Misogyny Through the Manifestations of The Venus

Title: Misogyny Through the Manifestations of The Venus: How Ideologies of Womanhood, Motherhood and Beauty Transcended Throughout Historical Art and Society to ContemporaryArt and Society

Author: Kerry Donohoe

Publication Year/Date: May 2024

Document Version: Fine Art Hons dissertation

License: CC-BY-NC-ND https://creativecommons.org/licenses/bync-nd/4.0/

DOI: https://doi.org/10.20933/100001303

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Abstract

This dissertation investigates how misogynistic ideologies of womanhood, motherhood and beauty have transcended from historical art and society to contemporary art and society; exploring the progression through the Venus and her manifestations. This dissertation has involved extensive research from a variety of primary and secondary sources, peer reviewed journals, books, media, and the conduction of an informal interview with Helen Knowles, curator of The Birthrites Collection, Knowles suggests: ‘Birth is a very challenging, uncontrollable, sort of mystical, powerful event…and men don’t have any say in that world’ (2023). Each chapter provides a critical analysis and comparison of each of the manifestations: Venus, Mary, mother of Jesus and Beyonce and Social Media. Chapter one focuses on Venus and the origin of her misogynistic ideologies and values, which is examined through exploration of suffragette Mary Richardson and my own research trip to The National Archaeological Museum in Naples, Italy, to witness the Venus first hand. Chapter two continues the development of misogyny but from a predominate motherhood approach, expanding on the misogynistic foundation established from chapter one. Brene Brown’s shame resilience theory (2006) is of importance demonstrating the contemporary response to Venus’ historical ideologies and values, highlighting the significance of empathy and connection to reduce shame surrounding societal standards. The third and final chapter explores Beyonce and social media and the position society is in currently with misogyny and Venus’ ideologies, investigating the comparison between historical and contemporary art and society, providing my own experience of Venus’ ideologies online, thus highlighting the apparency of misogyny but also actively practicing Brown’s shame resilience theory (2006).

Acknowledgements

Introduction

This dissertation will explore and investigate the progression of the Venus and her toxic ideologies. Through looking at prominent historical and contemporary figures this text will demonstrate the extent of Venus’ misogynistic values and how they have been ingrained into the evolution of art and society. I will be examining the works of Diego Velazquez’s ‘Rokeby Venus’ (1647) and ‘Coronation of The Virgin’ (1641-1644) in addition, Beyonce’s 2017 maternity Instagram post and The Birthrites Collection. In correlation to the art works, I have conducted a wide range of research through a variety of sources – peer reviewed journals, books, websites, and my own research trip. The aim of this is to present a diverse exploration, emphasising vital information and reinforcing the foundation of my argument. These include: ‘Women in the picture’ (McCormack, 2021), ‘Alone of All Her Sex’ (Warner 1976), ‘Ways of Seeing’ (Berger 1972), ‘A Brief History of Misogyny’ (Holland, 2006) and an informal interview with curator of the Birthrites collection Helen Knowles. This research has not only enabled the workings of this dissertation but also enhanced my practical work as I focus on body image, specifically my own. I construct scenes of my everyday life that are affected by IBS, body dysmorphia and the pressures of feeling comfortable within my skin. I find the Venus particularly fascinating as she has been reconditioned throughout history, although her notable characteristics, demeanour, and name, make her recognisable, regardless of how she is presented. With three chapters: The Venus, Mary, Mother of Jesus and Beyonce and social media, this dissertation will explore the misogynistic ideologies of motherhood, womanhood, and beauty I will be using my extensive research to conduct analysis and comparison of the chapters investigating each manifestation of the Venus.

Sandro Botticelli, ‘The Birth of Venus’ (1482) – Fig 1.1.

