Stereotypes Concerning Eurocentric Standards of Beauty: Analytical Essay

Historical Essay

As a member of a minority ethnic group and the queer community, I have felt first-hand the sting of discrimination. I want to explore the root of stereotypes in Art as well as issues with gender, sexuality and the perception of the ideal body. Artists use stereotypes for varied purposes, sometimes ironically or critically, other times as mere descriptions. Even art that tries to reverse conventional ideas still include stereotypes. For example, Queer Art reverses the notion of softness or bondage-crazed men but stereotypes of “campness” still prevail. My study aims to explore representations of stereotypes in a range of medias, techniques and subject matter throughout art history. Any element of a given culture is susceptible to stereotype and generalisation, and the Visual Arts are no exception. Throughout history, gender roles and racial stereotypes have been established and changed. Art plays a huge role in perpetuating but also protesting stereotypes from the depiction of the ideal male and female body to the depiction of people of colour and other minority sub-sections of society.

Venus of Willendorf, 30,000 BCE

Extraordinary Colossal Phallus in Stone, 500 BCE

With exaggerated breasts and hips, Stone age statuettes of women known as fertility figures are claimed to be some of the earliest known examples of figurative art worldwide. Images and idols were created based on the human form and they usually had a hidden or mysterious meaning. There are still in existence today remarkable specimens of original phallic symbols. In history there has been an overt worship of phallic symbols. Humans are obsessed with the appendage and its connotations with power. Christianity is known for destroying phallic columns and pillars which indicates a discomfort towards the worship of sexuality. This phallic symbol made in 500 BCE that sexuality has been suppressed because of religion causing a taboo around sex. This enigmatically enormous phallus may have been the ultimate statement of virility, power and prosperity. The sculpture was 61cm tall and 20cm wide, given the value and volume of the material this piece could have been used in a ritualistic or idol context. Alternatively, as a display piece, the object may have operated as the ultimate status signifier.

Zeus of Artemision, 460 BCE

A fascination with naturalistic sculpture can be traced back to Ancient Greece’s Classical period where there was more attention to detail and presentation of the idealised human anatomy. Classical sculptors strived for perfection in their work. Progressively realism in facial expression and pose has improved. The ideal platonic man was presented as athletic and muscular. The ancient Greeks famously fetishised the male body in sculptures that represent powerful, illustrious men as hulking figures with taut, rippling muscles. Homosexuality was tolerated and common at the time whilst heterosexual sex was primarily used for reproduction. Therefore, the glorification of the male body was widely accepted. This monumental bronze sculpture from 460 BCE is thought to represent the mightiest of the Olympian gods. Aspects have been simplified and proportions expanded to give the figure the exemplary body worthy of his divine status. Zeus known for his promiscuity, famous for his infidelity is shown in full heroic nudity. Myths were oversexualised as sexuality was expressed openly at the time. Patriarchy has caused regressed acceptance.

Venus and Mars, Sandro Botticelli, 1485

The Renaissance was the rebirth of the art of Ancient Greece and the imitation of their naturalistic ideals. The Renaissance masters were believed to be homosexual, the male body was glorified and exaggerated in this time. Sandro Botticelli depicts Venus, the Goddess of Love and Mars, the God of War in this painting created in 1485. His brutal and aggressive nature is subdued by Love’s grace. The allegory of Love conquering War was a popular subject in Renaissance times. Venus and Mars are lying in a grassy glade surrounded by trees and shrubbery. The composition of this piece frames both of the Gods and places them in the foreground. The painting shows Mars asleep, presumably exhausted by his lovemaking with Venus. Venus however, is awake and watchful, presumably reveling in her conquest. Behind them are a group of baby satyrs who mischievously disturb the tranquility within the scene. The presence of the baby satyrs could be interpreted as reinforcing the warning inherent in the presence of the wasps above Mars’ head which may symbolise the sting of desire. The satyrs can be identified with bringers of nightmares especially those of a sexual nature. The colour tones are light and simple, each figure is painted with a degree of vividness that illuminates their presence. Gender roles are displayed, women are associated with softness as Venus in a flowing white, gold-trimmed gown is fastened with a pearl-encrusted brooch symbolising her chastity, whilst men are identified with aggression and disdain as Mars is depicted naked in the deepest of sleep, even the sound of a satyr’s bellowing seashell horn cannot wake him.

