Posing Naked Upload for Free for Artists

Work of art that has every bit its primary subject the unclothed homo body

David (1504)
"What spirit is so empty and blind, that it cannot recognize the fact that the pes is more noble than the shoe, and pare more than beautiful than the garment with which it is clothed?"
— Michelangelo^[1]

The nude, as a form of visual fine art that focuses on the unclothed human figure, is an enduring tradition in Western art.^[2] It was a preoccupation of Ancient Greek art, and later on a semi-fallow menstruum in the Center Ages returned to a fundamental position with the Renaissance. Unclothed figures often also play a part in other types of art, such as history painting, including allegorical and religious art, portraiture, or the decorative arts. From prehistory to the earliest civilizations, nude female figures are generally understood to be symbols of fertility or well-being.^[3]

In Bharat, the Khajuraho Grouping of Monuments built between 950 and 1050 CE are known for their erotic sculptures, which comprise near 10% of the temple decorations. Japanese prints are ane of the few non-western traditions that can be called nudes, just the activeness of communal bathing in Japan is portrayed as just another social activeness, without the significance placed upon the lack of wear that exists in the Westward.^[4] Through each era, the nude has reflected changes in cultural attitudes regarding sexuality, gender roles, and social construction.

One oft cited book on the nude in art history is The Nude: a Report in Ideal Grade past Lord Kenneth Clark, first published in 1956. The introductory chapter makes (though does not originate) the oftentimes-quoted distinction between the naked body and the nude.^[5] Clark states that to be naked is to be deprived of dress, and implies embarrassment and shame, while a nude, as a work of fine art, has no such connotations. This separation of the artistic form from the social and cultural bug long remained largely unexamined by classical art historians. ^{[ citation needed ]}

One of the defining characteristics of the mod era in art was the blurring of the line between the naked and the nude. This likely offset occurred with the painting The Nude Maja (1797) by Goya, which in 1815 drew the attending of the Spanish Inquisition.^[6] The shocking elements were that it showed a particular model in a gimmicky setting, with pubic hair rather than the smooth perfection of goddesses and nymphs, who returned the gaze of the viewer rather than looking away. Some of the aforementioned characteristics were shocking almost 70 years later on when Manet exhibited his Olympia, not because of religious bug, simply considering of its modernity. Rather than beingness a timeless Odalisque that could exist safely viewed with disengagement, Manet'southward prototype was assumed to be of a prostitute of that time, perhaps referencing the male person viewers' own sexual practices.^[seven]

Types of depiction [edit]

Ariadne Asleep on the Island of Naxos (1808–1812) by John Vanderlyn. The painting was initially considered too sexual for display in the Pennsylvania University of the Fine Arts. "Although nudity in art was publicly protested by Americans, Vanderlyn observed that they would pay to see pictures of which they disapproved."^[8]

The pregnant of whatsoever image of the unclothed human torso depends upon its being placed in a cultural context. In Western culture, the contexts more often than not recognized are art, pornography, and information. Viewers easily identify some images as belonging to one category, while other images are ambiguous. The 21st century may have created a fourth category, the commodified nude, which intentionally uses ambiguity to attract attention for commercial purposes.^[9]

With regard to the distinction betwixt fine art and pornography, Kenneth Clark noted that sexuality was role of the attraction to the nude as a discipline of art, stating "no nude, withal abstruse, should neglect to arouse in the spectator some vestige of erotic feeling, even though it exist merely the faintest shadow—and if information technology does not do so information technology is bad art and fake morals". According to Clark, the explicit temple sculptures of tenth-century India "are great works of art because their eroticism is part of their whole philosophy". Bang-up fine art tin can contain significant sexual content without existence obscene.^[10]

However, in the United states of america nudity in art has sometimes been a controversial subject when public funding and brandish in certain venues brings the work to the attention of the full general public.^[11] Puritan history continues to touch the selection of artwork shown in museums and galleries. At the same time that whatsoever nude may exist suspect in the view of many patrons and the public, art critics may reject piece of work that is not cutting edge.^[12] Relatively tame nudes tend to be shown in museums, while works with daze value are shown in commercial galleries. The fine art earth has devalued simple beauty and pleasance, although these values are present in art from the by and in some contemporary works.^{[13] [14]}

When schoolhouse groups visit museums, there are inevitable questions that teachers or tour leaders must be prepared to answer. The bones communication is to requite matter-of-fact answers emphasizing the differences between fine art and other images, the universality of the human body, and the values and emotions expressed in the works.^[15]

Art historian and author Frances Borzello writes that contemporary artists are no longer interested in the ideals and traditions of the past, but confront the viewer with all the sexuality, discomfort and anxiety that the unclothed torso may express, perhaps eliminating the stardom between the naked and the nude.^[16] Performance art takes the final step by presenting actual naked bodies as a work of art.^[17]

History [edit]

The nude dates to the beginning of fine art with the female figures called Venus figurines from the Belatedly Stone Age. In early historical times similar images represented fertility deities.^[18] When surveying the literature on the nude in art, there are differences between defining nakedness as the complete absenteeism of vesture versus other states of undress. In early Christian fine art, particularly in references to images of Jesus, partial dress (a loincloth) was described as nakedness.^[xix]

Mesopotamia and Ancient Arab republic of egypt [edit]

The nude in Babylon and Egypt

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  Dancers and Flutists, Thebes (c. 1400 BCE)

Nude images in Mesopotamia and Ancient Arab republic of egypt reflect the attitudes toward nudity in these societies. At the time, existence naked in social situations was a source of nifty embarrassment for anyone with higher social status – this was not due to the connectedness between nudity and sexual venial, merely rather information technology being indicative of low condition or disgrace.^{[20] : 127} Not-sexual, or functional nudity was common in early civilizations due to the climate. Children were generally naked until puberty, and public baths were attended nude past mixed gender groups. Those with low status – non merely slaves – might be naked or, when clothed, would disrobe when necessary for strenuous work. Dancers, musicians, and acrobats would be nude while performing. Many nude images depicted these activities. Other nude images were symbolic, idealized images of warriors and goddesses; while gods where shown dressed to indicate their status.^{[20] : 144} The effigy depicted in the Burney Relief could be an attribute of the goddess Ishtar, Mesopotamian goddess of sexual love and war.^[21] However, her bird-feet and accompanying owls have suggested to some a connection with Lilitu (called Lilith in the Bible), though seemingly non the usual demonic Lilitu.^[22]

