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Comparative Analysis of Use of Woman Imagery in Painting: An Overview of Four Selected Artists and their Works.
Subject area: Arts, Social Sciences and Humanities · Area of research: Visual Arts
DOI: https://doi.org/10.64388/IREV9I7-1713759
Abstract
The trust of this paper is to draw a comparative analysis of the use of woman imagery in painting by four selected artists. What are their focus and motivations as observed by some art historians who sees women as the ?veritable symbol of life?, that they represent continuity and stability and are the hope of the human race, (Campbell, 1993). Hence, they are over the years, favourite subjects of the visual, verbal and literary artists all over the world. The woman imagery has served as a vehicle of aesthetic communication to depict social strata using colour in harmonious tones. The woman confronts the artist with general reality through studio practice to bring out a new mode of expression yet making allegorical statements about humans, their environment and their interconnectedness.
Keywords
Woman, Artist, Painting, Imagery, Aesthetic, Subject, Allegory.
References
[1] Buhari, J. (2013). Oshinowo Kolade, the Master of Romantic Expressionism. Lagos. A paper presented at Grillo Pavilion, Annual Exhibition and Lecture in honour of Kolade Oshinowo by Prof. Jerry Buhari. Department of fine Arts, Ahmadu Bello University, Zaria.
[2] Campbell, B. (1993). Transition in the visual image of the woman in Contemporary Nigerian Art.A survey attitudes. The eye, A journal of contemporary Art Vol. 2, No.1.
[3] Cowling, E. (2002) Picasso: Style and Meaning. New York, Phaidon Press
[4] Kleiner, S. F and Mamiya C. (2005) Gardner’s Art through the Ages, Twelfth Edition, Vol. 11, Belmont.Thomson Wadsworth
[5] Leavy, P. (2009) Method Meets Arts. Art based research practice. NewYork. The Guilford Press. A Division of Guilford Publications Inc.72 spring street, NY 10012. www.guilford.com.
[6] Oloidi, O. (2012). Kolade Oshinowo Silhouette Exhibition of mixed media paintings. Lagos Nike Art Gallery, Lekki.
[7] Richardson, J. (2017). A Life of Picasso: The Triumphant Years, 1917-1932. New York. Alfred A. Knopf.
[8] Selz, P. (1981), Art in Our Times, A Pictorial History, 1890-1980, NewYork. Harry N.Abrams, incorporated. Harcourt, Brace, Jovanovich
[9] Willem de Kooning: (2000) Black Untitled (1984.613.7)". In Heilbrunn Timeline of ArtHistory. New York: The Metropolitan Museum of Art. http://www.metmuseum.org/toah/works-of-art/1984.613.
[10] Zaka, A. (2025) The Changing Role of Women in Traditional Societies, Himalayan Research Institute. https://thrip.org/website/news/the-changing-role-of-women-in-traditional-societies
How to cite this paper
@article{1713759,
author = {AJAYI Adewale Olusegun, ONYEAGORO Chima Johnson, YUSUF Oluwaferanmi Fiyin},
title = {Comparative Analysis of Use of Woman Imagery in Painting: An Overview of Four Selected Artists and their Works.},
journal = {Iconic Research And Engineering Journals},
year = {2026},
volume = {9},
number = {7},
pages = {1671-1678},
issn = {2456-8880},
url = {https://www.irejournals.com/formatedpaper/1713759.pdf},
abstract = {The trust of this paper is to draw a comparative analysis of the use of woman imagery in painting by four selected artists. What are their focus and motivations as observed by some art historians who sees women as the ?veritable symbol of life?, that they represent continuity and stability and are the hope of the human race, (Campbell, 1993). Hence, they are over the years, favourite subjects of the visual, verbal and literary artists all over the world. The woman imagery has served as a vehicle of aesthetic communication to depict social strata using colour in harmonious tones. The woman confronts the artist with general reality through studio practice to bring out a new mode of expression yet making allegorical statements about humans, their environment and their interconnectedness.},
keywords = {Woman, Artist, Painting, Imagery, Aesthetic, Subject, Allegory.},
month = {January},
doi = {https://doi.org/10.64388/IREV9I7-1713759}
}