Artists and Muses: Identity and Self-Recognition in Portrait of a Lady on Fire and Blue is the Warmest Color

DOI

10.2991/assehr.k.220706.128How to use a DOI?

Keywords

Film; Gaze; Lesbian; Artist-Muse; Self-recognition; Symbolism

Abstract

Portrait of a Lady on Fire and Blue is the Warmest Color are two modern French queer films related to lesbian love. The relationships in both films share identical identities between lovers, in which one is an artist and the other is the Muse. The female muse has lain in wait over the last three centuries of art to be made intriguing under the strokes of the great male artist. The term of “male gaze”, thus, has often been used in the relationship between the artist and the muse. Based on this cognition, this paper discusses the special identity and their self-recognition in two lesbian relationships between an artist and her muse. The results show that Portrait stresses the equality and dissolves of the artist-muse relationship whereas Blue demonstrates the unequal artist-muse relationship and split identity of the muse under the gaze of the artist.

Copyright

© 2022 The Authors. Published by Atlantis Press SARL.

Open Access

This is an open access article distributed under the CC BY-NC 4.0 license.

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TY  - CONF
AU  - Siya Zhao
PY  - 2022
DA  - 2022/07/14
TI  - Artists and Muses: Identity and Self-Recognition in Portrait of a Lady on Fire and Blue is the Warmest Color
BT  - Proceedings of the 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022)
PB  - Atlantis Press
SP  - 675
EP  - 681
SN  - 2352-5398
UR  - https://doi.org/10.2991/assehr.k.220706.128
DO  - 10.2991/assehr.k.220706.128
ID  - Zhao2022
ER  -