Ancient Greece [edit]

Nudity in Greek life was the exception in the ancient world. What had begun as a male person initiation rite in the eighth century BCE became a "costume" in the Classical period. Complete nudity separated the civilized Greeks from the "barbarians" including Hebrews, Etruscans, and Gauls.^[23]

The earliest Greek sculpture, from the early Bronze Age Cycladic civilization consists mainly of stylized male figures who are presumably nude. This is certainly the case for the kouros, a large standing figure of a male person nude that was the mainstay of Archaic Greek sculpture. These first realistic sculptures of nude males depict nude youths who stand rigidly posed with one foot frontwards. Past the 5th century BCE, Greek sculptors' mastery of anatomy resulted in greater naturalness and more than varied poses. An important innovation was contrapposto—the asymmetrical posture of a effigy standing with one leg bearing the body'south weight and the other relaxed. An early on example of this is Polykleitos' sculpture Doryphoros (c. 440 BCE).^[24]

The Greek goddesses were initially sculpted with drapery rather than nude. The beginning free-standing, life-sized sculpture of an entirely nude adult female was the Aphrodite of Cnidus created c. 360–340 BCE past Praxiteles.^[24] The female nude became much more than mutual in the later Hellenistic period. In the convention of heroic nudity, gods and heroes were shown nude, while ordinary mortals were less likely to be and then, though athletes and warriors in gainsay were often depicted nude. The nudes of Greco-Roman art are conceptually perfected platonic persons, each 1 a vision of health, youth, geometric clarity, and organic equilibrium.^[19] Kenneth Clark considered idealization the authentication of true nudes, as opposed to more descriptive and less artful figures that he considered just naked. His emphasis on idealization points up an essential result: seductive and appealing as nudes in art may be, they are meant to stir the mind as well as the passions.^[19]

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  The Marathon Male child (4th century BCE) statuary statue, perhaps past Praxiteles

Asian art [edit]

Non-Western traditions of depicting nudes come up from India and Nihon, but the nude does not form an important aspect of Chinese fine art.^[25] Temple sculptures and cave paintings, some very explicit, are part of the Hindu tradition of the value of sexuality, and as in many warm climates partial or consummate nudity was mutual in everyday life. Japan had a tradition of mixed communal bathing that existed until recently, and was oftentimes portrayed in woodcut prints.

In the early twentieth century, artists in the Arab world used nudity in works that addressed their emergence from colonialism into a modern world.^[26]

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  Kandariya Mahadev Temple in Khajuraho, India (1050)

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  Woman putting on her clothes (1775), unknown Indian artist

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  Yuami (1915), Hashiguchi Goyô

Middle Ages [edit]

Early Middle Ages [edit]

Christian attitudes cast doubt on the value of the human torso, and the Christian emphasis on chastity and celibacy further discouraged depictions of nakedness, even in the few surviving Early Medieval survivals of secular art. Completely unclothed figures are rare in medieval art, the notable exceptions beingness Adam and Eve as recorded in the Book of Genesis and the damned in Last Judgement scenes anticipating the Sistine Chapel renderings. With these exceptions, the platonic forms of Greco-Roman nudes became largely lost, transformed into symbols of shame and sin, weakness and defenselessness.^[27] This was true not only in Western Europe, only also in Byzantine art.^[28] Increasingly, Christ was shown largely naked in scenes of his Passion, particularly the Crucifixion,^[29] and even when glorified in heaven, to allow him to brandish the wounds his sufferings had involved. The Nursing Madonna and naked "Penitent Mary Magdalene", too as the infant Jesus, whose penis was sometimes emphasized for theological reasons, are other exceptions with elements of nudity in medieval religious art.

Late Centre Ages [edit]

By the belatedly medieval period female nudes intended to be attractive edged dorsum into fine art, specially in the relatively private medium of the illuminated manuscript, and in classical contexts such as the Signs of the Zodiac and illustrations to Ovid. The shape of the female "Gothic nude" was very different from the classical platonic, with a long body shaped past gentle curves, a narrow chest and loftier waist, small-scale round breasts, and a prominent bulge at the stomach.^[30] Male person nudes tended to be slim and slight in figure, probably drawing on apprentices used as models, but were increasingly accurately observed.

Renaissance [edit]

During the Renaissance, interest in the nude body in art was being rekindled after a thousand years. Toward the end of Greco-Roman antiquity, Christian doctrines of celibacy, guiltlessness, and the devaluation of the flesh led to the declining interest of nudes for patrons, and thus for artists. Since the terminate of the ancient classical period, the unclothed torso was only depicted in rare instances like renderings of Adam and Eve. At present, with the rise of Renaissance humanism, Renaissance artists were relishing opportunities to describe the unclothed body.^[31]

The reinvigoration of classical civilisation in the Renaissance restored the nude to art. Donatello fabricated ii statues of the Biblical hero David, a symbol for the Commonwealth of Florence: his commencement (in marble, 1408–1409) shows a clothed figure, only his second, probably of the 1440s, is the first freestanding statue of a nude since antiquity,^[32] several decades before Michelangelo'due south massive David (1501–1504). Nudes in Michelangelo's Sistine Chapel ceiling reestablished a tradition of male nudes in depictions of Biblical stories; the subject field of the martyrdom of the well-nigh-naked Saint Sebastian had already go highly popular. The monumental female person nude returned to Western art in 1486 with The Birth of Venus past Sandro Botticelli for the Medici family, who also endemic the classical Venus de' Medici, whose pose Botticelli adapted.