Boy with Basket of Fruit, Caravaggio, 1593

Caravaggio depicts Mario Minniti effeminately challenging the virile stereotype of men in 1593. Minniti clutches the basket close to his chest and the tones and textures of the ripe fruits stand out against his soft skin. Caravaggio captures the beauty and the details of the image. The fruit in this image is ripe and fresh, evoking suggestions of youth, vigour and fertility, which is echoed in the image of Minniti’s, exposed skin. The sensuousness of the peaches and grapes are mirrored in his facial expression and attention to musculature. Not only is this uncommon, Caravaggio sets the subject in motion, with Minniti’s angled posture and open mouth, this is an occupied man, possibly making a delivery. In addition, we can parallel the ripeness of the fruit to Minniti’s coming into manhood. Fruit is also reminiscent of biblical stories, particularly that of Adam and Eve and their original sin in the Garden of Eden. In this way fruit evokes images of temptation and provocation. This can connote to Caravaggio’s homosexual tendencies which were controversial at the time, it was speculated that Caravaggio and Minniti were long term lovers until Minniti married. Caravaggio was already breaking rules and setting standards that would later challenge the art historical landscape.

At the Moulin Rouge, Henri de Toulouse Lautrec, 1892-1895

Post Impressionism characterized by a subjective approach to painting, as artists opted to evoke emotion instead of realism in their work. Toulouse Lautrec represented Paris after dark. The painting ‘At The Moulin Rouge’ created from 1892-1895 is noted for its daring composition, dramatic cropping, and flat planes of strident color. The viewer is invited in from the balustrade, Toulouse Lautrec places the audience in the painting as a voyeur creating a sense of guilt. The viewer seems to intrude the surroundings. The painting seems offensive as the viewer is confronted making them uncomfortable and intimidated. Henry de Toulouse Lautrec was an outcast of society mocked for his short stature and known for his promiscuity. Toulouse Lautrec often frequented prostitutes therefore he depicted them. He painted himself amongst the nightlife, he is the short figure walking with a very tall man with a top hat. He also distorts and disfigures the women’s faces to make them look like caricatures, he wanted to highlight female beauty through an alternative lens. The men are clearly depicted differently from the women in this painting. The men lack colour whilst the women are illuminated because Toulouse Lautrec had an obsession with women and he wanted to highlight them. There is a quality of caricature but at the same time a sensitivity and a kind of humanity. Toulouse Lautrec constructed the sense of the alien, the light looks artificial, the woman’s face in the far right corner is illuminated in green, it is violent and grotesque yet endearing.

Self Portrait with Raised Bare Shoulder, Egon Schiele, 1912

Expressionism stresses subjective feelings over objective observations. Egon Schiele’s works powerfully express despair, passion, loneliness and eroticism on many occasions using himself as the subject. In this ‘Self Portrait with Raised Bare Shoulder’ painted in 1912, Schiele’s bare shoulder and eyeline are turned directly towards at the viewer making the work both revealing and confrontational. The face filled with horror: the mouth half open, the eyes are wide. Panic has been channeled into painting, the agitation evident even in the way the pigments were applied. This combines psychological intensity with a sense of man’s alienation and suffering. This is an interesting depiction of male vulnerability as there is an innocence captured. Men stereotypically do not show emotion hence this raw and explicit depiction is shocking to the viewer. Historically, men did not tend to depict themselves in such a revealing manner because they did not want to seem effeminate.

