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Works such as Plan by Jenny Seville and La Primeval by Sandra Bottling, despite being from distinctly different time periods, argon influenced by the social climate of the time and place in which they emerged. Whist Bottling inhabits a humanity influenced strongly by ethnical beliefs, Seville inhabits a secular world that is influenced mainly by media, hence their prevail over matter, the nude figure, are portrayed differently. Plan, a n OLL painting on canvas by Jenny Seville, Is a work dominated by the nude female figure who looks down toward her feet, and the stunner. The figure, who Is clearly the subject matter, is positioned so that it bes the viewer rests upon her quads. The figure Is depict in hues of blotch creams, her skin, as well as mauves and purples, alluding to lumpy textures, by chance cellulite or bruises, but undeniably flaws.The paint appears to be applied relatively quickly, in a cockeyed on wet application, evident In the colors being somewhat convoluted , but not completely blended Into en smooth and consistent color, alternatively blotchy mixes. The subject matter, the nude figure Is well built, and her stomach and thighs are covered In line reminiscent of a topographical map, or perhaps lines that a surgeon would use in surgery. Line is a dominant element in this work. Controlled and organic lines track and highlight the voluptuous forms of the curvaceous figure, frequently like a topographical map would display peaks, spurs and valleys.The proportion of the female nudes body is exaggerated by the perspective taken by Seville, making her appear very large, her thighs and stomach especially focused on. The opus Is also confronting with the pubic region, which Is often considered unsightly In todays society Is nearly central to the picture plane, indispensable by the viewers eye. The figure also takes up the majority of the work, dominating roughly two thirds of the work. This visual cant, the figure dominating the work, is re miniscent of the physical weight of the figure.The figure dominating the work almost forces the viewer to examine an image that might be considered as grotesque and flaw, confronting the viewer. Seville paints In a traditional and earthy style, depicting the subject matter, the female due, with a degree of realism. Seville inhabits a modern, secular world, so unalike figure painters before her, her paintings are not influenced by phantasmal values. Rather, Seville is influenced by social media the bombardment of images and ideas surrounding the perfect female figure, that plagues many women of today.Seville works with the idea that women are funneled into a mindset that they nominate to look a particular way slim. Hence, her works optimize heavily flagged feminist Ideology, as she exposed and De-constructs perceived strike. Her work plan Is considered grotesque by many viewers, and this is the re-action that she desires. Her works upraise questions such as why do you consider t his work as grotesque? As Seville works with what are dubbed to be flaws, and paints to antipode to what is perceived to be the noble-minded figure.Alike to Propped, Plan has a element of graffiti, with the figure appearing to have been scribbled onto with lines reminiscent of geographical sooner (cut) into the paint, hence evoking the idea of surgery. Thus, these lines serve to represent what we classify as imperfections, things we tender to remove in order to attain marvellous beauty. Seville is skeptical of the way that beauty is portrayed, especially critical of the male fantasy of what the female body is, as plan is the exact opposite of this fantasy. Plan has emphasized aspects of the female figure that would be considered flaws the pubic hair region and a voluptuous figure, and highlights our aggressive and negative office toward these by drawing over them. With Plan Seville collapses the three spaces of studio, artist and model, rather than a one way transaction where ar tist will pay a figure to do a sitting. Seville works redundantly from her own body, using several angled mirrors so that she can refer to herself and the painting whilst she works, as self examination (Seville).Seville refers to that way in which she paints as really fast and openhearted of aggressively, using thick, and chisel brushes to create large areas of skin. This is evident in the texture of the skin being quite dappled, with a lumpy, even bruised appearance, rather than a smooth and consistent texture. The Wet on wet application of oil paint is particularly evident in the figures analogous skin tones being dragged finished one and other(a), reading a varied colored surface, rather than a smooth and consistent one.Contrastingly Photocells tempura on board work, La Primeval (or Allegory of Spring), painted in in 1482 involved such(prenominal) meretricious techniques. Firstly, Photocell would have sketched the figures onto the boar, before beginning the painting. Due to t he paint pigments limited availability in the 1 fifth century, having to be shipped from places such as Northern Africa, they are very expensive. Hence, Photocell, as not to waste paint would have only mixed small amounts at a time, thus painted small sections of the painting at a time.Renaissance style. ** The work consists of 9 figures including two zephyrs, with Venus being