Chapter 1

Venus

‘Venus herself is a shape shifter’ (Smith, 1962, p.18)

This chapter will focus on the Rokeby Venus (1647) painted by Velaquez, but Venus was first painted in: ‘The Birth of Venus’ by Sandro Botticelli in the mid-1480s. It is relevant to explain Venus’ origin to show the progression of the misogyny that constructed her. Venus is the butchered testicle of her father thrown into the ocean transformed into a beautiful goddess, she is the embodiment of how a woman should be to appease societal demands. Catherine McCormack explores Venus in book:

‘Women in the picture’ McCormack suggests: ‘Venus is everywhere that there are women’s bodies representing ideas about female beauty, sex, wealth and status: from Renaissance paintings to the Victoria Secret runway’ (McCormack, 2021, p.33) emulating the notorious and omnipresent nature of Venus. McCormack’s exploration of Venus relates, not only with other authors and researchers I’ve investigated, but with my own experience of womanhood. Venus is misogyny’s mascot, her toxic ideologies are evident in that of other female figures such as Mary, mother of Jesus – as without her child she is without identity. John Berger ‘Ways of Seeing’ is an interesting insight in collaboration with ‘Women in the picture’, Berger states: ‘men act and women appear. Men look at women. Women watch themselves been looked at’ (Berger, 1972, p 47) In the book Berger creates an intriguing analysis on the definitions of naked and nude: ‘Nudity is placed on display. To be naked is

The

to be without disguise. To be on display is to have to surface on one’s own skin, the hairs of one’s own body, turned into a disguise…Nudity is a form of dress’ (Berger, 1972, p.54). The hypocritical and contradictory Venus is evident when discussing naked and nude, she appears ‘nude’ but expresses naked attributes as if her body and ideologies are that of a real woman’s. Both Berger and McCormack explore the idea of women in art existing to please the male gaze. Venus acts as motif for women to be compared to, her unachievable beauty and desirous features forced upon real women, creating dangerous realities. Jack Holland’s ‘A Brief History of Misogyny’ states: ‘The late seventeen century fashion was to encase women’s bodies in tight corsets. At the autopsy of one young woman who died at age 20 it was found that ‘her ribs had grown into her liver’ (2006, p.133).

McCormack adds ‘Venus fitted right into the fantasies of girlhood I had been exposed to: she was a grown-up version of a Disney princess or teen mag model” (McCormack, 2021, p 32) the demands of beauty so embedded into our society that girls growing up crave to obtain mythological bodies.

Botticelli’s Venus presents herself in an alluring manner, she loosely covers her sexual organs, enticing the viewer to what they cannot fully see, conveying the coming of Venus.

Diego Velaquez, ‘The Rokeby Venus’ (1647) - Fig 1.2.

Diego Velaquez’s rendition of Venus: ‘The Rokeby Venus’ (Fig 1.2.) is among the few most famous art works in London’s national museum and Velaquez’s only surviving ‘nude’ This piece shows the development of Venus and her ideologies, now she is aware of the viewer, watching you watch her.

Venus’ fertility is apparent with the cherub, her son, along with her impossible beauty standards: ‘Her waist is impossibly small, her buttocks smooth and peachy, and her skin pearlescent, free from blemish, bruise or hair’. (McCormack, 2021, p.23) The Rokeby Venus is a particularly interesting piece as she was restored: ‘for our viewing pleasure’ (McCormack, 2021, p 32)

The Rokeby Venus (1647) – Slashed, Fig 1.3.

March 10th, 1914, suffragette Mary Richardson slashed the painting (Fig 1.3.): ‘By violating the ideal representation of passive, beautiful and enticing femininity, Richardson dismantled an illusion; she tore open its painted surfaces and showed that it could not bleed or suffer or die because, unlike the abused suffragette prisoners, it was an object and not a real body’ (McCormack,2021, p.28). Men would stare at Venus who fed their every erotic desire, instilling false ideas of beauty and sex: ‘She’s educating boys on what to expect when they first get laid’ (McCormack, 2021, p 33) ‘and making girls feel bad about their breasts. She’s reminding you that you need to shave your legs so that men will like you’ (McCormack, 2021 p 32) Venus originated from man and therefore belongs to man, with this ingrained from a young age, girls will grow up craving to appease men, to appear youthful, beautiful and to fulfil reproductive desires. The teachings of Venus highlight the unsettling difference between man and woman within art and society. Referring to a secondary source, Macat Guide

