Cesar Avila9/8/13John-Michael H. WarnerARH 201

Visual Analysis Paper One: Woman From Willendorf

In an era that predates the formation and use of any formal means of written communication, the relatively ambiguous perception of the Prehistoric period that historians have is derived mainly from analysis of the artistic expressions (both intact and destroyed) that have survived the unforgiving ravages of time. Such crafts not only served as potential sources of visual stimuli for the nomadic tribes that existed throughout the Stone Era, but also as essential forms of interpersonal articulation and divine worship. Thus, Prehistoric art distinguishes itself from the work of more recent periods by serving as an arbiter for scholars of the social stratifications and cultural values of archaic peoples. Widely regarded by art historians as the most prominent figurine of the Upper Paleolithic era, the Woman of Willendorf (c. 24,000 BCE) is an idol of fertility suggestive of the notion that the inhabitants of the Stone Age lived in matriarchal societies that hinged their peoples survival on the ability to procreate, beckoning to divine entities for this grace.Unearthed in a loess deposit in present-day Willendorf, Austria, the Woman of Willendorf is a 4 -inch statuette carved by an anonymous artist out of a medium of oolitic limestone. Despite its rather unassuming stature, the figures bulbous shape and largely unrefined texture combine to produce an appearance much larger than the height suggests. In addition, the limestone material of the statue shows faded red coloring (a result of the course of time), accomplished by rubbing the natural earth pigment ochre on the statues surface. The aforementioned properties of the statue indicate that rather than depicting an ordinary woman of the era, the figurine instead serves as a divine fertility idol with great cultural prestige. First, by carving the statue of limestone, the artist most likely desired to ensure that the statue could withstand the environmental hardships faced by nomadic tribes in addition to serving as an heirloom for future generations. Moreover, since the statue was created in the Stone Age, a period characterized by a lack of refined tools, it can be assumed that the carving of the limestone was an arduous task reserved only for figures of the highest societal esteem. Although the relatively petite size of the Woman of Willendorf defies the artistic motif of hieratic scale, its smallness is simply a testament to its importance in society. At just under 5 inches, it is likely that either a woman trying to conceive or an expectant mother could have carried this handheld relic as a token of good fortune or blessing. More importantly in the context of this era, its size lends to the idea of portability, a feature that was absolutely essential to a society that rarely settled down in a single location for extended periods. Despite having faded greatly, remnants of pigment attest to the fact that this statue was once covered with a highly saturated hue of red. Not coincidentally, red is perhaps the most symbolic color, especially when of a shade almost identical to that of blood as is shown on the statue. In these conditions, the blood-red hue may suggest either the vitality of life or as a means of mimicking the passion of sexuality and intimacy, both universally recognized precursors for reproduction. While the basic properties of the Woman of Willendorf allow for preliminary assumptions to be made on the nature of the figurine, it is the physical attributes and overall figure of the statue that combine to bolster the theory that she was in fact a fertility idol canonized by the Upper Paleolithic people. Without a doubt, the figures most defining features are the extraordinarily emphasized female aspects of the body: the breasts, thighs, buttocks, and pubic area. The full breasts, bulging buttocks, and hefty thighs all combine to produce a curvaceous figure that imparts an aura of strength and bountiful nourishment to the viewer. The plumpness of the statue also advocates that this figure was indeed the representation of a deity as opposed to that of an ordinary woman. This conclusion can be drawn simply by understanding the pervasive culture of hunter-gatherers in the Stone Age, whose highly active lifestyles and sporadic diets most likely produced women with leaner body types. Perhaps without question, the most noteworthy physical feature of the statue is the genital area, a region that provides a highly detailed and artistic depiction of both the womans labia and vulva. As the most eminent sexual organ on the human female body, the artists poignant portrayal of the vagina illustrates the importance of procreation in society. This notion is furthered when combined with the representation of the females breasts, appearing to be swollen with milk (as in preparation to feed and nurture a newborn child). The artist underscores the subject of fertility in this piece by dismissing other non-sexual body parts. This is most evident with the statues arms and feet, which are either disregarded entirely (as with the face) or scaled disproportionately minute relative to the sexual features (as with the arms). Although the face is left blank, this is not indicative of artistic indifference but rather as a method of reiterating the artists intention to create a statue of a divine symbol instead of an actual person. Finally, it is obvious that the artist created the plaited hair of the statue in a very deliberate manner, arranging the braids in a series of seven very intricately arranged layers. Noting again the customs of the nomadic peoples, it is likely that the women of the era neither had the time nor resources to maintain such ornate hairstyles. Thus we can surmise that by including such detail, the artists intention was to display the statues cultural prominence and divine grace. Upon examination and visual analysis of the Woman of Willendorf it is clear that the artist who created this timeless figurine had a meticulous inclination to designate her as a lofty symbol in the nomadic society of the Stone Age. By carefully dissecting the quality of material and intensive labor that the creation of the statuette must have entailed, it is apparent that this icon depicts an entity of superior reverence. Moreover, the brazen embellishment of the females sexual attributes reveals the statues function as a harbinger for fertility. The plethora of information that can be drawn about the civil principles of Stone Age dwellers by such a seemingly simple statuette is a declaration to the ability of art to convey constructive meaning. From such visual analysis not only are we privileged to appreciate the art of prior peoples but also to learn about the society and cultures of those who were unable to transcribe such critical histories via written word.

Woman of Willendorf (c. 24,000 BCE).