the central figure, against the forest setting. The figures, in comparison to the lumpy dappled texture of Saukville nude in Plan, is very smooth, blended until very consistent, of a porcelain white color. The idealistic portray of the figures is typical in the Renaissance period, as the figures would have been associated with hedonist beliefs, hence had to be desirable. The composition of the work makes Venus very much the central figure in the work.All other figures are touching one another, or are cropped, arterially obscured by the border, whereas Venus stands clearly alone, separate, borders by darkness methyl leaves which contrast against her pale, white-pearl colored skin. Additionally, Venus is determined centrally, with respect to hospital and vertical axiss, whereas the other figures are situated predominantly in the lower 2 thirds of the work. Hence, dominance and emphasis is given to Venus, higher up the others, as if a revered figure, reigning over the land.The work was created as a commission for the Medici family, likely created as a celebration for the wedding between Lorenz Medici ND Semiarid Piano which took place in May 1482. Created in Renaissance Italy, in the 1 5th century, La Primeval is clearly influenced by Pagan beliefs, which influenced society heavily in that time, evident in the characters and themes in the work. Thus, the central theme of the work is one of love and marriage and a message that when they run in the correct order they bring forth sensuality and fertility.Situated leftmost in the work is Mercury (or Hermes in Greek Mythology), messenger be auty and love. Their long streamlined coverings area characteristic of Photocells painting style. The viewer sees an older version of Venus in La Primeval, as opposed to the young Venus depicted in Botulisms Birth of Venus, who is now depicted fully clothed and matured. To Venues right is Flora, God of Flowers, and to her right Chloride who is raped by Zephyrs, the figure to her right, who rapes her, and as an facial gesture of his remorse, renames her Flora, God of Flowers.Venus is surrounded by the Merely plant, which typically represents sexual desire, marriage and child-bearing. Oranges are used in the trees above as a symbol of wealth, much like they are used in Jan Van Cocks Arnold Portrait. Interestingly there are no oranges about nymph, Chloride and Zephyrs, which suggests corruption and dies- approval of Zephyrs actions. Cupid, Venues son, is situated directly above Venus and is derived from ancient art, and is armed with a bow and arrow, taking aim at the love struck thr ee Graces.The flowers in the trees are painted with the kind of meticulous detail evident in International Gothic Style. Of the 190 different flower species identified in the work, they emphasis ideas such as love, fertility, beauty and re-birth. Unlike Seville, Bottling lives in a world centered around religion, a belief system Paganism. Hence, the work is a narrative that is based on Pagan stories, such that of nymph Chloride becoming Flora.Additionally, this work being a commission, and the Medici would have been Pagan this work would have had to have been relevant for them, as it would likely have been situated in their home. But today, that there are a variety of dominating religions, rather than Just one, and they do not dictate the way that we live, unlike in Italy in the 15th century. Botulisms gender as a man means that the work is quite subjective, as he represents female figures as idealistic figures of desire. In contrast, Seville deconstructs this type of ideal the way that women should look a particular way skinny.Bottling portrays women, the subject matter, as desirable, whereas Seville, in antipode depicts a voluptuous figure, that could be regarded as flawed or grotesque due to her curvy body shape. Seville and Bottling paint at a vastly different pace, with Seville painting aggressively, quickly applying oil to the canvas, not even hold for it to dry, whereas Bottling paints with meticulous detail, hence it takes him a long time. Composition is a key principle in both works, although, due to the amount of detail and amount of figures, Botulisms La Primeval is more complex.Seville places the figure centrally in the work, so that she is unavertible to the viewer confronting, and dominating, in the way that she figure takes up roughly 70 percent of the canvas. The viewer is confronted with what might be perceived as flaws. The viewers eye is drawn past all these flaws by the line of the gap between the figures meaty thighs, then the UN avoidabl e the pubic region being close to the centre of the work, the viewers eye being drawn up past other flaws such as the stomach and arms, to the face. Bottling utilizes composition in a different way, in that he creates emphasis on Venus.He does this by making her the sole figure that is not cropped or obscured from view by the border or making contact with another figure, making her disparate from the rest of the figures. He also places her centrally along the horizontal and vertical thirds of the work, and having dark merely plants surround her, as they contrast against her pale skin thus emphasizing her. Both artists utilize color by using it to depict the subject matter, a greater range of color, as to depict the figures as clothed and also to create the background in great detail.