Griselda Pollock’s Vision and Difference (Jakubowicz, 2017) I established fundamental links with ‘A Brief History of Misogyny’ and ‘Woman in the Picture’ which contribute greatly to the conversation of Mary Richardson and Venus: ‘If the dominant ideology is formed by men for the benefit of men, then both the art that is produced and the way that art is viewed, will predominantly speak to the patriarchal interests’ (Jakubowicz, 2017 p.35). Pollock’s Vision and Difference is a notoriously difficult read, the Macat guides creates a more accessible reading experience where I gained a better understanding of the information it provided. It is also states in the book: ‘women are products of the artist’s social and political environment’ (Jakubowicz, 2017, p.35) which is very relevant when analysing Mary Richardson. Mary fought within the suffragettes to gain the right to vote: ‘Even on issues involving women’s rights, many women were on the side of men who opposed them, including the right to vote’ (Holland, 2007, p 277). ‘I had been seduced by Venus into internalising a patriarchal fantasy of womanhood’ (McCormack, 2021, p.31) expanding on Holland’s statement, McCormack contributes her own perspective as a woman who was exposed to the misogynistic value of art and society. This is insightful as it shows an understanding of being manipulated by these ideologies, as a woman you can be compelled into internalising misogyny by society repetitively reinforcing that you are not good enough. As a woman, I have experienced self-hatred, especially with IBS and the fluctuation of my weight, comparing myself to societal standards of beauty. In relation to the women’s right to vote, it is clear the man-made illusion of womanhood, controlled women’s decisions, and judgements on such issues: ‘patriarchy – a system where all the power lies in men’s hands and where women are victimized as the permanent underclass’ (Holland, 2007, p.274). The Rokeby Venus (1647) was slashed multiple times: ‘the act of violence…is not simply against a prized artwork, but also against the construction by society of the imagined female form.’ (Epstein, 2019, p.13). Mary Richardson despised men staring, transfixed at Venus and therefore slashed it to draw attention to the many suffragettes who were suffering. ‘The statements made by the women in selfjustification and the reactions of the public and government demonstrate the political and social importance of works of art and their powerful symbolic status’ (Fowler, 1991, p.2) expanding on

Pollock’s statements, journal ‘Why did the suffragettes attack works of art’ offers an interesting perspective by focusing on the status and hypocrisy of Venus. The Journal states: "The Masterpiece Described," speaks of "a marvellously graceful female figure… quite nude…neither idealistic nor passionate, but absolutely natural, and absolutely pure"; she is not Aphrodite but rather "the Goddess of Youth and Health, the embodiment of elastic strength and vitality of the perfection of Womanhood at the moment when it passes from the bud into the flower." For the Daily Telegraph (11 March 1914) she was, predictably, the "eternal feminine."’ (Fowler, 1991, p.112). It is evident that the ideologies of Venus overruled the treatment of real women, insinuating her dream-like manufactured body is human and how women should look. Venus is stated as the ‘eternal feminine’, the epitome of womanhood and ‘when it passes from the bud into the flower’ conveying the process of growing from girl to woman, blossoming into the body society demands. "I deplore it. I think the woman who did the action deplored it as much as any of us.... What we deplore even more is that the bodies of women in this country should be defaced and starved...’ (Fowler, 1991, p 115). The hypocrisy of Venus is evident when investigating Mary Richardson, Venus the perfect woman is protected, guarded on the gallery wall for all – men – to fantasise. In comparison, real women are being abused for wanting human rights. The ideologies of Venus employ that: ‘women in art are used as symbols…paintings use a visual language (semiotics) in order to express complex ideological ideas’ (Jakubowicz, 2017, p.39). The term ‘semiotics’ by definition ‘is the study of signs, symbols, and signification. It’s the study of how meaning is created, not what it is’ (University of Vermont), constructed by a signifier, which is any object that signifies e.g., a painting, and the signified which is the concept, in this instance it refers to Venus (signifier) and misogyny (signified). Through investigation of Ferdinand De Saussure’s (1916) findings and development regarding semiotics, it’s evident how ideologies can be interpretated through image: ‘semiotic analysis can help us interpret the visual and linguistic codes used to convey messages to the public’ (Dewanti, 2023) the way Venus is depicted reinforces societal pressures against women, it conveys what a woman should be and how they should behave. Therefore, when Mary Richardson slashed Venus: ‘she became known: a

