Anthropometric Comparison of Painting Portraits of Beautiful Women, Femme Fatales, and Artists’ Mothers

Park, Ju Yong; Hwang, Seongpil; Hwang, Kun

doi:10.1097/scs.0b013e3182a30e82

Cited by 6 publications

(10 citation statements)

References 5 publications

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“…4 , 5 ). The inclusion criterion was that the images were anteroposterior or oblique views of less than 15-degrees after Park and Hwang [ 29 ]. A total of 41 images were collected including 20 from Group I, 10 from Group II, and 11 from Group III.…”

Section: Methodsmentioning

confidence: 99%

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The Benslimane’s Artistic Model for Females’ Gaze Beauty: An Original Assessment Tool

Benslimane¹,

Harpen

Myers

et al. 2016

Aesth Plast Surg

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BackgroundThe aim of this paper is to analyze the aesthetic characteristics of the human females’ gaze using anthropometry and to present an artistic model to represent it: “The Frame Concept.” In this model, the eye fissure represents a painting, and the most peripheral shadows around it represent the frame of this painting. The narrower the frame, the more aesthetically pleasing and youthful the gaze appears.Materials and MethodThis study included a literature review of the features that make the gaze appear attractive. Photographs of models with attractive gazes were examined, and old photographs of patients were compared to recent photographs. The frame ratio was defined by anthropometric measurements of modern portraits of twenty consecutive Miss World winners. The concept was then validated for age and attractiveness across centuries by analysis of modern female photographs and works of art acknowledged for portraying beautiful young and older women in classical paintings.ResultsThe frame height inversely correlated with attractiveness in modern female portrait photographs. The eye fissure frame ratio of modern idealized female portraits was similar to that of beautiful female portraits idealized by classical artists. In contrast, the eye fissure frames of classical artists’ mothers’ portraits were significantly wider than those of beautiful younger women.ConclusionThe Frame Concept is a valid artistic tool that provides an understanding of both the aesthetic and aging characteristics of the female periorbital region, enabling the practitioner to plan appropriate aesthetic interventions.Level of Evidence IIIThis journal requires that authors assign a level of evidence to each article. For a full description of these Evidence-Based Medicine ratings, please refer to the Table of Contents or the A3 online Instructions to Authors. www.springer.com/00266.

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Section: Methodsmentioning

confidence: 99%

“…The aim of this study is to validate scientifically the Frame Concept using anthropometric ratio analysis [ 28 , 29 ]. The anthropometric ratio was measured on modern icons of female beauty, historical references of beautiful youthful female faces, and on historical references of older female faces.…”

Section: Introductionmentioning

confidence: 99%

The Benslimane’s Artistic Model for Females’ Gaze Beauty: An Original Assessment Tool

Benslimane¹,

Harpen

Myers

et al. 2016

Aesth Plast Surg

View full text Add to dashboard Cite

show abstract

“…According to our previous study, horizontal anthropometric proportions were not significantly different between the antero-posterior view and the less than 15-degree oblique view [ 13 ]. Consequently, in this study, paintings of the antero-posterior view or less than 15-degree angled oblique view have been included for measurement.…”

Section: Ideamentioning

confidence: 99%

A Consideration of Breast Imagery in Art as Depicted through Western Painting

2015

Self Cite

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The aim of this study is to consider breast imagery in art as depicted through western painting. Twenty western art paintings were collated. Most of the sample paintings were created from the mid-nineteenth century to the late twentieth century and some are from the Renaissance period. Ten anthropometric items were used to measure 15 distances between two landmarks and 3 angles between three points. The distance from the nipple to the sternal notch and to the midclavicular point was the same and they were 0.46 of the distance from the sternal notch to the umbilicus. The shape of the projection of the breast was almost an isosceles triangle and the altitude of the triangle was at a proportion of 0.45 of the bottom length and 0.16 of the distance from the sternal notch to the umbilicus. The distance between the lateral ends of the breasts was 2.14 times the facial width and the distance between nipples was 1.36 times the facial width. Proportions from works of art are more ideal and attractive than clinically measured proportions. The desirable ratios measured from historical paintings might be useful in planning breast surgeries.

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“…In this regard, we might accept that painted portraits exemplify a common shape corresponding to the forms of beauty relished in that era. 1…”

mentioning

confidence: 99%

What Did the Historical Chinese Beauties Look Like? An Analysis of Portrait and Biography of 100 Beauties (百美新咏圖傳, 1792)

Hwang

Wu²

2022

Journal of Craniofacial Surgery

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: The aim of this study was to elucidate the appearance of historical Chinese beauties by analyzing Portrait and Biography of 100 Beauties (1792). The 103 women who appear in this work were categorized as historical or mythological figures, and the reason for their inclusion was classified as beauty, talent, or both. Descriptions of beauties were classified as general literary descriptions or specific descriptions of their appearance. Among them, 42.7% were depicted as both beautiful and talented, while 42.7% were only described as beautiful. The remainder were included because of their talent only. Almost four-fifths (78.6%) were described as chaste, while the remaining one-fifth (21.4%) were presented as licentious. About half (48.5%) were queen consorts, princesses, imperial concubines, or palace women. Courtesans and singing girls (17.5%) and concubines of influential officials and scholars (16.5%) followed. Forty-six women had specific descriptions of their appearance, most often of their face (33.5%), followed by their body (16.5%), manners (7.3%), fragrance (4.3%), and clothes (2.4%). The most frequent descriptions of specific attributes were found for the hair (7.4%), eyebrows (6.7%), eyes (5.5%), skin (5.5%), and body shape (4.9%). Among the 114 talents possessed by 59 beauties, the most celebrated talents were entertaining skills (42.1%), followed by literary skills (27.2%), and intelligence (21.1%). Three women were included owing to their make-up skills. Chaste beauties were depicted as more likely to have a happy fate than licentious beauties (OR: 16.8, P < 0.01). This analysis might be helpful for understanding the concept of beauty throughout Chinese history.

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Anthropometric Comparison of Painting Portraits of Beautiful Women, Femme Fatales, and Artists’ Mothers

Cited by 6 publications

References 5 publications

The Benslimane’s Artistic Model for Females’ Gaze Beauty: An Original Assessment Tool

The Benslimane’s Artistic Model for Females’ Gaze Beauty: An Original Assessment Tool

A Consideration of Breast Imagery in Art as Depicted through Western Painting

What Did the Historical Chinese Beauties Look Like? An Analysis of Portrait and Biography of 100 Beauties (百美新咏圖傳, 1792)

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