Andrea Mantegna (1431–1506) is considered by art historians to accept been a pivotal figure in the resurgence of nudes in fine art because of his love of the ancient classical world and how he incorporated classical principles of form into his creations.^[33] He is non the first to use classical influences in his work. However, few painters before him did this to the conspicuous degree and quality to which he did. He is known as a chief of form, and his nudes are noteworthy considering his manner is influenced by his study of ancient classical sculpture and his knowledge of ancient classical Greek and Roman culture.^{[33] [34]} The drawing of St. James Led to His Execution demonstrates that, early on on, Mantegna did anatomical nude sketches in training for the Ovetari Chapel frescoes. This is the earliest known drawing by the creative person.^[35]

The Dresden Venus of Giorgione (c. 1510), also drawing on classical models, showed a reclining female nude in a landscape, showtime a long line of famous paintings including the Venus of Urbino (Titian, 1538), and the Rokeby Venus (Diego Velázquez, c. 1650). Although they reflect the proportions of ancient bronze, such figures as Titian'south Venus and the Lute Player and Venus of Urbino highlight the sexuality of the female trunk rather than its ideal geometry. These works inspired countless reclining female nudes for centuries subsequently.^[24] In improver to adult male and female person figures, the classical depiction of Eros became the model for the naked Christ kid.^[31]

Raphael in his later years is ordinarily credited every bit the showtime creative person to consistently use female models for the drawings of female figures, rather than studio apprentices or other boys with breasts added, who were previously used. Michelangelo's suspiciously boyish Report of a Kneeling Nude Girl for The Entombment (Louvre, c. 1500), which is ordinarily said to be the first nude female effigy report, predates this and is an case of how fifty-fifty figures who would exist shown clothed in the final piece of work were oftentimes worked out in nude studies, and then that the grade nether the clothing was understood. The nude figure cartoon or figure written report of a live model rapidly became an important part of artistic practice and grooming, and remained and so until the 20th century.

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  New Twelvemonth'south Greeting with Three Witches (1514) by Hans Baldung

17th and 18th centuries [edit]

In Baroque art, the continuing fascination with classical antiquity influenced artists to renew and expand their approach to the nude, simply with more than naturalistic, less idealized depictions, perhaps more frequently working from live models.^[eighteen] Both genders are represented; the male in the grade of heroes such every bit Hercules and Samson, and female in the form of Venus and the Three Graces. Peter Paul Rubens, who with evident delight painted women of generous figure and radiant flesh, gave his name to the adjective Rubenesque. While adopting the conventions of mythological and Biblical stories, Rembrandt'southward nudes were less idealized, and painted from life.^[36] In the afterwards Bizarre or Rococo menses, a more decorative and playful style emerged, exemplified past François Boucher's Venus Consoling Love, likely commissioned by Madame Pompadour.

Early mod [edit]

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  No. 37 of a set of lxxx aquatint prints created by Goya in the 1810s depicting the horrors of state of war

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  La Grande Odalisque (1814) by Ingres

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Goya's Nude Maja represent a interruption with the classical, showing a particular woman of his fourth dimension, with pubic hair and a look directed at the viewer, rather than an innuendo to nymphs or goddesses.

This year Venuses again... always Venuses!... (1864) by Daumier

In the 19th century the Orientalism movement added another reclining female nude to the possible subjects of European paintings, the odalisque, a slave or harem daughter. One of the well-nigh famous was The Grande Odalisque painted by Ingres in 1814.^[37] The almanac glut of paintings of idealized nude women in the Paris Salon was satirized by Honoré Daumier in an 1864 lithograph with the caption "This year Venuses again... always Venuses!... equally if in that location really were women built like that!" While Europe accustomed the nude in art, America was restrictive of sexuality, which sometimes included criticism or censorship of painting, fifty-fifty those that depicted classical or biblical subjects.^[38]

In the later nineteenth century, bookish painters connected with classical themes, only were challenged by the Impressionists. While the composition is compared to Titian and Giogione, Édouard Manet shocked the public of his time past painting nude women in gimmicky state of affairs in his Le Déjeuner sur l'herbe (1863); and although the pose of his Olympia (1865) is said to derive from the Venus of Urbino past Titian, the public saw a prostitute. Gustave Courbet similarly earned criticism for portraying in his Woman with a Parrot a naked prostitute without vestige of goddess or nymph.

Edgar Degas painted many nudes of women in ordinary circumstances, such as taking a bathroom.^[39] Auguste Rodin challenged classical canons of idealization in his expressively distorted Adam.^[xl] With the invention of photography, artists began using the new medium as a source for paintings, Eugène Delacroix being one of the first.^[18]

For Lynda Nead, the female nude is a matter of containing sexuality; in the case of the classical art history view represented by Kenneth Clark, this is almost idealization and de-emphasis of overt sexuality, while the modern view recognizes that the human torso is messy, unbounded, and problematical.^[41] If a virtuous adult female is dependent and weak, every bit was assumed past the images in classical art, then a strong, independent adult female could not be portrayed as virtuous.^[42]

Late modern [edit]

Although both the Academic tradition and Impressionists lost their cultural supremacy at the beginning of the twentieth century, the nude remained although transformed by the ideas of modernism. The idealized Venus was replaced past the woman intimately depicted in private settings, equally in the work of Egon Schiele.^[eighteen] The simplified modern forms of Jean Metzinger, Amedeo Modigliani, Gaston Lachaise and Aristide Maillol call up the original goddesses of fertility more than than Greek goddesses.^[43] In early abstract paintings, the body could be fragmented or dismembered, as in Picasso's Les Demoiselles d'Avignon or his structuralist and Cubist nudes, but at that place are besides bathetic versions of classical themes, such as Henri Matisse's dancers and bathers.

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  I Werners Eka (In Werner's Rowing Boat) (1917) by Anders Zorn

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Suzanne Valadon was one of relatively few female artists in the early 20th century to paint female person nudes, equally well as male nudes.^[44] In 1916, she painted Nude Arranging her Pilus, which depicts a woman carrying out a mundane task in a frank, united nations-sexualised and not-erotic way.^[44]

In the post-WWII era, Abstruse Expressionism moved the center of Western art from Paris to New York City. One of the primary influences in the rise of abstraction, the critic Clement Greenberg, had supported de Kooning'southward early abstract work. Despite Greenberg's advice, the artist, who had begun every bit a figurative painter, returned to the human form in early 1950 with his Woman serial. Although having some references to the traditions of single female person figures, the women were portrayed every bit voracious, distorted, and semi-abstract. According to the creative person, he wanted to "create the angry humour of tragedy"; having the frantic look of the atomic age, a world in turmoil, a world in need of comic relief. Afterwards, Greenberg added that "Maybe ... I was painting the woman in me. Art isn't a wholly masculine occupation, you know. I'grand aware that some critics would take this to be an admission of latent homosexuality ... If I painted beautiful women, would that brand me a non-homosexual? I like cute women. In the flesh—even the models in magazines. Women irritate me sometimes. I painted that irritation in the Woman serial. That's all." Such ideas could not be expressed past pure abstraction alone.^[45] Some critics, however, see the Adult female series as misogynistic.^[46]

