Historic Standpoint
“Western art and culture have premised "The Nude" upon the classical Greek legacy and Christian transformations until the mid-nineteenth century when the philosophy and political revolution of the Enlightenment bore fruit in realism and the secularization of twentieth-century art movements. Beyond the ideal of divine beauty was the Greek philosophy of freedom and dignity of the individual—nudity was synonymous with integrity. Legendary heroes, ideal figures, mythological personalities, and triumphant warriors were characterized as being "in the nude." As the first flowering of "The Nude,
" Greek art praised what it knew in daily life: the handsome beauty of the male form. Public nudity was a normative condition for men who participated in athletic competitions, exercised at the gymnasium, and partook of the public baths. The Greek ideal of a sound mind and a healthy body was attained in the gymnasium, which was simultaneously a center for education and athletics; all the academies of philosophy had their centers in a gymnasium. Clothes were removed in order to exercise and to be able to think without restraints. The Greek root of gymnasium is gumnos, "to be nude, or bare." Nudity was a condition of physical and mental freedom.” [1]
[Academic Standpoint]
Gordon College is a private, faith-based institution. Here is an excerpt on its policy and reasoning for the use of nudes in their drawing classes:
“We have chosen in the Art Department at
Gordon College to work respectfully with the human figure attempting to
bring honor and glory to God in the process. We base this, in a
Christian context, on a time-honored professional practice, holding the
belief that the human form is the crowning achievement of God in
Creation - worthy of our expert knowledge, and analogous to the
scientific knowledge of the human body in medicine and biology. In our
tradition as artists it is seen as the linchpin of our practice of
visual knowledge. If you can accurately and expressively draw or paint
or sculpt the human form you can draw anything.”
“In our teaching, the nude has much more
in common with medical knowledge than with popular sexualization of
images in advertising and movies. The context of the encounter
determines the meaning of the unclothed form. An operating theater in a
hospital has a drastically different meaning from that of a strip joint.
An art studio with students or artists surrounding a model is akin to
the operating theater. Knowledge is being gained and a professional
activity is being practiced.” [3]
[Logical Standpoint]
Reference (measurements)
Reference (measurements)
The Vitruvian Man or Canon of Proportions is a world-renowned drawing by Leonardo da Vinci. It correlates the ideal of human proportions with geometry.
These measurements are:
· a palm is the width of four fingers
· a foot is the width of four palms (12 inches)
· a cubit is the width of six palms
· a man's height is four cubits (24 palms or 7.5 heads tall)
· a pace is four cubits
· the length of a man's outspread arms is equal to his height
· the distance from the hip to the toes is 4 heads.
· the length from top to bottom of the buttocks is 1 head.
· the distance from the hairline to the bottom of the chin is one-tenth of a man's height
· the distance from the top of the head to the bottom of the chin is 1/8th of a man's height (palm’s length)
· the distance from the top of the head to the bottom of the chest is 2 heads.
· the maximum width of the shoulders is a quarter of a man's height (3 heads width)
· the distance from the elbow to the tip of the hand is one-fifth of a man's height (2 heads)
· the distance from the elbow to the armpit is one-eighth of a man's height
· the length of the hand is one-tenth of a man's height
· the distance from the bottom of the chin to the nose is one-third of the length of the head
· the distance from the hairline to the eyebrows is one-third of the length of the face
· the length of the ear is one-third of the length of the face
· a foot is the width of four palms (12 inches)
· a cubit is the width of six palms
· a man's height is four cubits (24 palms or 7.5 heads tall)
· a pace is four cubits
· the length of a man's outspread arms is equal to his height
· the distance from the hip to the toes is 4 heads.
· the length from top to bottom of the buttocks is 1 head.
· the distance from the hairline to the bottom of the chin is one-tenth of a man's height
· the distance from the top of the head to the bottom of the chin is 1/8th of a man's height (palm’s length)
· the distance from the top of the head to the bottom of the chest is 2 heads.
· the maximum width of the shoulders is a quarter of a man's height (3 heads width)
· the distance from the elbow to the tip of the hand is one-fifth of a man's height (2 heads)
· the distance from the elbow to the armpit is one-eighth of a man's height
· the length of the hand is one-tenth of a man's height
· the distance from the bottom of the chin to the nose is one-third of the length of the head
· the distance from the hairline to the eyebrows is one-third of the length of the face
· the length of the ear is one-third of the length of the face
Proportions chart:
Shadows and form
A technique commonly employed in art to give
an object a three dimensional appearance is called chiaroscuro.