I indulged in viewing Venus first hand by visiting one of the many versions of her in the National Archaeological Museum of Naples, Italy. It was insightful seeing Venus in the flesh, she oozes familiarity, from the way she holds herself to the expression on her many faces. ‘Afrodite tipo Venus Felix’ (Fig 3) was of extreme significance, she had a crowd of people staring at her body. The research trip was important to conduct as it’s valuable to experience Venus when discussing her, as a woman I wanted to be personally exposed to her ideologies to have a better understanding of them and of Venus. Knowles suggests: ‘I think it’s good that women always have the opportunity to see things and I don’t think people should be scared of looking because it’s about education and knowledge is power’ (2023). Mainly I experienced forms of intimidation, insecurity, and sadness, she felt eerie as even in contemporary art and society she still holds so much power; not only Venus but the intentions and power of misogyny Venus’ ideologies are still very relevant, if not more so as contemporary society allows her to be everywhere e.g., social media Venus has vast amounts of manifestations and presents herself in a variety of ways, the evidence presented from the researching of semiotics shows that it does not have to be the original Venus for her ideologies to be present, they can be found in any material that follow her code.

conception and virgin birth which portrays Mary as the epitome of motherhood in correlation to misogynistic demands; she is innocent, pure and is embracing motherhood through the bond with her baby. In conjunction with the Venus, both Mary and Venus exude fertility, they embody how a woman should desire to be when pregnant, giving birth and postpartum, along with instilling erotic fantasies for men, insinuating the sense of control and power they obtain through fatherhood: ‘virgin birth was a shorthand symbol, commonly used to designate a man’s divinity’ (Warner, 1976, p.35)

The Coronation of the Virgin and the Rokeby Venus were fuelled by fantasies of beauty, fertility and womanhood which were imposed onto real women. Both paintings share the same DNA, not only by being a product of the same artist Velaquez, but by the identical structure in which they are presented: ‘The way the female body is presented, how it is dressed, the characters that the model depict, and the way the figure is presented in relation to the space around them, are all indications of a wider context’ (Jakubowicz, 2017, p.35). The paintings depicts the female goddess in soft blue and red fabrics, with cherub(s), and creation of an alluring and arousing atmosphere from the gentle position of her body and limbs, loosely covering the titillating parts of her which cannot fully be seen:

Diego Velaquez, Coronation of the Virgin (1635-1636) - Fig 2.2.

‘an eternal idea of immortal beauty was fixed by the lineaments of her face, which gazed from every wall and niche’ (Warner, 1976, p. prologue) The ideologies of fertility when investigating through the lens of misogyny are nothing less than grotesque, more so when analysing in corroboration with the Virgin Mary: ‘Natural birth, complete with faecal and vaginal bacteria and labour-activated breast milk bacteria, imbues the new-born with healthy microbiome designed to provide the child with disease resistance for life’ (Bride Ashton, 2023, p.52). The comparison between the ‘Virgin birth’ and a natural birth is intriguing, the raw and human process of women’s bodies growing, nurturing, developing, and birthing a baby is conveyed as repugnant. However, when discussing the ‘immaculate conception’ – by definition ‘perfectly clean, neat or tidy’, the phrase already indicates the demand for a pure and chase birth and mother, rejecting the actuality of childbirth. Holland states: ‘as a role model for women, Mary set contradictory (if not downright impossible) standards for them to meet - representing as she did the apotheosis of passivity, obedience, motherhood and virginity…she served as a constant reminder that women were inadequate.’ (Holland, 2006 p.104)