Other New York artists of this menstruum retained the effigy every bit their primary subject. Alice Neel painted nudes, including her ain cocky-portrait, in the aforementioned straightforward style equally clothed sitters,^[47] beingness primarily concerned with color and emotional content.^[48] Philip Pearlstein uses unique cropping and perspective to explore the abstract qualities of nudes. As a young artist in the 1950s, Pearlstein exhibited both abstracts and figures, only it was de Kooning that advised him to proceed with figurative work.^[49]

Contemporary [edit]

Lucian Freud was one of a small group of painters which included Francis Bacon who came to exist known as "The School of London", creating figurative piece of work in the 1970s when it was unfashionable.^[51] Even so, by the cease of his life his works had become icons of the Postmodern era, depicting the human being body without a trace of idealization, equally in his serial working with an obese model.^[52] 1 of Freud's works is entitled "Naked Portrait", which implies a realistic epitome of a particular unclothed woman rather than a conventional nude.^[53] In Freud'southward obituary in The New York Times, information technology is stated: His "stark and revealing paintings of friends and intimates, splayed nude in his studio, recast the art of portraiture and offered a new arroyo to figurative fine art".^[54]

Around 1970, from feminist principles, Sylvia Sleigh painted a series of works reversing stereotypical artistic themes by featuring naked men in poses commonly associated with women.^[55]

The paintings of Jenny Saville include family and self-portraits among other nudes; oftentimes done in extreme perspectives, attempting to residuum realism with abstraction; all while expressing how a adult female feels about the female nude.^[56] Lisa Yuskavage's nude figures painted in a well-nigh academic manner establish a "parody of art historical nudity and the male obsession with the female person course as object".^[57] John Currin is another painter whose work frequently reinterprets historic nudes.^[58] Cecily Brown'southward paintings combine figurative elements and abstraction in a style reminiscent of de Kooning.^[59]

The end of the twentieth century saw the rising of new media and approaches to art, although they began much earlier. In particular installation fine art often includes images of the human torso, and performance fine art oft includes nudity. "Cut Slice" by Yoko Ono was commencement performed in 1964 (then known every bit a "happening"). Audience members were requested to come on stage and begin cut away her wearable until she was most naked. Several contemporary operation artists such as Marina Abramović, Vanessa Beecroft and Carolee Schneemann utilize their own nude bodies or other performers in their work.

Issues [edit]

Depictions of youth [edit]

In classical works, nude children were rarely shown except for babies and putti. Earlier the era of Freudian psychoanalysis, children were assumed to have no sexual feelings earlier puberty, so nude children were shown as symbols of pure innocence. Boys often swam naked, which was depicted in mod paintings by John Singer Sargent, George Bellows, and others. Other images were more than erotic, either symbolically or explicitly.^{[60] [61]}

Gender differences [edit]

Representation of the world, like the globe itself, is the work of men; they depict it from their own point of view, which they misfile with accented truth.

Men and women did non receive equal opportunities in creative preparation from at least from the Renaissance until the middle of the nineteenth century. Women artists were not allowed admission to nude models and could not participate in this office of the arts pedagogy.^{[62] [63]} During this menstruum, report of the nude figure was something all male artists were expected to go through to get an artist of worth and to be able to describe historical subjects.^[64]

Academic art history tends to ignore the sexuality of the male nude, speaking instead of form and composition.^[65]

For much of history, nude men represented martyrs and warriors, emphasizing an agile role rather than the passive 1 assigned to women in fine art. Alice Neel and Lucian Freud painted the modernistic male nude in the classic reclining pose, with the genitals prominently displayed. Sylvia Sleigh painted versions of archetype works with the genders reversed.

Until the 1960s, art history and criticism rarely reflected annihilation other than the male person point of view. The feminist art movement began to change this, simply one of the first widely known statements of the political messages in nudity was made in 1972 by the art critic John Berger. In Ways of Seeing, he argued that female nudes reflected and reinforced the prevailing ability human relationship between females portrayed in art and the predominantly male audience. A twelvemonth later Laura Mulvey wrote Visual Pleasure and Narrative Movie theater, in which she practical to film theory the concept of the male gaze, asserting that all nudes are inherently voyeuristic.^[66]

The feminist art motility was aimed at giving women the opportunity to have their art reach the same level of notoriety and respect that men'south art received. The idea that women are intellectually inferior to men came from Aristotelian ideology and was heavily depended on during the Renaissance. It was believed by Aristotle that during the process of procreation, men were the driving force. They held all creative power while women were the receivers. Women's simply role in reproduction was to provide the material and human activity as a vessel. This idea carried over into the image of the artist and the nude in fine art. The artist was seen specifically as a white male, and he was the only i who held the innate talent and creativity to be a successful professional artist.^[67] This conventionalities system was prevalent in nude art. Women were depicted as passive, and they did non possess any control over their prototype. The female nude during the Renaissance was an paradigm created past the male gaze.^[68]

In Jill Fields' article "Frontiers in Feminist Art History", Fields examines the feminist art movement and its assessment of female nude imagery. She considers how the image of the female person nude was created and how the feminist art history movement attempted to modify the style the image of the female nude was represented. Derived from the Renaissance ideal of feminine beauty, the image of the female person body was created by men and for a male audience. In paintings like Gustave Courbet's The Origin of the World and François Boucher's Reclining Daughter, women are depicted with open legs, implying that they are to be passive and an object to be used.^[69] In A. W. Eaton's essay "What's Wrong with the (Female) Nude? A Feminist Perspective on Art and Pornography", she discusses multiple ways in which the fine art of the female person nude objectifies women. She considers how male nudes are both less common and represented as active and heroic, whereas female nudes are significantly more prevalent and correspond women as passive, vulnerable, sexual objects.^[70] The feminist art history movement has aimed to change the way this image is perceived. The female nude has go less of an icon in Western fine art since the 1990s, but this decline in importance did non stop members of the feminist art motility from incorporating things similar the "central core" prototype.^[71] This mode of representing the nude female effigy in art was focused on the fact that women were in control of their own image. The key epitome was focused on vulva-related symbols. By incorporating new images and symbols into the female nude image in Western art, the feminist art history motion continues to try and dismantle the male-dominated art world.^[68]

More than recent discussion of the appropriateness of certain artworks has emerged in the context of the Me Too motion.^[72]

Nudes depicting the female and queer gaze [edit]

Female nudes have long been informed by the male gaze, and men'due south desires of the nudity of women.^[73] Feminist criticism has targeted female person nudes, informed by the male gaze, for almost a century.^[73] However, there are some artists who have turned this concept on its head, and take, as a upshot, distilled the criticisms embodied within the male gaze nude depictions of women. Artists have instilled the female person gaze in the nudes they create. Rather than women being the object of men's desires, some artists have challenged traditional narratives of women, depicting them contrastingly as being non-sexualised.^[74]

Additionally, artists take implemented the queer gaze into art, and specifically nude art, which too challenges the traditional male person gaze nude artwork.