Chiaroscuro is defined as (a) The arrangement of light and dark parts in
a work of art, such as a drawing or painting, whether in monochrome or
in color. (b) The art or practice of so arranging the light and dark
parts as to produce a harmonious effect.
Below are some examples of chiaroscuro:
(B) Psychology of curves to rigidity (why curves are appealing)
“Edmund Burke's, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (first published in 1757).
Throughout the Enquiry, Burke describes female form in a way that
stresses both its formal resolution and the continuity of its surfaces.
Burke writes:
“Observe that part of a beautiful woman
where she is perhaps the most beautiful, about the neck and breasts; the
smoothness; the softness; the easy and insensible swell; the variety of
the surface, which is never for the smallest space the same.”
Despite the air of sexual excitement, Burke's
description succeeds in laying its emphasis on the harmonies and
varieties of a completely closed and completed form. Female form for
Burke represents the perfection of beauty because it embodies no
excesses or disunities that might shock his roving eye.
This tradition continued into the twentieth
century, most notably in the work of the art historian Kenneth Clark.
Clark's 1956 study The Nude remains a landmark (albeit an increasingly
controversial one) in the description of the female body as art form.
Indeed, for Clark the female nude represents the triumph of art: the
ultimate transformation of matter into form. In these terms the image of
the female nude is a pure form, one that, rather than provoking action,
encourages contemplation, even reverence.” [4]
There is something almost transcendent about
the female form in its purest representation, the way your eyes can
seamlessly travel from one extremity on its surface to the other without
interruption or discourse. The manner in which your eyes can easily
glide like water over every curvature and arch; I would refer to this as
aerodynamic beauty, and there will always be something sensuous and
appealing about a curvaceous form that is aesthetically relaxing. Is it
any wonder why a stylishly aerodynamic car is referred to as “she or
her” the sensuality of curvature transcends the human form even into
the realm of inanimate objects.
Can you tell which is the female and which is the car?
- Appreciation of the fairer sex (weaker vessel)
1 Peter 3:7- In the same
way you husbands should live with your wives in an understanding way,
since they are weaker than you. But show them respect, because God gives
them the same blessings He gives you.
Weaker in this context means females are more precious, beautiful, delicate in construction and exceedingly fine in quality.
On the other hand the male form is associated
more with power, sturdiness, uplifting and rigor. This can be
attributed to the male form’s many box like structures of intersecting
muscles. In comparison to the female form’s infinite flow of curvature,
the male form constantly provides visual pit stops of horizontals
meeting verticals and diagonals. The male body can easily be compared to
an architectural structure which provides a different aesthetic
appreciation than that of a stylish car; one is appreciated for its
beauty the other for its brawn.
1 Peter 3:7 Being more
beautiful, delicately, and consequently more slenderly, constructed.
Roughness and strength go hand in hand; so likewise do beauty and
frailty. The female has what the man wants-beauty and delicacy. The male
has what the female wants-courage and strength. The one is as good in
its place as the other: and by these things God has made an equality
between the man and the woman, so that there is properly very little
superiority on either side. [5]
-In imagery “content + intent = effect”
To further dispell the ideology that the
representation of the nude body is pornographic is the logic that the
content of the image coupled with the intent of it (by the artist’s design)
determines the effect it will have on the audience. To illustrate my
point, below are two images, one is a full nude and the other is not.
Which image entices sexual arousal?
-Black and white vs colour (black and white doesn't make an image more artistic)
There is the erroneous thinking that an image
is automatically attributed as being artistic if it is depicted in
black and white. The logic of “content + intent = effect” still applies.
In the example below one of the images has been made into black and
white to illustrate this point. By this logic, would the black and white
image be deemed more artistic than the colour image?
(C) famous artists whose works are revered now but were condemned then
As always the subject of nudity remains under
the looming cloud of controversy, this statement is a fact now as it
was for the old masters of art.
1. Michelangelo was criticized for his poor execution of the female form.
Sistine Chapel Ceiling painting (1508 – 1512)
(Below are detailed images from Michelangelo’s Sistine Chapel painting)
The Downfall of Adam and Eve and their expulsion from the garden
(Below are detailed images from Michelangelo’s Sistine Chapel painting)
The Downfall of Adam and Eve and their expulsion from the garden
The Delphian Sybil The Cumean Sybil
Have you ever wondered why all the females in
the ceiling of Sistine Chapel look so buff and manly? It wasn’t an
aesthetic choice or the stylistic representation of females in that era
of art but rather because they were actually based on the male form and
transgendered into females. Why?
