Abstract
Paintings of women portrayed with flowers have long held an important place in the world of art, appearing throughout many great classical and contemporary artistic movements. It is the goal of this research to explore the often-unmentioned “floral-female-genre” of painting that commonly exists within the cannon of art history. This body of work aims to look back and reclaim the floral-feminine aesthetic by revamping bold floral patterns in which delicate female models emerge from the overwhelming abundance of botanic imagery. Gaining inspiration from the artwork of Eugene Von Bruenchenhein, Eric Fischl, Mary Cassatt and the Pattern & Decoration movement, this idea is being investigated by implementing richly patterned floral fabrics into large-scale oil paintings that reference the history of the painted nude female and domestic space as it relates to women’s roles. As a result the patterned fabrics allow for the construction of a painted figure to exist above and below the textile design, creating a space that transcends time and looks to answer philosophical questions about how we perceive time and what it means to pass in and out of life and where we fit into those impossible questions.
How to Cite
Klauder, I., (2014) “Fabricating Thresholds: Floral Femininity”, Capstone, The UNC Asheville Journal of Undergraduate Scholarship 27(2).
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