• Helen Beard creates colourful and bright artwork in unlike mediums, from paintings, to needlepoint, to sculptures, depicting close ups of women in explicit, pornographic sexual positions.^[75] Her pieces embody women feeling pleasured by their bodies, which contradicts the traditional male gaze nudes of women previously.^[75]
• Lucy Liu has created a collection, entitled 'SHUNGA,' a Japanese term meaning erotic fine art.^[76] Liu's subject area thing involves close up images of lesbian women, entwined within each other and bed sheets.^[76]

• Maggi Hambling recently commemorated the British feminist author, Mary Wollstonecraft, past creating A Sculpture for Mary Wollstonecraft, which uses a nude female person figure to represent the spirit of Wollstonecraft's feminism.^[77] This has caused great deals of controversy, with people questioning why Hambling chose to depict Wollstonecraft in nude form.^[77] Still, Hambling has argued that her reasoning is to depict Wollstonecraft every bit a spirit and a representation of every woman.^[78]

• Louis Fratino has redefined the male gaze and how queer men and women are represented in nude art.^[79] His pieces explore queer sexuality in both everyday and erotic formats.^[80]

• Lisa Yuskavage's artwork has been included in The Female Gaze: Women Look at Women exhibition in 2009.^[81] Her piece of work includes nude depictions of women, which illustrates the women as being incapable of caring what others think of them considering of their own bodily discomfort, which does not make them subjected to the male gaze.^[82]
• Suzanne Valadon painted not-sexualised, non overly-erotic nude depictions of women.^[83] The art work does non draw women from the traditional male gaze standpoint, and Valadon was ane of the only women artists to paint such subject matter, in such a fashion, in the first half of the 20th century.^[83]

Intersectionality [edit]

The nude image in fine art has afflicted women of color in a different manner than information technology has white women, according to Charmaine Nelson. The different depictions of the nude in art has not simply instituted a system of decision-making the image of women merely it has put women of color in a place of other. The intersection of their identities, as Nelson asserts, creates a "doubly fetishized blackness female person torso". Women of color are not represented to the caste that white women are in nude fine art from the Renaissance to the 1990s, and when they are represented information technology is in a different way than white women. The Renaissance ideal of female beauty did non include black women. White women were represented as a sexual image, and they were the ideal sexual prototype for men during the Renaissance. White women, in most major works before the 20th century, did non have pubic pilus. Black women normally did, and this created their image in an animalistic sexual way.^[84] While the white women's image became one of innocence and the arcadian, black women were continually overtly sexualized, she adds.

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The nude has also been used to make a powerful social or political statement. An case is The Barricade (1918) by George Bellows, which depicts Belgian citizens being used as human shields past Germans in World War I. Although based upon a report of a real incident in which the victims were not nude, portraying them then in the painting emphasizes their vulnerability and universal humanity.^[85]

Media [edit]

A figure drawing is a study of the human grade in its various shapes and body postures, with line, form, and composition equally the principal objective, rather than the subject area person. A life cartoon is a piece of work that has been drawn from an observation of a live model. Study of the human figure has traditionally been considered the best way to learning how to draw, beginning in the tardily Renaissance and continuing to the present.^[86]

Oil pigment historically has been the platonic medium for depicting the nude. By blending and layering paint, the surface tin get more like peel. "Its tedious drying time and diverse degrees of viscosity enable the artist to achieve rich and subtle blends of colour and texture, which can propose transformations from i human substance to another."^[87]

Due to its immovability, it is in sculpture that nosotros meet the full, almost unbroken history of the nude from the Stone Age to the present. Figures, usually of the naked female, accept been establish in the Balkan region dating back to seven,000 BCE^[88] and continue to this day to be generated. In the Indian and Southeast Asian sculpture tradition nudes were frequently adorned with bracelets and jewelry that tended to "punctuate their charms and demarcate the different parts of their bodies much as developed musculature does in the male".^[89]

Photography [edit]

The nude has been a subject of photography almost since its invention in the nineteenth century. Early photographers often selected poses that imitated the classical nudes of the past.^[90] Photography suffers from the problem of being too existent,^{[91] [92]} and for many years was not accustomed by those committed to the traditional fine arts.^[93] Notwithstanding, many photographers take been established every bit fine artists including Ruth Bernhard, Anne Brigman, Imogen Cunningham, Alfred Stieglitz and Edward Weston.

New media [edit]

In the belatedly twentieth century several new art forms emerged, including installation, functioning and video art, all of which have been used to create works that explore the concept of the nude.^[94] An case is Mona Kuhn's site-specific installation Experimental (2018), which employs video projections, vinyl installation, and other mixed media.^[95]

See also [edit]

• Academic fine art – Fashion of painting and sculpture
• Artistic liberty – Freedom of expression and publication
• Body proportions – Proportions of the human body in fine art
  • Artistic canons of body proportions – Criteria used in formal figurative fine art
• Depictions of nudity – Visual representations of the nude human grade
• Figurative fine art – Fine art that depicts real object sources
  • Effigy cartoon – Drawing of the human course
  • Figure painting – Genre of painting that represents the human form
• The Helga Pictures – Series of paintings and drawings past Andrew Wyeth
• History of nudity – Social attitudes to nakedness
• History of erotic depictions – Aspect of history
• Model (art) – Person who poses for a visual artist
• Nude photography (art) – Artistic photography of the naked homo torso
• Vagina and vulva in fine art – Visual art representing female genitalia

Notes [edit]