Mothers are held to an impossibly high standard, which if not met could result in serious consequences: ‘a painting of a woman that is in keeping with ideology will be considered socially acceptable, whereas a painting that depicts a woman in an unconventional or rebellious way, is seen as a threat to social order’ (Jakubowicz, 2017, p.40). Shame is an everyday construction used to crucify women for being less than perfect in the eyes of society. Through investigation of psychologist Brene Brown’s shame resilience theory (2006): ‘The sociocultural expectations are narrow interpretations of who women are “supposed to be”, based on their identity…and/or their role…These sociocultural expectations are often imposed, enforced, or expressed by individuals and groups…constantly reinforced by media culture’ (Brown, 2006, p.46). It is evident that shame can be used as a tool to force women to conform to appease ideologies of misogyny and like Virgin Mary: ‘she belongs to a vast community of people and represents a gradual accretion of their ideas’ (Warner, 1976, p.xxxvi). Women’s role in society is to be the version of woman that is sought after, shame is merely guiding the way: ‘categories clearly emerged as areas in which women struggle the

most with feelings of shame. These categories are appearance and body image, sexuality, family, motherhood, parenting’. (Brown, 2006, p.46). All these categories are visible within the Venus and Virgin Mary, hypocritical teachings of women; be sexual but sex is sin, embrace motherhood but do not let your body go, be a natural mother but be modest, do not be indecent. The Virgin Mary evokes shame on mothers for not following society’s perception of motherhood, an example of this is the debate between breast and bottle feeding: ‘When mothers make a decision not to breastfeed, they may experience guilt, blame and feelings of failure…formula feeding mothers may feel shame (as opposed to guilt) through ‘failure’ to live up to ideals of womanhood and motherhood’ (Thomson, et al, 2015 p34). Journal ‘Shame if you do -Shame if you don’t’ is a great insight into the demands of motherhood, highlighting the inability for doing right for wrong regardless of the woman’s experiences, insinuating that natural is best and bottle is inadequate: ‘In existing literature, formula feeding was perceived as a moral failing, as maternal discourse was frequently spoken of synonymously with having not done ‘right’ by one's infant’ (Jackson, et al, 2021, p.1). In addition: ‘Breast engorgement is when, for whatever reason, your breasts become overly full. They may feel hard, tight and painful.’ (NHS, 2022). A common side effect for breastfeeding women, which can develop into Mastitis – which if not dealt with can result in a painful infection. The NHS website recommends firstly to: ‘carry on breastfeeding’ proceeding to list five other points before they suggest taking medication for the woman’s pain: ‘the components of normative femininity devalue a woman’s ability to endure pain, to work hard, and to prevail in the face of adversity’ (Bride Ashton, 2023, p.49). The ideologies of misogyny fuelled by the Virgin Mary create an extreme lack of support for mothers, especially when bonding with the baby or the pain women endure during this time; this is when shame becomes a prominent part in the woman’s life. Breastfeeding is an isolating and traumatic experience for many women, the expectation to indulge in the natural method of feeding but even: ‘breastfeeding mothers may experience shame through violation of feminine modesty when breastfeeding in public’ (Thompson, et al, 2015, p.34). Hypocritical as even women conforming to the mythological teachings of Venus and Virgin Mary are still subjected to being shamed by society

suddenly there’s this democratisation of the image and so you could just go onto YouTube and see another woman give birth…you’re not going to an antenatal class and told how it should be done according to the medical status quo, so there was a lot of women challenging the normativity of birth’ (Knowles, 2023). The piece within the collection ‘A Conflict of Interest’ (2016) by Lauren McLaughlin, is of particular interest in comparison to ‘The coronation of the Virgin’ both conveying motherhood but representing differently: ‘After the account of Christ’s birth, Matthew mentions the mother of Jesus only one more time’ (Warner, 1976, p.14). The ambiguous identity of a woman after childbirth is one that is constantly debated, who is she without her child? The work of McLaughlin conveys a playful investigation into this question by deconstructing the word ‘Mother’ and showing that: ‘her’, ‘other’, and ‘me’ all live within, woman can be all simultaneously: ‘women are judged or judge themselves on their efforts in being ‘not only good mothers but also good partners and good women’ (Thompson G, et al, 2015, p.33) McLaughlin’s work is raw and relatable for many women with 1 in 10 suffering from postpartum depression and 1 in 1000 from postpartum psychosis (NHS): ‘Specifically, in mothers, shame, was found to be significantly related to prenatal depression…postnatal depression…and postnatal posttraumatic stress’ (Caldwell J, et al, 2021, p.68).