Because during Michelangelo’s time it
was forbidden for females to model nude for artists, so he had to adapt
the female form from a male’s.
The Libyan Sybil The Libyan Sybil sketch
(It’s clearly evident this is a male form)
(It’s clearly evident this is a male form)
Also during this time period, women were
expected to be very demure in the bedroom and it is probable that even a
married man was unable to have full exposure to a nude female body on a
regular basis.
2. Jean Auguste Dominique Ingres was criticized for moving away from the conventional manner of executing nudes.
La Grande Odalisque (1814)
The painting was commissioned by Napoleon's
sister, Queen Caroline Murat of Naples, and finished in 1814. Ingres
drew upon works such as Dresden Venus by Giorgione, and Titian's Venus
of Urbino as inspiration for his reclining nude figure. He portrays a
concubine in languid pose as seen from behind with distorted
proportions. The small head, elongated limbs, and cool color scheme all
reveal influences from Mannerists such as Parmigianino, whose Madonna
with the Long Neck was also famous for anatomical distortion.
This eclectic mix of styles, combining
classical form with Romantic themes, prompted harsh criticism when it
was first shown in 1814. Critics viewed Ingres as a rebel against the contemporary style of form and content.
When the painting was first shown in the Salon of 1819, one critic
remarked that the work had "neither bones nor muscle, neither blood, nor
life, nor relief, indeed nothing that constitutes imitation". This
echoed the general view that Ingres had disregarded anatomical realism.
Ingres instead favored long lines to convey curvature and sensuality, as
well as abundant, even light to tone down the volume. Ingres continued
to be criticized for his work until the mid-1820s.
Stemming from the initial criticism the
painting received, the figure in Grande Odalisque is thought to be drawn
with "two or three vertebrae too many." Critics at the time believed
the elongations to be errors on the part of Ingres, but recent studies
show the elongations to have been deliberate distortions. Measurements
taken on the proportions of real women showed that Ingres's figure was
drawn with a curvature of the spine and rotation of the pelvis
impossible to replicate. It also showed the left arm of the odalisque is
shorter than the right. The study concluded that the figure was longer
by five instead of two or three vertebrae and that the excess affected
the lengths of the pelvis and lower back instead of merely the lumbar
region.
Given how the duty of concubines were merely
to satisfy the carnal pleasures of the sultan, this elongation of her
pelvic area may have been a symbolic distortion by Ingres. While this
may represent sensuous feminine beauty, her gaze, on the other hand, has
been said to "[reflect] a complex psychological make-up" or "[betray]
no feeling". In addition, the distance between her gaze and her pelvic
region may be a physical representation of the depth of thought and
complex emotions of a woman's thoughts and feelings.
3. Edouard Manet was criticized for his artistic freedom of style and social commentary.
Olympia (1863)
During the 1865 Salon exhibition, Eduoard
Manet entered two paintings, one of which sparked strongly negative
reviews from critics as well as the Parisian public. This center of
controversy was called Olympia, a painting that Manet created in 1863.
Manet painted Olympia according to his point of view, “that an artist has got to move with the times and paint what he sees”.
Unfortunately, the public that received Olympia at the Salon in 1865
was not ready for and certainly did not agree with Manet’s ahead of the
times philosophy. Olympia caused such uproar that authorities were
forced to appoint two armed guards to protect the painting. The uproar
in response to Olympia was not necessarily the fact that Manet’s subject
was a nude woman. Instead, the Parisian public’s hostile reaction to
Olympia and Manet originated in their fear of the underlying
prostitution in their society. For Olympia’s audience, Manet was
crossing the line of what was morally acceptable in art let alone in
society.
Before Manet entered his Olympia in the Salon
of 1865, art critics and the Parisian public had a very comfortable
perception of the female nude in art. As history tends to show, people are very afraid of change and cling to the forms of the past.