1. ^ "Michelangelo Gallery". Retrieved January seven, 2018.
2. ^ Clark 1956, Ch.ane.
3. ^ Alan F. Dixson; Barnaby J. Dixson (2011). "Venus Figurines of the European Paleolithic: Symbols of Fertility or Attractiveness?". Journal of Anthropology. 2011: one–11. doi:10.1155/2011/569120.
4. ^ Clark 1956, p. 9.
5. ^ Nead 1992, p. fourteen.
6. ^ Tomlinson & Calvo 2002, p. 228.
7. ^ Bernheimer 1989.
8. ^ "Ariadne Asleep On The Island Of Naxos". New-York Historical Guild. Retrieved Baronial xiv, 2020.
9. ^ Eck 2001.
10. ^ Clark 1956, pp. 8–9.
11. ^ Nead 1992.
12. ^ Dijkstra 2010, p. 11.
13. ^ Dijkstra 2010, Introduction.
14. ^ Steiner 2001, pp. 44, 49–50.
15. ^ "Body Linguistic communication: How to Talk to Students about Nudity in Art" (PDF). Fine art Institute of Chicago. March 18, 2003. Retrieved February 28, 2013.
16. ^ Borzello 2012, Introduction.
17. ^ Borzello 2012, Ch. 2 – Body Art: the Journeying into Nakedness.
18. ^ ^{a b c d} Graves 2003.
19. ^ ^{a b c} Sorabella 2008a.
20. ^ ^{a b} Asher-Greve & Sweeney 2006.
21. ^ Davis, Frank (June thirteen, 1936). "A puzzling "Venus" of 2000 B.C.: a fine Sumerian relief in London". The Illustrated London News. 1936 (5069): 1047.
22. ^ Patai, Raphael (1990). The Hebrew Goddess (3d ed.). Detroit: Wayne State University Press. ISBN0-8143-2271-9.
23. ^ Bonfante 1989.
24. ^ ^{a b c} Rodgers & Plantzos 2003.
25. ^ Hay 1994.
26. ^ Esanu 2018, Ch. 2.
27. ^ Clark 1956, pp. 300–309.
28. ^ Ryder 2008.
29. ^ Clark 1956, pp. 221–226.
30. ^ Clark 1956, pp. 307–312.
31. ^ ^{a b} Sorabella 2008b.
32. ^ Clark 1956, pp. 48–fifty.
33. ^ ^{a b} Kristeller, Paul (1901). Andrea Mantegna. London: Logmans, Green, and Company. pp. 106–107, 140, 143, 233–234.
34. ^ Vasari, Giorgio. "The Project Gutenberg eBook of Lives Of The Most Eminent Painters Sculptors And Architects". www.gutenberg.org . Retrieved Dec 29, 2020.
35. ^ "drawing: Study for the Ovetari Chapel". British Museum. Retrieved Dec 29, 2020.
36. ^ Sluijter 2006, Introduction.
37. ^ "Ingres' La Thousand Odalisque".
38. ^ D'Emilio & Freedman 2012, pp. 156–158.
39. ^ Shackelford & Rey 2011.
40. ^ Sorabella 2008c.
41. ^ Nead 1992, Part I – Theorizing the Female Nude.
42. ^ Dijkstra 2010, Ch. 3.
43. ^ Borzello 2012, p. 30.
44. ^ ^{a b} "Nude Arranging Her Pilus | Artwork". NMWA. Retrieved March ix, 2021.
45. ^ Scala, Ch 2. "The Influence of Anxiety" past Susan H. Edwards
46. ^ Monaghan 2011.
47. ^ Leppert 2007, pp. 154–155.
48. ^ Borzello 2012, Chapter 2 – The Irresolute Room: Female Perspectives.
49. ^ Borzello 2012, p. 90.
50. ^ Legacy Staff 2011.
51. ^ Riding, Alan (September 25, 1995). "The School of London, Mordantly Messy as Always". The New York Times . Retrieved February xvi, 2013.
52. ^ "Lucian Freud at the National Portrait Gallery – in pictures". The Guardian. London. Feb 8, 2012. Retrieved November 10, 2012.
53. ^ The Tate Modern 2013.
54. ^ Grimes, William (July 22, 2011). "Lucian Freud, Figurative Painter Who Redefined Portraiture, Is Dead at 88". The New York Times.
55. ^ Leppert 2007, pp. 221–223.
56. ^ "Jenny Saville". Saatchi Gallery. Retrieved November 10, 2012.
57. ^ Mullins 2006, p. 38.
58. ^ Mullins 2006, p. 168.
59. ^ Mullins 2006, p. 35.
60. ^ Dijkstra 2010, Ch. 5.
61. ^ Leppert 2007, Ch. two.
62. ^ Myers, Nicole. "Women Artists in Nineteenth–Century French republic". Metropolitan Museum of Fine art.
63. ^ Levin, Kim (Nov 1, 2007). "Meridian Ten ARTnews Stories: Exposing the Hidden 'He'". ARTnews.
64. ^ Nochlin 1988.
65. ^ Leppert 2007, p. 166.
66. ^ Leppert 2007, pp. nine–11.
67. ^ Jacobs 1994.
68. ^ ^{a b} McDonald 2001.
69. ^ Hammer-Tugendhat & Zanchi 2012, pp. 361–382.
70. ^ Maes & Levinson 2015.
71. ^ Fields 2012.
72. ^ Stewart-Kroeker 2020.
73. ^ ^{a b} Eaton, A. W. "What's Wrong with the (Female person) Nude? A Feminist Perspective on Fine art and Pornography." Aesthetics and the Philosophy of Fine art: The Analytic Tradition, An Album (2018): 266.
74. ^ "Women Artists: The Female person Gaze". Pallant House Gallery . Retrieved April 7, 2021.
75. ^ ^{a b} "Helen Beard". METAL . Retrieved March 9, 2021.
76. ^ ^{a b} "Lucy Liu | Art | Shunga". Lucy Liu . Retrieved April seven, 2021.
77. ^ ^{a b} "People Are Understandably Furious Over This New Naked Statue of Pioneering Feminist Mary Wollstonecraft in London". Artnet News. November x, 2020. Retrieved April 7, 2021.
78. ^ "Mary Wollstonecraft statue becomes one of 2020s virtually polarising artworks". The Guardian. Dec 25, 2020. Retrieved April 7, 2021.
79. ^ Sargent, Antwaun (September 17, 2018). "These Gay Figure Artists Are Reimagining the Male Gaze". The New York Times. ISSN 0362-4331. Retrieved April 7, 2021.
80. ^ "Queer Artist Louis Fratino Discusses the New Age of Gay Civilisation". L'Officiel U.s.a.. March eleven, 2021. Retrieved April 7, 2021.
81. ^ "The Female Gaze, Part Two: Women Expect at Men". Cheim Read.
82. ^ Wye, Pamela (1997). "Desiring Machines and Exquisite Corpulence: Lisa Yuskavage's Girlies". Clayton Eshleman, ed & Pub. 40: 101.
83. ^ ^{a b} "Nude Arranging Her Hair | Artwork". NMWA . Retrieved April fourteen, 2021.
84. ^ Nelson 1995.
85. ^ Dijkstra 2010, pp. 246–247.
86. ^ Nicolaides 1975.
87. ^ Scala 2009, p. 1.
88. ^ Gimbustas 1974.
89. ^ Goldberg 2000, p. 14.
90. ^ Dawes 1984, p. vi.
91. ^ MOMA 2012.
92. ^ Scala 2009, p. 4.
93. ^ Clark 1956.
94. ^ Daris 2016.
95. ^ Hamilton 2018.