The Great Masturbator, Salvador Dali, 1929

André Breton defined Surrealism as ‘thought expressed in the absence of any control exerted by reason, and outside all moral and aesthetic considerations.’ Surrealism drew on aspects of Dada and the ideas of Sigmund Freud, who believed dreams could help us understand our unconscious minds and release repressed memories and desires. Surrealism liberated the unconscious and reconciled it with the conscious. Dali painted ‘The Great Masturbator’ in 1929 inspired by a rock, that to him suggested a great lying nose down. Dali’s imagination also displayed a disturbing array of his own sexual desires, insecurities and phobias. Out of his head in his very fluid dreamlike way comes this explosion of imagery. In it he put all of his obsessions, phobias and anxieties, clamped onto the mouth of the self portrait is a grasshopper. Dali was scared of locusts as a child and there it is right up against his face. On the other side there is quite an explicit woman looking at the nether regions of a man who is standing near by. Beneath, almost like a parody, is a lions face but with its tongue lewdly lolling out. Although around the tongue are fangs which display that maybe not all is well in the bedroom. Over the ages religious groups have condemned masturbation, claiming it inhibits self-control and promotes sexual promiscuity. The scale is completely distorted with a real clarity, a luminosity that as a picture works beautifully.

Reclining Figure, Henry Moore, 1936

Organic Abstraction is the name given to the use of rounded abstract forms based on those found in nature. Henry Moore believed that ‘there are universal shapes to which everybody is subconsciously conditioned and to which they can respond if their conscious control does not shut them off.’ The ideal human form is engraved into our minds. The patriarchy controls our bodies and keeps the constant thought of desirability running through our minds. Moore’s sculpture ‘Reclining Figure’ made in 1936, has been discussed in terms of its sexuality, fecundity and symbolic resonance with the landscape. Moore simplifies the human form and makes the figure abstract. The viewer can understand the reclining female figure propped up on her elbow with her legs spread open suggests that she is ready for intercourse. This sculpture is sexually charged removing the taboo of female sexuality. Women desire sex as well and women are constantly told not to explore their own bodies. It is also more socially acceptable for a man to be sat with his legs wide open or to have had a lot of sex where as this behaviour would not be deemed polite for women. Moore creates an atmosphere of liberty and hints at the original fertility figures.

The National Theatre, Denys Lasdun, 1976

Brutalism is a stark style of functionalist architecture, characterised by it’s massive and monolithic appearance with a rigid geometric style and large-scale use of poured concrete. Brutalism is generally distinguished by its rough, unfinished surfaces, unusual shapes, heavy-looking materials, straight lines and small windows. The National Theatre built in 1976 exemplifies some of the best aspects of Brutalism: its dynamism, its sense of shock, and the rich, complex and highly contextual spaces it creates’. On the outside it is extravagant and expressive, the feelings induced are as dramatic as the architecture and the plays that would be staged there. Brutalism presents the notion that men use large buildings to make up for their fragile masculinity therefore it is humorous. It depicts the fragile male ego.

Tom of Finland, 1989

Tom of Finland created a legendary gay aesthetic, his subversive drawings ridiculed authority figures and his visions of gay love empower others. Tom of Finland was also avidly anti racist depicting interracial relationships when they were completely taboo. In this drawing from 1989 Tom of Finland seductively drew gay men which had become emblems of both erotic art and equal rights. Sculpted and toned bodies dress up in archetypically masculine uniforms showing a fascination with masculinity. Also contrasting a common stereotype of gay men, Tom of Finland’s men are not weak or ashamed. Tom of Finland depicts ultimate masculinity, presenting men indulging unapologetically in every kind of sex. Tom of Finland also creates a reminder of Greek sculptures as he accentuates the male physique in all it’s glory. It is ironic that Tom’s police are meant to be the face of orderly conduct, enforcers of law and civil obedience whilst they embrace their most throbbing desires. The label ‘Tom’s cops’ presents the notion of pornographic actors wearing labelled clothing that link directly to the company shooting the scene. This further puts the illustration in it’s pornographic context. Furthermore, this illustration is quite violent, power play is fetishised. It portrays an aroused dominant man with his submissive perpetrator. The submissive man seems to be enjoying himself therefore this is a place where men have sex consensually, where wrongdoers are hungry to be punished. There is also a voyeur in this illustration which links to Toulouse Lautrec’s work. However, this voyeur has no shame, he is erect, grabbing his bulge and watching with no guilt. Therefore, Tom of Finland does not depict men abusing positions of power he presents a world of fantasy and fetish. Moreover, if we were to watch porn I feel it is important that we consume ethical porn because consent matters and sex workers deserve dignity and respect. We need to towards an age where we remove shame from sex.