Only two years earlier in 1863, the same year that Manet painted
Olympia, Alexandré Cabanel painted The Birth of Venus, the classic
tradition of the female nude. The tradition of the female nude in art up
to 1865 had been a female painted as either a Venus or Danaë. The
goddess Venus, “usually lies peacefully, stretched out on a couch or on
the ground, asleep or quietly dreaming, attended by Cupid or
handmaidens”. Danaë on the other hand is a woman whose story, “focuses
on her one moment of glory, when Jupiter visited her in the form of a
shower of golden rain”. She is usually positioned, “lying on a couch,
with her knees drawn up and thighs parted to receive the god, gazing up
expectantly”. With these two women being the Victorian precedent of
Olympia, there is no doubt that the public was shocked when they faced
Olympia in 1865 because she was, “not Venus, nor Eve either”. This
reaction from the public shows that “the public nakedness of a beautiful
woman sometimes becomes a question of politics, which actions are
permitted under which unspoken and frequently changing rules”. The
Parisian public was afraid of the boldness that Olympia represented, not
as much in art, as in the society in which they lived.
With Olympia, Manet chose to stray from the
Biblical Eve and Venuses “while proclaiming his painting a part of an
established tradition through its many references to other paintings of
the female nude”. Adler also notes that “He [Manet] confounded the
expectations which critics and members of the public alike brought to
the painting”. Sadly though, it was “not until 1897 that a critic first
saw any connection between Olympia and Titian’s Venus upon which it had
so artfully been modeled”. Manet believed that his audience would
recognize the resemblance to Titian’s Venus of Urbino and praise him for
taking the female nude to a new level. Unfortunately, Manet’s
modernistic philosophy did not sink in with the public or with the
critics who saw Olympia at the 1865 Salon.
This was the audience that Olympia was
presented to in 1865, a public that valued the traditions of the past
and was strict about morals of society. For them, Olympia was personal
insult to their morality. Friedrich notes that “the first reaction of
the Parisian press and public was one of hostility, even outrage, along
with a certain amount of nervous laughter”. Many believed that “Olympia
indicated nothing but his [Manet’s] contempt for the public”. It is
clear, the reason of the public’s fear, because “She [Olympia] is
scandal and idol, power and public presence of Society’s wretched secret
Bestial Vestal consecrated to absolute nudity, she makes us think of
everything that conceals and preserves primitive barbarity and ritual
animality in the customs and practices of urban prostitution”.
Even though prostitution was present in
society, it was morally wrong to bring it out into the open because it
was a shameful practice and one that was feared due to its corruption.
Schneider proves this point further by stating, “the Parisians shrieks
of outrage ring false in a city where prostitutes were princesses, where
a man’s mistress was more likely to be seen in public than his wife,
and where a perfume of delicious wickedness pervaded the atmosphere”.
Schneider helps show that it was not Olympia’s nakedness that sparked
contempt from the crowd, but rather the fact that she was a modern
woman, a woman in a profession that was not morally accepted by the
society in which she lived.
Manet painted Olympia in 1863, expecting the
painting’s audience, to embrace her beauty and her reality. He painted
Olympia with many similar elements as Titian’s Venus of Urbino from 1538
and decided to take “a mythological theme and transposed it into the
world of his day”. According to Hamilton, “Manet was reworking one of
the most familiar as well as one of the most conventionally idealized
themes of European painting; Olympia proclaimed for those who knew
anything at all of the past that her ancestresses were the Venetian
Venuses of the High Renaissance, in particular Titian’s Venus of
Urbino”. Manet was attempting to be totally innovative with his Olympia.
Some critics came to Manet’s defense and noted that, “the
crude public finds it easier to laugh than to look, understands nothing
at all of this art which is too abstract for its intelligence”.
These same critics praised Manet’s bold approach to his Olympia by
noting that it is “only with Olympia do we reach that moulting time,
when painting casts off its old trappings and emerged as a new reality”.
This specific transition that Manet produced from Titian’s Venus of
Urbino and his own Olympia mark the changes that are “the outward signs of the transition from one world to another”. Although the majority of the Salon critics and the Parisian public denounced Manet and his work, others were able to make connections about Olympia and praise Manet for his bold step into modernism.
Manet represented Olympia as being naked rather than nude, all the
signs in Manet’s work pointed to the fact that he was representing a
modern Venus and she was a prostitute.
