The Representation of Fat Women Throughout the Contemporary Art Movement, Referencing Artist Jenny Saville and Art History (Essay Example)

Fat. A word that can make many cringe or wince.Fat women. An image that will send the male sex into complete and utter chaos, burning everything in their paths to make sure their voices and opinions are heard no matter what. For years, fat women have never known where to stand, yet have known exactly where to stand. In every romantic comedy, they’re the unlovable best friend. In every teen drama, they’re the ones in need of a make-over (which often means weight loss), and then they become popular. In every Disney movie, they’re the villain. Larger young girls must be so confused. In the media, they’re shunned for the cellulite or the skin folds and rolls they have. They’re fetishised on dubious websites for dodgy men with dodgy intentions. The fashion industry still does not cater for them, so they’re left wearing clothing that displays the same pattern as their grandma’s curtain. However, there is one world where they are always deemed acceptable: The Art World. One artist who comes to mind when thinking of celebrating fat women is painter Jenny Saville. Her artworks helped remodel and change the perspective of the female nude, which was of great importance during art and its history. As quoted in a Guerrilla Girls piece, ‘85% of nudes in the Met. Museum are females.’ {1} Saville’s works also influences the contemporary art movement, and the supporting artists within it.

The contemporary art movement is a large grey area within itself. The dictionary definition of contemporary art is ‘art created in the present day and recent past.’ {2} However, that means that anything could become part of the movement. What happens when they are no longer a part of the recent past? Will they remain contemporary? When does contemporary end? Various artists joined the contemporary movement with different ideologies and intentions. Saville joined to make a statement against the stereotypes. Saville (b.1970) is a contemporary British painter. {3} She was born in Cambridge, and her education revolved around Fine Art. She was awarded a Scholarship at the University of Cincinnati, partaking in a course called ‘Women’s Studies.’{4} This is where she began to see fat women walking around in tops and shorts, which spiked her interest in this particular form of the human body. Saville likes to consider herself a staunch feminist. Now fifty years old, Saville’s work explores the facial structure in the human body, capturing experimental portraits and bringing the contemporary idea to life. ‘What is Beauty? Beauty is usually the male image of the female body. My women are beautiful in their individuality.’ – Jenny Saville. {5} Saville’s older paintings often showed overweight women, bruised and fragile. A complete one-eighty from the traditional female nude. A contemporary body that fits all past bodies. {6} A painting that stands out and represents this well is called ‘Fulcrum,’ painted in 1999. {7} The 8ft x 16ft landscape image shows three large, nude women lying down in a twisted, contorted formation. {8} When first looking at the painting, eyes are drawn to the centre: fleshy thighs and bruised knees. The red, pink and yellow tones of the paint urge people to imagine these bodies as just slabs of raw meat, with the cooling blue and green tones at the edges creating a cold, fridge-like atmosphere to the painting. Again, this idea moves away from the conventional female nude displayed in most galleries. Saville likes to project the power of the nude and uses a violent representation of vulnerability, moving away from the soft, flirtatious and sexualised exposure often seen.

The mountains of flesh and the terrains of red and blue allow the viewer to take an adventure when wandering their eyes over the piece. Starting at the squished and hidden faces, down to the tangled limbs, across to the vast land of the stomach, finally making their way to the last lonely hidden face. The oil paint used is applied in thick layers, overlapping the other colours included, marking its territory. While the painting falls under the theme of contemporary art, the argument that the ideology itself is not modern could be made. The celebration of a plus-size figure has been around for centuries. The Ancient Greeks worshipped their female gods. {9} The more oversized dresses of the Tudor era helped make the women look plumper. The influence of the likes of Marilyn Monroe on the plus-size community. Many artists have tried to convey the raw message throughout their artworks, from Titian to Beardsley. However, none of them has achieved the same notoriety that Saville had and continues to have. ‘Fulcrum’, Jenny Saville c.1997-1999, Oil on Canvas, 8ft x 16ft (261.6cm x 487.7cm) Saville was my main inspiration when I began exploring my body in Art. As a larger woman myself, the fear of authenticity is excellent, and the fear of vulnerability is even greater. With Saville using larger women as a focus in her work, she soon became an inspiration to me, and that helped me to create more of my work. I started by taking photos of myself posed to use in my artwork. I was scared of showing that I was a plumper woman who had blemishes, scars and a body different to that of the “perfect” one. However, I eventually realised this was wrong, stupid even, and began posing authentically. I created a series of works called ‘Tenacious Fragility’. In simpler words, it means ‘Strong Fragile’.

The juxtaposition between the two words helps me to convey the message behind the creation. Comparing my work to Saville’s could be relatively complex as mine is a digital exhibit, whereas hers is physical. If the viewer delves deeper into it, they begin to be able to point out the similarities. The tone is an essential factor in comparing the two. The fleshy undertones seep through in all the right places—the blue and green of the veins in the breast. Again, the red in the fold and knees replicated her bruised knee effect. The position is also similar to that of Saville’s models, hunched over, relaxed, not looking directly at the viewer and folds on show. Arguably, an unattractive position to sit in. The composition is, again, similar, with my body taking up most of the canvas/photograph. The only noticeable difference that I have picked out is lighting and background. Most of Saville’s painting backgrounds are light and airy in colour or give off a hazy feeling. Most of my backgrounds are dark and gloomy, allowing the focus to be on my body, helping to create an intense and somewhat uncomfortable image. Compared to the work I make outside of this series, the size is also similar, with most of my work pieces above A1 size and often being wall size. ‘Tenacious Fragility’, Layla Simons c.2021, Digital Photography

To conclude, fat women have been represented in a whole new light during the contemporary art movement and throughout art history. From Titian {10} painting his ladies with perky breasts, milk bottle skin and not a blemish in sight, to Jenny Saville painting obese women in fleshy poses with all their blemishes exposed and highlighted. It has taken 394 years for fat women to have the limelight on them, to have people admiring the way their body sits or how the light hits a particular roll in this or that way. Saville has finally given them that. A release from the fear of being trapped in their bodies. A way to feel beautiful with all the flaws and blemishes that one may have. That they, too, are a work of art. Saville has presented the female body in a way that compares it to raw meat, fleshy and grotesque, taking the soft male gaze away from it and adding the harsh reality to the painting. With the new light that Saville has shone upon the art world, more and more artists have begun working with larger bodies, both female and male, taking it to different levels and experimenting with how far they can push this concept. Now, we just need the media to follow and allow real life to be similar. To allow any with a body to experience a gaze of admiration instead of a gaze of disgust. For people to come together and for companies to cater rather than discriminate and shame. It would be a shame to throw away all the liberation and admiration that Saville and others worked for.