Piss Flowers, Helen Chadwick 1991

The label Young British Artists is applied to a loose group of British artists who became known for their openness to materials and processes, shock tactics and entrepreneurial attitude. British conceptual artist Helen Chadwick embraced the pleasurable aspects of the natural world, breaking taboos of normal and traditional art. Chadwick’s experiments with material were innovative and unconventional. Chadwick invented a unique methodology to create her ‘Piss Flowers’ in 1991. Chadwick urinated in deep snow, then made casts of the interior spaces, melted in the snow by the warm liquid. The resulting white forms look like alien cities from a frozen planet or fungal eruptions beneath the surface of the arctic ice. They are unique and haunting winter wonderlands. This work is as repulsive as is beautiful, this combination makes Chadwick’s work individual. Aesthetic beauty created out of an alliance of unconventional vile materials challenges stereotypical perceptions of the body in an elegant yet unconventional form. It makes the viewer question why the natural phenomenon of urinating is deemed inappropriate. There is also a reminder of Organic Abstraction, we can recognise flowers from these shapes made out of urine, there is an instinctive notion that draws humans to nature. This work also questions the idea of censorship, in society there is constant censorship to the point where public breastfeeding is deemed inappropriate to some. This work tells the viewer to accept the beauty in the natural world and to remove the concept of shame in normal phenomenon’s.

Life is Short, Dump Them, Florence Given, 2019

Florence Given is a British feminist queer illustrator and social activist. Given addresses social issues surrounding sexuality and tackles feminist issues. In “Life is Short, Dump Them” made in 2019 Given explores stereotypes around women and the world of dating. This artwork discusses the concept of settling and how it needs to stop. We always find ourselves settling for the next best thing when in fact that isn’t truly what we need. We instinctively know we deserve better so why don’t we choose that option. It is about our desire to constantly please people. This artwork tells the viewer that they deserve nothing short of what they want in a relationship. This is asking if the viewer is compromising their identity or the way that they express themselves whilst telling the viewer to make sure they are fulfilling their every need within a relationship. If their needs are not met they should “dump” their partner because they deserve better. The writing “Life is Short” also reminds the viewer to grasp all the oppurtunities they can because we do not have the luxury of living forever. There is also empowerment for black women within this illustration. Black hair is not normalised within society and this artwork is unapologetically showcasing it. Black people should not have to hide their natural hair in order to fit into Eurocentric ideals of beauty. Secondly, the woman is nude and enjoying a cigarette, she is presented in complete power. This links closely to the Free the Nipple movement. This work reverses stereotypes against women and liberates them.

Within my own practice I explore stereotypes in regards to desirability and I focus on appearances that are not based around the Eurocentric standard of beauty. In my own work I’ve looked at stereotypes around the human form and historically the ideal body has been explored a lot. Nowadays there is a huge taboo around the human form; however, art allows an investigation into the human form and it can be done either in a sexual or observational nature. Art also inquires about the concept of gender. I want to look at the ballroom culture originated in New York and the London Queer Scene to influence my work. From my study of stereotypes within art, artists usually challenge stereotypes to express their personal view on the world or to present new ideas and concepts to a wider audience. Artists break boundaries and they think about the world in a different way from the established regimes within society.