Besides the critics that praised Manet, the
women (the prostitutes) that her represents in Olympia most likely
thanked him as well for his bold step. Since Manet’s Olympia was a
representation of a woman that possessed the role of a prostitute, her
character was considered an outsider in the Parisian society. Perhaps it
is safe to say that other courtesans of the time were honored to have a
world renowned artist paint Olympia, a woman that without a doubt was
“a courtesan rather than a deity”. But Manet included in Olympia the
characteristics of a strong and powerfully independent woman. Brombert
asserts that “her body may be her stock-in-trade, but it is she who has
full control over it”. Even if Olympia seemed to glamorize the life of
prostitution, this was no reason to degrade the painting as Paul de
Saint-Victor did when he called Olympia “art that has sunk so low it is
not worthy of our censure”. The higher class Parisians that Manet
presented Olympia to in 1865 included the wives of the men that visited
prostitutes. Olympia stares them in the face and “the direct gaze of the
figure produces an immediacy in the relationship between the figure and
the spectator that retains the power to disconcert”. She demands
respectability from her viewers because “although see has been demoted,
she knows nothing of the self-conscious shame of Eve”. The Parisian
courtesans of this period most likely secretly thanked Manet for his
bold interpretation. Although they took part in a
profession that “moral” society preached against, they were nevertheless
women and they deserved to be recognized as just that.
Most likely Manet was ahead of his time with
his philosophy and seen as negatively radical. But Manet was not this at
all. Instead, he chose to follow a path that was all his own and not
that of all the other artists that painted the Venuses of the past. He
chose to represent a new Venus and her name was Olympia. [8]
Each Master whom we currently revere was
condemned during his own time for implementing unconventional vision and
innovation. As is still the status quo to this day; artists are usually
the ones who seek to advance the psyche of society and consequently are
usually persecuted for it. Often ahead of their time they remain
unappreciated for their apogees, only receiving their due acclaim long
after their death.
(D) The evolution and representation of the female through varying periods of art history.
PREHISTORIC ART
Paleolithic 35,000 - 7,000 BC
Paleolithic 35,000 - 7,000 BC
Venus of Willendorf
The Venus is not a realistic portrait but
rather a crude version of the female figure. Her vulva, breasts, and
swollen belly are very pronounced, suggesting a strong connection to
fertility or pregnancy. Her tiny arms are folded over her breasts, and
she has no visible face, her head being covered with circular horizontal
bands of what might be rows of plaited hair or a kind of headdress. The
lack of a face has prompted some archaeologists and philosophers to
view the Venus as a Mother Goddess.
ANCIENT NEAR EAST ART
Neo-Babylonian 625-538 BC
Neo-Babylonian 625-538 BC
Neo Babylonian Nude Goddess Cylinder Seal
A fine Near Eastern cylinder seal of hematite,
2nd millennium BC, carved with a scene of worshipper presenting an
animal to an enthroned deity, a nude goddess standing between them.
THE ART OF GREECE
Hellenistic 323 - 30 BC
Venus de Milo
The Venus de Milo, or Aphrodite of Melos (named
after the Greek island on which it was discovered in 1820). It’s nude
torso enabled her to be identified as Aphrodite, the Roman Venus,
goddess of love and beauty, born out of the foam of the sea. And with
her, Greek art gave birth to all Western art’s female nudes. Her
elongated silhouette, position in space, and very sensual, realistic
nudity link this work to the Hellenistic period (323–31 BC), the last
great era in Greek history. What the sculptor was seeking to depict was
divine beauty, that of Plato’s ideals, not worldly reality.
GOTHIC ART
Late Medieval 1300 - 1500
The Garden of Earthly Delights by Hieronymus Bosch
(Details from The Garden of Earthly Delights)
It is named for the luscious garden in the
central panel, which is filled with cavorting nudes and giant birds and
fruit. The triptych depicts the history of the world and the progression
of sin. Beginning on the outside shutters with the creation of the
world, the story progresses from Adam and Eve and original sin on the
left panel to the torments of hell, a dark, icy, yet fiery nightmarish
vision, on the right. The Garden of Delights in the center illustrates a
world deeply engaged in sinful pleasures. His paintings have a rough
surface from the application of paint; this contrasts with the
traditional Flemish style of paintings, where the smooth surface
attempts to hide the fact that the painting is man-made.
RENAISSANCE ART
Early Renaissance 15th century
Birth of Venus by Sandro Botticelli
The classical poets had been known all through
the Middle Ages, but only at the time of the Renaissance, when the
Italians tried so passionately to recapture the former glory of Rome,
did the classical myths become popular among educated laymen. To these
scholars the story of her birth was the symbol of mystery through which
the divine message of beauty came into the world. Botticelli's Venus is
so beautiful that we do not notice the unnatural length of her neck, the
steep fall of her shoulders and the queer way her left arm is hinged to
the body. Or, rather, we should say that these liberties which
Botticelli took with nature in order to achieve a graceful outline add
to the beauty and harmony of the design because they enhance the
impression of an infinitely tender and delicate being, wafted to our
shores as a gift from Heaven."