Knowles suggests McLaughlin’s work: ‘gives equal weight, it moves between these different identities’ (2023) the contemporary idea of motherhood embraces multiple identities, unlike the manifestations who suggest your identity now solely revolves around your child. The portrayal of real childbirth and pregnancy experiences in art and society is vital to understanding the actuality of the process and how we can reduce, and potentially eradicate, the shame surrounding women during this vulnerable period. Discussing Brown’s shame theory (2006) in correlation with the efforts of the Birthrites collection, Knowles states: ‘That’s what the collection’s all about, bringing people together…there’s much more conversation about now about it and there’s so much more visual imagery and that’s because we do live in an extremely visual culture’ (2023). The next chapter will delve into social media, comparing the misogynistic ideologies from historical to contemporary, focusing on another manifestation of Venus – Beyonce.

shame resilience. Their unified community creates a space of teaching and security, therefore progressively reducing the stigma around women’s bodies, actively dismissing societal standards. However, in 2020 Instagram banned the page: ‘the site banned the account The Breasties from hosting a livestream community education event for breast cancer survivors’ (McCormack, 2021, p.40). Instagram’s guidelines, last updated in 2018, state: ‘Appropriate Imagery – We don’t allow nudity on Instagram, with some exceptions, like photos of post-mastectomy scarring and women actively breastfeeding. Nudity in photos of paintings and sculptures is OK, too’ (Instagram guidelines). Instagram removed the Breasties’ 2020 posts of women’s post-mastectomy bodies due to ‘Nudity or sexual activity’ not only contradictory to their own guidelines but it correlates to Berger’s argument of the nude, he suggests: ‘it is quite clear that the nude also relates to lived sexuality’ (Berger, 1972, p 53) Along with the female nude conveying sexual connotations, the pregnant body does too according to Warner’s book Alone of All Her Sex: ‘Woman was womb and womb was evil’ (1976, p 59). The sexualisation of women’s bodies only advances during pregnancy Knowles suggests: ‘At first glance, it might look like a pornographic image’ (2023). Breasts enlarge with milk to feed the baby, hips widen preparing for childbirth and the once erotic desires of fatherhood become a reality: ‘According to some scientists, the trait is an evolutionary trick for snagging men and signals a woman's ability to feed her children.’ (Binns, 2010). The idea of ‘snagging men’ as a result of body changes caused by pregnancy reinforces misogynistic ideologies, during the most traumatic experience of a woman’s life, her body is still only for the appeasement of the male and societal desires. The ideologies of fertility presented by Venus emulate an innocent and chaste mother this is evident in Beyonce’s rendition and can be underpinned by Warner’s point: ‘Mary, like all mothers, was defiled by childbirth and in need of purification’ (Warner, 1976, p 68) The experience of childbirth is a long and tedious one, according to the NHS, labour consists of three stages and one latent stage: ‘the time from the start of established labour to being fully dilated is usually 8 to 18 hours’ (NHS,2023). However: ‘it can take many hours, or even days, before you’re in established labour’ (NHS, 2023). This is a very traumatic and painful, but human experience, in

