The Woman In Rubens Painting Analysis

The woman in Rubens painting is very much a display of nakedness. Berger’s first criterion, that the painting transcends a single instant, can be proven a few different ways. The way the fur coat is loosely hanging is the first indicator, it cannot remain in that position for a long period of time so it is clearly a single instant. Another point is the way the breasts are being held, in the Olympia painting and similar paintings the woman is in a comfortable position that could last for a relatively long time, but the way the breasts are held are a instinctive response, it is not a permanent position. This can also be further proven by the feet, her right foot is slightly lifted indicating that she is in motion. Adding to this, the disconnect between the legs and torso also illustrates that this is a small part in some unfolding process. The second criterion is that the painting presents itself in such a way that tells us more about who is looking. The woman in the painting is looking directly at the painter, she is clearly in some intimate scenario at a private gathering, perhaps in the subjects own personal bedroom. The subject in this painting is the husband, this painting was not made for the public eye, it was most likely made to be put on display somewhere private, where he can enjoy it himself. The third criterion is some elements of banality,

We know from the history of the painting that Rubens was charmed by her personality. He was in love with who she is as a person, not simply her looks. We can also establish that she is aroused and is covering herself with what is most likely her husband’s robe, indicating that this is a private scenario only meant for the painter, in this case the husband. The spectator is not generalized because he is the husband, the painter, the person who fell in love with this woman and who wishes to have his memories of her forever on display for him to