Summary of Sabrina Strings's FearingThe Black Body , livre ebook

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24 pages

English

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Please note: This is a companion version & not the original book.
Sample Book Insights:
#1 The most famous artistic expressions of female beauty during the High Renaissance derived from northern and western Italy and the Low Countries. The major cities in these regions simultaneously served as key ports of the expanding slave trade.
#2 The growing population of African women as slaves and domestic servants in northern and western Europe between 1490 and 1590 led to the inclusion of black women into the definition of perfect female beauty.
#3 The artist Durer was interested in the contours of human beauty, and he believed that the perfection of form and beauty was found in the sum of all men. He believed that the task of the portraitist was to identify the big differences between the various nations of mankind.
#4 Dürer’s views on the beauty of the African body were based on the prevailing judgments of tastes. These values, which were created by elites, placed qualities symbolizing refinement atop the aesthetic hierarchy.

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Général

Sociology

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Publié par	Everest Media LLC
Date de parution	13 mars 2022
Nombre de lectures	1
EAN13	9781669353195
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,0150€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Insights on Sabrina Strings's Fearing the Black Body
Contents Insights from Chapter 1 Insights from Chapter 2 Insights from Chapter 3
Insights from Chapter 1

#1

The most famous artistic expressions of female beauty during the High Renaissance derived from northern and western Italy and the Low Countries. The major cities in these regions simultaneously served as key ports of the expanding slave trade.

#2

The growing population of African women as slaves and domestic servants in northern and western Europe between 1490 and 1590 led to the inclusion of black women into the definition of perfect female beauty.

#3

The artist Durer was interested in the contours of human beauty, and he believed that the perfection of form and beauty was found in the sum of all men. He believed that the task of the portraitist was to identify the big differences between the various nations of mankind.

#4

Dürer’s views on the beauty of the African body were based on the prevailing judgments of tastes. These values, which were created by elites, placed qualities symbolizing refinement atop the aesthetic hierarchy.

#5

Albrecht Dürer was a key architect of the system that placed black people in aesthetic limbo. He developed his own canon of proportions beginning in 1512, and continued for the next decade.

#6

Albrecht Dürer, the German artist, worked on a project to empirically flesh out the parameters of perfect proportionality and beauty. He anticipated that his canon of proportions would offer new insights that would separate his work from the canon of perspective current in Italy.

#7

The Renaissance brought about a rebirth of ancient Greek and Roman art and philosophy, along with the ideals of beauty. This led to a preference for women who were neither too fat nor too thin.

#8

The Italian canon of perspective was embodied by Venus, the goddess of love. It was not rigidly codified that women who were stout or spindly might not be able to make themselves attractive through fashion, according to Giuliano.

#9

The Italian upper class was beginning to refine and define the rules of conduct at the same time that they were being expressed in books such as The Book of the Courtier. Firenzuola’s treatise, written in dialogue form, had four women converse with one man about what constituted perfect female beauty.

#10

The first element of true beauty was proportionality, and Celso, the main character in On the Beauty of Women, was tasked with finding women who met this criteria. He claimed that the ideal woman was medium-sized and plump, but still shapely.

#11

The trade in captured Africans became a bona fide industry in 1490, and by the late fifteenth century, ships bearing African captives were a common sight in Venice. The presence of African women and girls in the city signaled both the exotic lands beyond the sea and the European conquest of said lands.

#12

The presence of black women in Italy led to a new interest in their artistic portrayal. Black women were typically rendered as the physically alluring social inferiors to white women, a representation that reified social distinctions.

#13

The Italian painter Titian, in his painting Diana and Actaeon, 1556–1559, reimagined the ancient myth of Diana and Actaeon, and included a black female attendant to represent the beauty of the female body that transcended both color and social status.

#14

The three major centers of sixteenth-century Renaissance artistic production, Florence, Venice, and Rome, all had their own styles and identities. When it came to considerations of feminine attractiveness, they were all united by the notion that beauty was found in proportionality and that fleshiness was pleasing to the eye.

#15

The African Venus is a curious play on the Venus iconography. She represents the refined tastes of the ruling elite of Europe during the Renaissance, but she is black, which marks her as low social status.