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ART AND IDENTITY - Coggle Diagram
ART AND IDENTITY
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Nation
The Kingdom of Benin, located in the southern region of modern Nigeria and home to the Edo people, was ruled by a succession of obas, or divine kings. It grew from a city-state into an empire during the reign of Oba Ewuare the Great
One of the benefits of dealing with mer-chants-sailors who traveled the seas was the va-riety of goods they brought with them and were eager to trade for foodstuff grown or refined by the Edo people.
This nineteenth-century brass head of an oba, for example, is not meant to be a portrait of an individual king so much as a representation of the divine nature and power of being king. The oba derives his power from his interactions with and control over supernatural forces.
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Sex/Gender Identity
Due to the strong contrasts between the sitters in Wiley’s paintings and those who posed for the earlier portraitists, however, this com-parison often makes for a complex interweaving of meanings.
It was not uncommon in European and American art of the nineteenth century to use the subject of the work as justification for depicting the female nude.
Wiley takes that pose and its meanings—indecency, exposure, vulnerability, powerlessness—and uses them in a context that seemingly makes no sense when the subject is a fully clothed black male. Or does it?
By using the conventions for depicting the female nude, Wiley asks us to exam-ine the following: what happens when the figure is clothed—with a suggestion of eroticism in the glimpse of brown skin and white briefs above his low-riding jeans.
Class
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Maria Luisa of Parma depicts the fourteen-year-old bride-to-be holding a snuffbox in her right hand containing a miniature portrait of her future husband inside its lid. This detail was a formula in formal engagement portraits.
The sitter holds a gift such as this finely made and costly trinket to express appreciation and budding affection for one’s betrothed.
Twenty-four years after her portrait by Pécheux, Maria Luisa was thirty-eight years old and had borne ten children, five of whom were still alive, when Francisco Goya created this portrait, Maria Luisa Wearing Panniers.
Group Afiliation
History suggests that the quality of human survival is best when humans function as a group, allowing for collec-tive support and interaction.
Artists throughout histo-ry have been associated with groups, movements, and or-ganizations that protect their interests, forward their cause, or promote them as a group or as individuals.
Personal Identity
The Palmyrenes, or people of Palmyra, built three types of elaborate, large-scale monuments for their dead called houses of eternity.
The first was a tower tomb, some as high as four stories.
The second was a hypogeum, or underground tomb.
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A portrait of a father, his son, and two daughters, dates to between 100 and 300 CE, sometime during the era of Roman rule.
The fine fabrics indicated by the embellished borders of both men and women’s clothing indicate goods and wealth amassed from trade, as does the abundant use of precious metals and gems in the variety of jewelry adorned by the Palmyrenes.