Mannerism 1520 – 1600
Venus, Cupid, Time and Folly by Agnolo Bronzino
Mannerism is characterized by the use of
attenuated, though very plastically modelled, figures in exaggerated,
often twisted postures; the unrealistic treatment of space, often for
dramatic effect; and a seemingly arbitrary choice of thin, discordant,
often acid colours. Mannerism marked a move away from the detached
balance and clarity of the High Renaissance towards greater drama and
complexity, and a desire for emotive effects, movement, and contrasts.
BAROQUE AND 18TH CENTURY ART
Baroque 1600 – 1725
Baroque 1600 – 1725
Venus and Adonis by Peter Paul Rubens
Baroque art has a sense of movement, energy,
and tension. Strong contrasts of light and shadow enhance the dramatic
effects of many paintings and infinite space is often suggested. The
figures in paintings are not generalized types but individuals with
their own personalities. Artists of this time were concerned with the
inner workings of the mind and attempted to portray the passions of the
soul through the facial features of their subjects. The intensity and
immediacy, individualism, and detail of Baroque art—observed in such
things as the convincing rendering of cloth and skin textures—make it
one of the most compelling styles of Western art. Rubens’ nudes were
well-known for being round, robust and voluptuous, a Flemish artistic
convention equated with prosperity.
Neoclassical 1750 - 1850
Mars Disarmed by Venus and the Three Graces by Jacques-Louis David
More than just an antique revival,
Neo-Classical artists at first sought to replace the sensuality and what
they viewed as the triviality of the Rococo style with a style that was
logical, solemn in tone, and moralizing in character.
19TH CENTURY ART
Romanticism 1750 – 1850
La Maja Desnuda by Francisco Goya
The Romantic period emphasized the emotions
painted in a bold, dramatic manner. This painting is sometimes said to
be the first clear depiction of female pubic hair in famous Western art.
In 1815, the Spanish Inquisition summoned Goya to reveal who
commissioned him to create the "obscene" La maja desnuda, and he was
consequently stripped of his position as the Spanish court painter.
Realism 1839 – 1900
Nude with Dog by Gustave Courbet
Courbet's distinctive painting style was
marked by technical mastery, a bold and limited palette, compositional
simplicity, strong and even harshly modeled figures (as in his nudes),
and heavy impasto—thick layers of paint—often applied with a palette
knife.
Impressionism 1863 – 1900
Nude in the Sunlight by Pierre Auguste Renoir
Impressionism’s primary object was to achieve
a spontaneous, undetailed rendering of the world through careful
representation of the effect of natural light on objects.
EARLY 20TH CENTURY ART
Art Nouveau 1890's - 1910
Art Nouveau 1890's - 1910
Salon des Cents by Alphonse Mucha
Art Nouveau, literally new art, is
characterized by long curving lines based on sinuous plant forms, and an
element of fantasy. It was primarily a decorative style and as such was
used particularly effectively in metalwork, jewellery, glassware and in
book illustration, where the influence of Japanese prints is often
evident.
Fauvism 1905 – 1908
Blue Nude 1 by Henri Matisse
Fauvism, French for “wild beast”,
revolutionized the concept of colour in modern art. The Fauves rejected
the Impressionist palette of soft, shimmering tones in favour of the
violent colours used by the Post-Impressionists Paul Gauguin and Vincent
van Gogh for expressive emphasis. They achieved a poetic energy through
vigorous line, simplified yet dramatic surface pattern, and intense
colour.
Expressionism 1905 – 1930
Women and a Pierrot by Emil Nolde
Expressionism strove to express subjective
feelings and emotions rather than to depict reality or nature
objectively. The artist is not concerned with reality as it appears but
with its inner nature and with the emotions aroused by the subject. To
achieve these ends, the subject is frequently caricatured, exaggerated,
distorted, or otherwise altered in order to stress the emotional
experience in its most intense and concentrated form.
Futurism 1909 – 1916
Nude Descending a Staircase, No. 2 by Marcel Duchamp
Futurism rejected all traditions and attempted
instead to glorify contemporary life, mainly by emphasizing its two
dominant themes, the machine and motion. Futurism was characterized by
the attempted depiction of several successive actions of positions of a
subject at the same time. The result somewhat resembled a stroboscopic
photograph or a series of photographs taken at high-speed and printed on
a single plate.