comparison to the manifestations this would not align with their values: ‘Christ’s virgin birth was so serene and painless that a midwife would have been superfluous’ (Warner, 1976, p 34) It is evident that these ideologies are still somewhat apparent in contemporary society as social media influencer Yasmyn Switzer was told to ‘be quiet’ by her doctor whilst giving birth, according to Switzer (2022): ‘While I’m pushing I’m obviously making noise…I want to say moaning? That sounds weird but that’s kind of how it is…my doctor, in the middle of me pushing, says…I’m gonna need you to be quiet so I can hear’ which corroborates well with Bride Ashton’s point: ‘The noises the woman makes in the OBEM may make men uncomfortable precisely because they sound like sex noises’ (Bride Ashton, 2023, p.50). Although, this relates to ideologies of male gaze appeasement, Switzer’s doctor was a woman, highlighting the internalised misogyny constructed through Venus and her manifestations. The sounds made during childbirth are coping mechanisms to deal with the immense pain the body is experiencing, although as they are similar to sex noises it therefore creates a stigma surrounding women giving birth and posting natural birthing experiences as it appears indecent and not how a woman should present herself. Additionally, Switzer’s comments that suggesting that her noises were like moaning ‘sounds weird’ reinforces the idea of internalised misogyny as she is criticising her natural birthing experience. Social media, allows misogyny to thrive as it gives it a worldwide platform: ‘a reproduction, as well as making its own references to the image of its original, becomes itself the reference point for other images’. (Berger, 1972, p.29). Thus, Beyonce’s image, or any image that follows such structure, although not of Venus herself, but as it contains components of her it therefore becomes a rendition of her and her values. However, further developing on Brown’s shame resilience theory (2006), Switzer’s (2022) sharing of her experience on social media enables women to empathise and bond with other women and therefore reduce shame. It is clear the progression from historical to contemporary response to misogyny is the ability women now have to speak out on such experiences, social media not only gives a platform for misogyny but it can empower women to create communities to educate and share: ‘this was a new and hopeful space, a platform capable of allowing a more democratic presentation of birth, a place for visibility without deviance’ (Bride

Ashton, 2023, p 99) Furthermore, the pressures surrounding women to look beautiful is more apparent than ever with social media, according to a report from the University of London 90% of young women filter or edit their photos and 75% state they could: ‘never live up to the images you see’ (Fielding, 2021). The phenomenon of social media allows Venus’ ideologies to be even more so dangerous by enabling women to morph their faces and bodies into what is socially acceptable: ‘such as reshape their nose, appear to weigh less, and whiten their teeth’ (Fielding, 2021). This highlights the desire women have to appear as an edited version of themselves to appease demands, rather than present their real self. The standards of Venus are prevalent within the ability to filter and edit, it finally gives women the platform they need to attain that mythological beauty: ‘I’ll take a photo or somebody will take a photo of me, and then I’ll just um edit it until I feel happy with it’ (Scott, 2019, p.359) It develops an insatiable need for women to ‘edit’ themselves in order to be ‘liked’ by society: ‘She has to survey everything she is and everything she does because how she appears to others, and ultimately how she appears to men, is of crucial importance’ (Berger, 197, p.46) Similarly, to St Augustine, Andrew Tate, a contemporary misogynist agrees with teachings of Venus: ‘Tate attained global fame for expressing misogyny views and criticising women on multiple platforms: ‘For example, the influencer has equated women with the notion of being "lazy by nature," explaining how men must have "authority" over their women’ (Sayogie, 2023, p.2). Which is corroborated by journal ‘Encouraging Equality Starts at School’: ‘Tate has received a massive wave of support millions of young men and boys look up to him as a model of masculinity and a positive force for men’ (Verma, et al, 2023, p.1). The use of social media and the ignorance against age restrictions enables the spread of misinformation, teaching young people misogyny and reinforcing male entitlement over women’s bodies. However, the journal is in agreement with Brown’s shame resilience theory stating: ‘through the creation of safe spaces for critical thinking and reflection…helps young men and boys to recognise and question the power and privileges afforded to them, while acknowledging and dealing with the pressures associated with masculine norms.’ (Verma, et al, 2023, p.1). In alignment with communities made by women for sharing experiences,

the same can be created by men to support women and to reduce male stigma such as mental health.

As a woman who partakes in social media posting, I experience insecurity when my photos do not gain many likes or comments, I feel a ‘failure’ in a way; as if people do not find me worth liking. When your content is being liked it is euphoric, in comparison when your content is lacking in engagement you feel worthless, contemplating deleting what you post to shade you from the embarrassment Brown’s shame resilience theory (2006) is relevant to my own experience, my community of friends and small following encourage and empower me when I post and share my experiences. However, expanding on the point regarding misogyny’s platform given by social media, I myself have experienced unsolicited comments and messages regarding my body

The idea of the Venus suggests she is made for the male gaze, to reiterate from chapter one – she originated from man and therefore belongs to man. Venus is the symbol of womanhood, the ideologies, and teachings she offers instils entitlement into society and the male gaze to project the misogynistic teachings onto women. This is evident in history and is still evident now

Screenshot from my Instagram messages (2023) – Fig 3.3.

