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Old 2nd June 2006   #1
MelanieW
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Join Date: July 2005
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Default ''Baroque Supermodels''

I found this cartoon online. The drawing is unfortunately crude (the models in Baroque paintings are actually much more beautiful), and the clothing really could have been better. But the sentiment is nice, because it inverts our upside-down modern definitions of what it mean to "look fabulous."



The Baroque world was so much saner than our own. And there is no reason why this shouldnt be the attitude of women today.

[Colour version inserted into Melanie's post--HSG]

Last edited by HSG : 3rd June 2006 at 19:15.
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Old 3rd June 2006   #2
Kaitlynn
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Default Re: ''Baroque Supermodels''

I can't post it directly for some reason, but I also found a color version of this comic panel, and it looks a little better in color. You can see it on this web page:

http://seattlepi.nwsource.com/fun/B...p?date=20060509

I'll take Baroque supermodels over today's supermodels any day.

Or better yet, girls who have the look that would have made them supermodels in Baroque times should be today's supermodels as well!
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Old 3rd June 2006   #3
HSG
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Default Re: ''Baroque Supermodels''


(We have taken the liberty of inserting the colour version into Melanie's original post.)

The comic is very clever, and it subtly reminds readers that there is absolutely no reason why the appearance and sentiments expressed by these supermodels shouldn't be the attitude of supermodels today (or of women in general). The association of "looking fabulous" with having "gained weight" is a natural equation, which is why it defined the relationship between beauty and curves throughout Western history--not only in the Baroque era, but from Paleolithic through Medieval and Renaissance times, right down to the twentieth century, until ideological forces appropriated feminine aesthetics for their own political ends.

And even today, as we recently discussed, many languages other than English contain words that conflate the ideas of gaining weight and of looking better, underscoring the fact that these are essentially identical processes.

Last fall, Nordstrom ran a wonderful promotion called "Brilliantly Baroque," which invoked the opulent aesthetic of the Baroque (at least in apparel and jewellery). But the time has come for fashion to advance the Aesthetic Restoration a step further, and, as Kaitlynn suggests, to take those goddesses living today whose beauty would have made them Baroque Supermodels, and to enshrine them as today's supermodels.

A study of (Baroque) supermodel figures: Gerard van Opstal's Three Graces Bound by a Cupid (c.1640-68), from the Louvre:

- More Baroque Beauty . . .

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