These images all can be related and classified in the same grouping based off of certain elements they all possess. All of these images are of women with tousled hair, seductive smile-less pouts, closeup head shots, and leering eye contact. Whether the image is a classic painting or a current magazine cover we see that the image of a seductive female is present throughout both advertising, as well as image-making in general.
In relation to the colors used in each of these images we see a direct correlation between the amount of text, and color, in balance with the level of sultriness.
For example; In the first image, Gisele Bunchen is protrayed with the four characteristics listed above, although she is in a sepia tone photograph. The text is in color and she is toned down with the abscence of color.
In the next image we also see text in front of this image of Madonna. Not only does this image have text, but it is white washed and brightened as to not scream at the viewer.
If those two images were in true r-g-b color form they would come off as promiscuous and in your face, although with rearranging the balance between the model and the text their is a mid point where the image becomes somewhat seductively classy.
In the third image, we see a microcosm of Gustav Klimt's Sea Serpents. In this image we realize that this look of the woman is common throughout all forms of image-making, including painting. Again the balance of real life and an image is played with. The form of the woman here is obviously not a photographic image and therefore is painterly and elusive. The colors here are not primary, and yet also somewhat gracefully subdued. The diference in this image in comparison to it two predecessors is that it lacks text. This is where the balancing takes place, the addition of colors and the lack of text...
In the fourth image we see a classic picture of Grace Kelly. Black and white, text-less, yet here props are added into the photo. The fur she is leaning on brings up the level of promiscuity, yet the fact that it is in black and white simplifies the image so much so that it does not pop out at a passerby.
In the final image, we see the use of pop-art by Lichtenstein. Here the woman depicted is not a model but a fictional cartoon-like character. There is a small use of text to ground the image, while a pop of blue to add to the intrigue.
All these images play off each other and the simplicity of a single look in a models eye to the color range used in each. We are clearly shown that the woman has been portrayed in a sexual manner throughout time and throughout mediums and that we can classify and relate many to each other based off of significant yet easily overlooked attributes.
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