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Renaissance Art by Women

  • Date Submitted: 03/08/2015 05:30 PM
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Renaissance Art by Women
In traditional societies, men have been dominating for a long period of time in creating the art works, as a way of passing information and also preserving it for future. However, women have been also interested in art and expressed their talents through numerous and various drawings. In Europe, during the both periods of the Northern and Southern Renaissance were many talented artist women who managed to paint, draw and decorate masterpieces.
One of the greatest painters among women was Levina Teerlinc. She was born and raised in the northern part of Europe, where he managed to demonstrate her talent through painting of various portraits. In 1560, he created an Elizabethan Maundy ceremony. The portrait was meant to preserve the religious culture. The main point of the painting is to show how the congregation gathered in church and where the priest addressed them from. People who did not attend such service could easily understand the way it worked. The dressing code of both men and women was illustrated through the portrait thus, informing the generation that came after, on their traditions so that they may imitate (Lawrence, 3).
Fede Galisia, who originated from the southern part of Europe, has created portraits regarding beauty and the female body. She also used her portraits to describe love and its effects on human kind, especially men.   In 1596, she created a love portrait, where she drew a man who had fallen in love with her and was ready to go to any extent to have her by his side. The man holds a human head on a plate, which presents to her in the portrait. It signifies that he was ready even to kill just to have her by his side, to have her accept his love McIver, 12).
The first portrait by Levina Teerlinc involved social issues where the church was the main concern, while Fede Galisia’s portrait entirely describes love and human feelings. As follows, they differ in the main message they transmit to the public....

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