasizes pregnancy. Corinthians are productive of painting some pregnant women, many of which do not seem to be portraits. Paula Modersohn-Becker painted herself as pregnant in 1906 before she ever did; in the next 18 months she has a daughter, died three weeks later.
Flirting the genre or satire
Some Early Modern depictions in the genre paintings, or other media such as popular prints or book illustrations, discuss the social implications of pregnancy, either show women who are seen to have more children than they can afford, or women, especially helpers, who have become pregnant out marriage, with terrible social implications for them.
There are a number of narrative scenes that suggest unwanted pregnancies basically from the point of view of the father, including some where women have brought this issue before local judges to provide financial support, because unmarried women can do it in England (uniquely, according to Bernard Picart , who ridiculed the law). British artist William Hogarth includes many pregnant women in his works, usually with satirical or comic intent, and generally more often than not having negative negative implications. In Hogarth's A Woman Swearing a Child to a Cemetery (or The Denunciation , c.1729, National Gallery of Ireland) a young woman on a false charge of an elderly father rich in her son, while the real father advised him. The verses in the printed version summarize the situation:
Here the pregnant Mistress filtered out the real Sire,/And falsified his false Sonic for Hiring/Above the Rich Old Letcher, who denied The Fact, and pronounced the naughty Hussif oath;/His wife is enrag'd, exclaims against his wife,/And swears he'll reply on his page:/The Jade, Justice and Church Ward'ns agree,/And force him to give Security.
In particular Hogarth describes a number of pregnant ballad sellers, and who have young children. Because the work requires little movement, it may often be taken during pregnancy, but Hogarth seems to have reflected a set of contemporary ideas using pregnancy as a metaphor for printing as a means of reproduction.
Galeri Hogarth
Modern
As the modern era gets closer, some artists begin to show more explicit pregnancies, with very pregnant numbers, and more pregnant women than ever before. The two paintings (not portraits like that) by Gustav Klimt, Hope I (1903) and Hope II (1907-08), show slim, pregnant women in the profile. In Expect me the numbers are naked, and pregnancy is very clear, while in Hope II dresses or large and complicated robes make this less immediately obvious.
Egon Schiele creates a bare image that contains many of his drawings in color, supporting the frontal view. The Pregnant Woman by Pablo Picasso is a statue dedicated to his later partner Francoise Gilot and is made of plaster, metal armatures, wood, ceramic vessels and jars. Picasso wants to inspire Gilot to have a third child with him by making this statue.
Pregnant women is the most famous painting in a series of paintings of seven nude women painted by Alice Neel. pregnant girl is a 1960-61 painting by Lucian Freud who plays her lover Bernadine Coverley, when she is pregnant with their daughter Bella. There are pregnant female nude statues with, among others, Damien Hirst, with The Virgin Mother (now at Lever House in New York) and Verity, and Ron Mueck , the Pregnant Woman (2002), is a 2.5 meter tall statue of a naked pregnant woman holding her hand over her head, now at the National Gallery of Australia.
Maps Pregnancy in art
Medical illustration
In contrast to the general scarcity of artistic portrayal of pregnancy, in the field of medical illustration has become one of the earliest and most common subjects, with the same "cutaway drawing" approach found in some medieval religious works normally employed. The fetus is generally the main focus of interest, not the mother. Most of the earliest depictions used in guidebooks on midwifery are very inaccurate, but still useful to indicate the position of labor. They are based on the re-copying of many generations of images from medical texts that returned to Soranus from Ephesus in ancient times and Muscio in about 500.
Accurate images by Leonardo da Vinci may be the first to be made, but professional medical texts take centuries to follow. Scottish anatomist William Hunter, a physician from Queen Charlotte, is an admirer of Leonardo's image in the Royal Collection and learns from the obvious depictions. His own works, Anatomy of Gravid Uterus Exhibited in Figures , were published in 1774 and based on extensive studies of pregnant bodies; how he gained so much was the subject of suspicion at that moment and beyond.
Art for pregnant women
Several types of art have been designed with pregnant women especially in mind, though this may be less common than art devoted to women who wish to conceive (discussed in art history using the term "fertility"). One of the many contexts and uses speculating for Venus sculptures is that they are held in the hand during labor, whose size and shape somewhat consistently seem to fit. However, there are various other explanations.
Madonna del Parto and other images of the pregnant Virgin Mary are often primarily designed to offer a focus for the devotion of pregnant women and those who care for them. In 1954, the mayor of Monterchi, home of Piero della Francesca Madonna , refused to lend it to an exhibition in Florence in order not to deprive the population of its benefits.
The painted desco da parto ("birth tray" or "birth salver") is an important symbolic gift for married women in the late Middle Ages and the Early Modern Florence and Siena. Both sides are usually painted, but with different types of scenes. The upper side (or recto) generally has a crowded, usually secular, scene scene, such as scenes from classical myths or matching allegories. Scenes from the Old Testament or Christian religious repertoire also appear in some cases. The scene of childbirth is very popular.
The down side or verso generally has a simpler and often less taller subject, with fewer, larger numbers, and usually includes an emblem, with the arms of both parents indicated. The scene with one or two naked boys, with the old man's arm coat on the side, is very popular.
In the Renaissance, it is believed that the sight seen by a pregnant woman influences her pregnancy and even what it produces. Martin Luther tells the story of a woman who was frightened by a rat in pregnancy, who then gave birth to a mouse. The manual suggests keeping images with a positive impact in the view of pregnant women, and in this context boys who are repeatedly naked, and scenes that indicate the end of a successful birth should be seen. This is also a factor in the image of Virgin and Child, which is everywhere in the bedroom. Maybe desci hung with verso displayed during pregnancy, to promote the production of the same healthy boys.
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