References [edit]

Books [edit]

• Asher-Greve, Julia Yard.; Sweeney, Deborah (2006). "On Nakedness, Nudity, and Gender in Egyptian and Mesopotamian Art". In Schroer, Sylvia (ed.). Images and Gender: Contributions to the Hermeneutics of Reading Ancient Art. Vandenhoeck & Ruprecht Göttingen: Academic Press Fribourg.
• Borzello, Frances (2012). The Naked Nude. New York: Thames & Hudson. ISBN978-0-500-23892-ix.
• Shush, Jill (2018). The Italian Renaissance Nude. Yale Academy Press. ISBN978-030020156-7.
• Clark, Kenneth (1956). The Nude: A Study in Ideal Grade . Princeton University Press. ISBN0-691-01788-three – via Cyberspace Archive.
• D'Emilio, John; Freedman, Estelle B. (2012). Intimate Matters: A History of Sexuality in America (Third ed.). Chicago: The University of Chicago Press. ISBN978-0-226-92380-two.
• Dawes, Richard, ed. (1984). John Hedgecoe'south Nude Photography. New York: Simon and Schuster. ISBN978-017006531-iii.
• Dijkstra, Bram (2010). Naked: The Nude in America. New York: Rizzoli. ISBN978-0-8478-3366-5.
• Dutton, Denis (2009). The Art Instinct: Beauty, Pleasure, and Human Development. New York: Bloomsbury Press. ISBN978-1-59691-401-8 – via Internet Annal.
• Esanu, Octavian, ed. (2018). Art, Enkindling, and Modernity in the Center East: the Arab Nude. New York City: Routledge.
• Gill, Michael (1989). Prototype of the Torso. New York: Doubleday. ISBN0-385-26072-5.
• Gimbustas, Marija (1974). The Goddesses and Gods of Old Europe: Myths and Cult Images. Berkeley: University of California Printing. ISBN978-052001995-9.
• Goldberg, Vicki (2000). Nude Sculpture: v,000 Years. New York: Harry Northward. Abrams. ISBN978-081093346-0.
• Hausenstein, Wilhelm (1913). Der nackte Mensch der Kunst aller Zeiten und Völker. Munich: R. Riper & Co.
• Hay, John (1994). "The Body Invisible in Chinese Art?". In Zito, Angela; Barlow, Tani Due east. (eds.). Subject, and Power in China. Chicago: Academy of Chicago Printing. pp. 42–77. ISBN978-022698727-9.
• Hughes, Robert (1997). Lucian Freud Paintings. Thames & Hudson. ISBN0-500-27535-1.
• Jacobs, Ted Seth (1986). Drawing with an Open up Listen. New York: Watson-Guptill Publications. ISBN0-8230-1464-nine.
• Jullien, François (2007). The Incommunicable Nude: Chinese Fine art and Western Aesthetics. University of Chicago Printing. ISBN978-0-226-41532-1.
• Rex, Ross (2007). The Sentence of Paris: The Revolutionary Decade that Gave the Globe Impressionism. PIML. ISBN978-1-84413-407-half-dozen.
• Leppert, Richard (2007). The Nude: The Cultural Rhetoric of the Body in the Art of Western Modernity. Cambridge: Westview Press. ISBN978-0-8133-4350-1.
• LeValley, Paul (2016). Fine art Follows Nature: A Worldwide History of the Nude. Berkeley: Edition Ane Books. ISBN978-099926790-5. OCLC 965382008.
• Maes, Hans; Levinson, Jerrold, eds. (July 2, 2015). Art and pornography: philosophical essays. ISBN978-019874408-five. OCLC 965117928.
• McDonald, Helen (2001). Erotic Ambiguities: The Female Nude in Art. Routledge. ISBN978-041517099-four.
• Mullins, Charlotte (2006). Painting People: Effigy Painting Today. New York: D.A.P. ISBN978-1-933045-38-ii.
• Nead, Lynda (1992). The Female Nude. New York: Routledge. ISBN0-415-02677-6.
• Nicolaides, Kimon (1975). The Natural Way to Draw. Boston: Houghton Mifflin Co. ISBN0-395-20548-4.
• Nochlin, Linda (1988). Women, Art and Power and Other Essays. Thames and Hudson. ISBN978-006435852-1.
• Postle, M.; Vaughn, West. (1999). The Creative person's Model: from Etty to Spencer. London: Merrell Holberton. ISBN1-85894-084-ii.
• Rosenblum, Robert (2003). John Currin. Harry N. Abrams. ISBN0-8109-9188-viii.
• Saunders, Gill (1989). The Nude: A New Perspective. Rugby, Warwickshire, England: Jolly & Barber. ISBN0-06-438508-half-dozen.
• Scala, Mark, ed. (2009). Paint Made Flesh. Vanderbilt University Press. ISBN978-0-8265-1622-0.
• Shackelford, George T. M.; Rey, Xavier (2011). Degas and the Nude. Museum of Fine Arts, Boston. ISBN978-087846773-0.
• Sluijter, Eric Jan (2006). Rembrandt and the Female Nude. Amsterdam University Press. ISBN978-905356837-eight.
• Smith, Alison; Upstone, Robert (2002). Exposed: the Victorian Nude. New York: Watson-Guptill Publications.
• Steiner, Wendy (2001). Venus in Exile: The Rejection of Beauty in Twentieth-century Art. The Complimentary Press. ISBN0-684-85781-two.
• Steinhart, Peter (2004). The Undressed Art: Why Nosotros Draw. New York: Alfred A. Knopf. ISBNone-4000-4184-eight – via Internet Archive.
• Tomlinson, J. A.; Calvo, S. F. (2002). Goya: Images of women. Washington, D.C.: National Gallery of Art. ISBN0-89468-293-eight.
• Walters, Margaret (1978). The Nude Male: A New Perspective. New York: Paddington Press. ISBN0-448-23168-9 – via Internet Archive.
• Wilcox, Jonathan (2003). Naked earlier God: Uncovering the Body in Anglo-Saxon England. Medieval European Studies. Morgantown: Due west Virginia University Press.

