Propped - Jenny saville.docx

[Propped (1992)] 1992, oil on canvas, 213 x 183cm **Visual analysis** Foreshortening is used to show the figure, providing a unique perspective that enhances the size of the figure. This image of an overweight woman is unlike the traditional depictions of nude women in western art. Expressive bru...

[Propped (1992)] 1992, oil on canvas, 213 x 183cm **Visual analysis** Foreshortening is used to show the figure, providing a unique perspective that enhances the size of the figure. This image of an overweight woman is unlike the traditional depictions of nude women in western art. Expressive brushstrokes. Gaze -- she is looking down on the viewer, gives the subject a sense of authority and confidence. The size also adds to the dominance of the figure. She is gripping her legs. She creates a central axis and this is emphasised by the linear shape of the stool. The gaze is also fairly provocative. The viewers eyes are first met with the knees due to their size and then one's eye then follows her hands and travels up the body to be met by the model's direct stare, a look that appears to issue us a challenge, confident and defiant. Her hands gripping her legs suggests she is actively taking control of her body and clawing at her flesh, suggesting a sense of self-loathing. Her arms crossed around her suggests she is protecting herself and thus she is made sexually unavailable. Her pose is closed, and her arms push her body inwards. Body is unidealized and the direct and authoritative gaze is unlike typical depictions of female nudes where the subject is being viewed by a male spectator, usually the male viewer is looking down on the female subject -- roles are reversed. Her head is lolled back, and her mouth is open -- usually women are seen as expressionless and neutral. Her body proportions are morphed, with a larger head and feet and her size might be linked to body dysmorphia. Blemishes are emphasised and there are visible rough patches such as her knees and muscles. These imperfected body forms are highlighted by the impasto method of applying paint. Her skin has hues of red, black and blues suggesting violence and harm. The figure lacks hair, contradicting typical images of female beauty with hair connoting to fertility and femininity. The location is unknown and cold -- focuses on figure. **Artist's background (1970-)** Jennifer Anne Saville RA is a contemporary British painter and an original member of the Young British Artists. Saville reinvigorated contemporary figurative painting by challenging the limits of the genre and raising questions about society\'s perception of the body and its potential. Saville is fascinated by the human body and has almost exclusively painted female subjects. **Writing** Scored in reverse lettering across the surface of the painting, literally carved out of the thick layers of paint with a lino-cutter, is a quotation by the French psychoanalyst Luce Irigaray: "If we continue to speak in this sameness---speak as men have spoken for centuries, we will fail each other. Again, words will pass through our bodies, above our heads---disappear, make us disappear." When the work was installed at GSA, there was a mirror placed opposite it which meant that the viewer could read the writing -- places emphasis on the writing's correlation to the painting. The quote, however, is intended for the subjects consumption rather than the viewers. **Purpose of the painting** Her portraits are of large, mostly female nude bodies--- "I try to find bodies that manifest in their flesh something of our contemporary age" - provoke discomfort as much as fascination, repulsion as much as attraction. The figure is made to feel even larger by the perspective, which forces the viewer to look up at a body literally too big for the frame. Attacks the traditional stereotypes of gender. An intimidating and overwhelming mood is portrayed by the confrontational gaze and tilt of the head -- unease felt by the viewer. Saville wants to interrogate the prescribed notions of beauty. **Inspiration** "When I was at Glasgow, I was obsessed with Michelangelo. All my early Prop paintings are based on his big knees coming out from stone, in those unfinished slave sculptures." Wanted to paint the picture large scale to validate the figurative subject and redefine the status of female nudes. Large scale paintings at the time were commonly associated with male work. The large scale of the painting was inspired by artists Jackson Pollock and Mark Rothko, Saville wanted to use a large canvas for "Propped" to challenge the dominance of male celebrated artists and to make a statement about gender in art. Saville was influenced by artists like Rubens and Freud as they portrayed figures realistically and didn't idealize or cover blemishes etc. **Critical quotes** "I try to find bodies that manifest in their flesh something of our contemporary age" -- Jenny Saville "It's a strong political and feminist statement" -- Susannah Pollen "Propped in a superlative self-portrait that shatters canonised representations of female beauty." -- Sotheby's