Analytical Cubism 1907 – 1912
Les Demoiselles d'Avignon by Pablo Picasso
Cubism was primarily concerned not with
lifelike representation but with the depiction of subject-matter by
breaking its form down into basic geometric shapes; by overlapping or
interlocking these shapes, Cubist painters also attempted to depict
objects from many angles not simultaneously visible in reality but
arranged so as to form a unified composition.
Surrealism 1910 – 1930
Le Viol by René Magritte
Surrealism emphasized the role of the
unconscious in creative activity, but it employed the psychic
unconscious in a more orderly and more serious manner.
Constructivism 1914 – 1920
Torso by Antoine Pevsner
Constructivism's name was derived from the
“construction” of abstract sculptures from miscellaneous industrial
materials, such as metal, wire, and pieces of plastic.
Art Deco 1925 – 1939
Andromeda by Tamara de Lempicka
Art Deco’s sleek, streamlined forms conveyed
elegance and sophistication. It was developed both as a reaction against
the elaborate and sinuous turn-of-the-centruy Art Nouveau style and as a
new aesthetic that celebrated the machine age, which was gathering
momentum. Its central characteristics are clean lines and sharp edges,
stylishness and symmetry.
LATER 20TH CENTURY ART
Pop Art 1950 – 1980
Pop Art 1950 – 1980
Nude with Blue Hair by Roy Lichtenstein
Pop Art (an abbreviation of “popular art”)
images were taken from mass culture. Pop Art appropriated the
techniques of mass production and the subject-matter of mass culture
often in an ironic way. Pop Artists embraced the environment of everyday
life and some artists duplicated beer bottles, soup cans, comic strips,
road signs, and similar objects in paintings, collages, and sculptures.
In using images that reflected the
materialism and vulgarity of modern mass culture, they sought to deliver
a perception of reality even more immediate than that offered by the
realistic painting of the past. They also strove to be impersonal—that
is, to allow the viewer to respond directly to the object, rather than
to the skill and personality of the artist.
Op Art 1960 – 1970
Op-Art Nude by Ray Speers
An abstract movement in Europe and the US in the mid 1950s based on the effects of optical patterns.
Postmodernism
(Photo-Realist Paintings) 1960 – 1990
Big Nude by Chuck Close
A figurative movement that emerged in the US
and Britain in the late 1960s and 1970s. The subject matter, usually
everyday scenes, is portrayed in an extremely detailed, exacting style.
Postmodernism can roughly be said to be
characterized by the combination of modern forms, materials, and
techniques with the subtle and highly conscious use of motifs and
conventions from earlier periods. It can be seen as a subtle shift away
from the espousal of abstraction and conceptualization that had
dominated avant-garde art since the early decades of the 20th century,
and also as a development from the precedent set by Pop Art, whose
eclecticism and populism exploited the semiotic power of everyday
objects. As the Postmodernist theorist Charles Jencks has put it,
Postmodernism “is both the continuation of Modernism and its
transcendence”.
Present Day 1990-now
Nude by Tomas Rucker
As we can see the medium may have changed but
the standard of expressing the female form as the quintessence of pure
beauty is still in effect.
(E) Nude paintings/sculptures are artistic while a nude photo is pornographic.
This is a common misconception that can be
attributed to the medium’s massive use in the pornographic industry as
one of its primary means of delivering its content. Just because this is
the case, we can not lump everything that is “nude” into one category
and throw the baby out with the bath water.
The camera is as much a legitimate artistic
medium as a paintbrush or hammer and chisel. As illustrated from the
timeline of female nudes in art, the medium of expressing the female
form through the ages has ranged from sculptures to lithographs to
paintings to prints etc. One medium does not have a higher caste than
the other, and as such, does not bring more or less merit to the
portrayal of the female form than another medium would.
However if we were to apply the argument that
all nude photographs are pornographic, we might as well extend that
mindset to the other mediums that were used to depict pornography prior
to the advent of the camera. Below are some examples of erotic
paintings, sculptures and friezes.
Khajuraho temple, 9th – 10th century
Erotic lithograph, 1840
Erotic Japanese bone carvings, 19th Century
I see you've posted a portion of my thesis on the "Femininity" art exhibit from www.GodArtist.com
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