Journals [edit]

• Bernheimer, Charles (Summer 1989). "Manet'southward Olympia: The Figuration of Scandal". Poetics Today. 10 (two): 255–277. doi:10.2307/1773024. JSTOR 1773024.
• Bonfante, Larissa (1989). "Nudity equally a Costume in Classical Art". American Journal of Archaeology. 93 (four): 543–570. doi:10.2307/505328. JSTOR 505328.
• Eck, Beth A. (2001). "Nudity and Framing: Classifying Art, Pornography, Information, and Ambiguity". Sociological Forum. sixteen (4): 603–32. doi:10.1023/A:1012862311849. S2CID 143370129.
• Fields, Jill (2012). "Frontiers in Feminist Art History". Frontiers: A Journal of Women Studies. 33 (2): 1–21. doi:10.5250/fronjwomestud.33.two.0001. S2CID 142427676.
• Hammer-Tugendhat, Daniela; Zanchi, Michael (2012). "Art, Sexuality, and Gender Structure". Art in Translation. four (3): 361–382. doi:10.2752/175613112X13376070683397. S2CID 193129278.
• Jacobs, Frederika H. (1994). "Woman's Chapters to Create: The Unusual Instance of Sofonisba Anguissola". Renaissance Quarterly. 47 (i): 74–101. doi:x.2307/2863112. JSTOR 2863112.
• Nelson, Charmaine (1995). "Coloured Nude: Fetishization, Disguise, Dichotomy". RACAR: Revue d'art canadienne / Canadian Art Review. 22 (ane–two): 97–107. doi:10.7202/1072517ar.
• Nochlin, Linda (1986). "Courbet's "50'origine du monde": The Origin without an Original". October. 37: 76–86. doi:10.2307/778520. JSTOR 778520.
• Stewart-Kroeker, Sarah (2020). "What Practise We Do with the Art of Monstrous Men?". De Ethica. 6 (one): 51–74. doi:10.3384/de-ethica.2001-8819.19062502.

News [edit]

• Guardian (February 8, 2012). "Lucian Freud at the National Portrait Gallery – in pictures". The Guardian. London. Retrieved November 10, 2012.
• Conrad, Donna (2000). "A Conversation with Ruth Bernhard". PhotoVision. Vol. 1, no. 3.
• Daris, Gabriella (February 1, 2016). "Six Dance Shows Stripped Bare: Redefining Nudity on Stage". Artinfo. Archived from the original on Feb 4, 2016.
• Gopnik, Blake (November 8, 2009). "In Fine art We Lust". The Washington Post . Retrieved February 23, 2013.
• Grimes, William (July 22, 2011). "Lucian Freud, Figurative Painter Who Redefined Portraiture, Is Dead at 88". The New York Times.
• Monaghan, Peter (January ii, 2011). "Unveiling the American Nude". The Chronicle of Higher Education.
• Riding, Alan (September 25, 1995). "The School of London, Mordantly Messy as E'er". The New York Times . Retrieved February 16, 2013.
• Schjeldahl, Peter (June ix, 2008). "Funhouse: A Jeff Koons retrospective". The New Yorker . Retrieved February 24, 2013.

Spider web [edit]

• Department of Museum Education (March 18, 2003). "Torso Language: How to Talk to Students most Nudity in Art" (PDF). Art Found of Chicago. Retrieved July 19, 2020.
• Graves, Ellen (2003). "The Nude in Art – a Brief History". Academy of Dundee. Retrieved July fifteen, 2020.
• Hamilton, Julie (October 2, 2018). "Mona Kuhn Turns Flat Photos into an Immersive Surround". INDY Week . Retrieved May 30, 2021.
• Legacy Staff (July 22, 2011). "Lucian Freud painted people "how they happen to exist"".
• MOMA (2012). "Naked Before the Camera". Metropolitan Museum of Art.
• Postiglione, Corey. "The Postmodern Nude". Brad Cooper Gallery. Archived from the original on November 10, 2012. Retrieved February 22, 2013.
• Rodgers, David; Plantzos, Dimitris (2003). Nude. Oxford Art Online. Oxford Academy Press. ISBN978-188444605-iv.
• Ryder, Edmund C. (Jan 2008). "Nudity and Classical Themes in Byzantine Art". Heilbrunn Timeline of Fine art History. New York: The Metropolitan Museum of Art. Retrieved October 25, 2012.
• "Jenny Saville". Saatchi Gallery. Retrieved November 10, 2012.
• Sorabella, Jean (January 2008a). "The Nude in Western Art and its Beginnings in Antiquity". Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Fine art. Retrieved July 15, 2020.
• Sorabella, Jean (Jan 2008b). "The Nude in the Center Ages and the Renaissance". Heilbrunn Timeline of Fine art History. New York: The Metropolitan Museum of Art. Retrieved July 15, 2020.
• Sorabella, Jean (January 2008c). "The Nude in Baroque and Later Art". Heilbrunn Timeline of Fine art History. New York: The Metropolitan Museum of Art. Retrieved July 15, 2020.
• "Naked Portrait 1972-3". The Tate Modern. Retrieved February 17, 2013.
• "Edward Weston". Edward-Weston.com . Retrieved July 19, 2020.

Farther reading [edit]

• Falcon, Felix Lance (2006). Gay Fine art: a Historic Collection [and history], ed. and with an introd. & captions past Thomas Waugh. Vancouver, B.C.: Armory Pulp Press. Northward.B.: The fine art works are b&due west sketches and drawings of males, nude or near and then, with much commentary. ISBN ane-55152-205-5
• Natter, Tobias One thousand.; Leopold, Elisabeth, eds. (2012). Nude Men: From 1800 Until the Present Day. Munich: Hirmer Publishers. ISBN978-3-7774-5851-9.
• Roussan, Jacques de (1982). Le Nu dans l'art au Québec. La Prairie, Qué.: Éditions M. Broquet. Due north.B.: Concerns mostly the artistic depiction of the female nude, primarily in painting and drawing. ISBN 2-89000-066-four

External links [edit]

• "Francis Salary". Manor of Francis Salary. Retrieved November x, 2012.
• Leopold Museum, Republic of austria -Nude Men

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Source: https://en.wikipedia.org/wiki/Nude_(art)

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