Conclusion

This dissertation is set out to investigate misogyny through the lens of Venus and her manifestations throughout historical and contemporary art and society. It is clear there has been progression to reduce misogyny and standards forced upon women; although, misogyny is still apparent in contemporary art and society. Just as Venus is reinstated in every era, so too are misogynists, historical misogynists such as St Augustine can compare to contemporary misogynist Andrew Tate. It is clear misogynistic ideologies and Venus’ values are deeply ingrained into our society. Through investigations of Ferdinand De Saussure’s semiotic theory (1916), our consumption of media, art, and advertisement, are all laced with subliminal messaging, social media makes us increasingly more susceptible to viewing these values and ideologies. Social media, although a platform for misogyny to breed, also provides the space to reduce the stigma surrounding the ‘failure’ to reach societal demands and desires of motherhood, womanhood, and beauty. Further exploration on Brown’s shame resilience theory in regard to social media would elevate investigation on misogyny, the findings of statistics and potentially interviewing users involved in communities would provide insightful information. This is what still has to be explored and expanded on to develop a better understanding of how we can use social media as tool against misogyny rather than continuing the subliminal consumption of it.

This dissertation has explored Venus, Mary, Mother of Jesus and Beyonce and social media. All three iconic female figures exude the same values, traits, and ideologies, which is evident in their representation. Both ‘The Rokeby Venus’ (1647) and ‘The Coronation of the Virgin’ (1641-1644) are creations of Diego Velaquez, this solidifies the idea of Venus being made by man for the pleasure of man. Beyonce’s post pays homage to her previous manifestations but uses contemporary methods to spread the word of Venus. Social media enables the viewing of such ideologies to be seen by anyone and everyone: young adults, teenagers, and children are especially vulnerable to seeing and experiencing misogynistic teachings. The spreading of misinformation on social media causes

dangerous real situations, this is relevant in historical and contemporary art and society; Mary Richardson and Instagram page the Breasties are both examples of this. Mary Richardson as she did not align with society’s idea of womanhood and beauty she was oppressed, ignored by society who were preoccupied with drooling over The Rokeby Venus (1647) in The National Gallery. In comparison to misogynistic beliefs of women being ‘lazy’ and ‘weak’ Mary Richardson defied those beliefs by actively demonstrating strength, perseverance and achieving the vote for women. In relation to The Breasties’ page after being banned for ‘Nudity or sexual activity’ the page has continued to post educational information and experiences to support women. The difference between Mary Richardson and The Breasties is the awareness we now have of misogyny: ‘Even on issues involving women’s rights, many women were on the side of men who opposed them, including the right to vote’ (Holland, 2007, p.277). Refocusing on this point from chapter one, the progression of education and awareness surrounding misogyny which has been partly due to the work of the Suffragettes and the accessibility social media, the internet and contemporary society offers. The mentality of only agreeing with male misogynistic beliefs that women are ‘weak’ ‘incompetent’ or even ‘stupid’ because of lack of awareness and community, is something that has rapidly reduced due to the availability of contemporary resources.

Overall, it is evident substantial progress has been made from historical Venus to contemporary. Misogyny is a fundamental part of our society due to being prevalent for centuries, therefore it is not something that will disappear but research and investigation can develop understanding. This dissertation has provided me with a vast amount of knowledge and has aided in the development of my practical work, as an artist I feel obligated to use my voice on subjects that are deemed ‘too taboo’. Brown’s shame theory (2006) has been of particular importance to this dissertation and to my work, the way to counteract Venus’ values and misogynistic ideologies is to create connections, share experience and be empathetic. Speaking out on such subjects will reduce shame and stigma and therefore reduce misogyny.

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