Let Them Eat Caakes Summary

Images of women are ubiquitous and pervasive to such a degree that their deeper implications and reflections of the world that they occupy cannot be ignored. Images of women cannot and do not stand alone; they must be examined in a cultural context and through a feminist framework to be fully understood. Some feminist theorists argue that portrayals of women are inherently objectifying, positioning woman as a thing to be viewed rather than as a being in and of herself. These images exist solely for the visual pleasure of men. In this line of thought, practices of adornment are detrimental to the woman, evidence that she views herself as an object and as such subscribes to a gender hierarchy by which men are placed in positions of social, intellectual, …show more content…
The walls are white and gilded, and windows in the French doors reveal a light-drenched balcony. In front of a tall rose-colored curtain is a large bed with the sheets and comforter in disarray. Two women are sitting under the sheets, each wearing a flowing, gauzy dress. One of the women also appears to have partially undone her dress, leaving her neck and shoulders bare. Each woman has a plate with a small pink and white dessert; one is holding her fork up, poised to take a bite. Both are gazing intently at the opposite wall, which we cannot see, and their poses are casual, lending the photograph a candid atmosphere. Around the room we see white chairs with dated floral upholstery. Atop this furniture perch ten more dishes of pastries topped with berries, pink and white frosting, and whipped cream. The soft pink tones of the pastries contribute to the monochromatic color …show more content…
The image is primarily composed of warm golden tones. The woman sits in the bathtub with her hair teased in a voluminous curly updo and adorned with a single large jeweled clip. Large chandelier earrings, maroon elbow-length gloves with bracelets on top, and an antique fan comprise the rest of her outfit. One arm is dangling leisurely off the side of the tub, the fan clasped gently in her gloved hand. The other is propped up against the wall, suggesting some sort of gesture, the nature of which remains unclear. In the corner of the bathtub where the rim meets the wall sit a golden figurine of a swan and two Chanel perfume bottles. Again, as in “Let Them Eat Cakes,” her gaze is fixed upon something out of the frame, a look of vague interest playing across her