Nude Figure Research Articles

Методика навчання студентів-художників зображенню оголеної натури людини м’якими матеріалами.

This paper considers the issue of professional training future specialists in Fine arts, in particular, forming their artistic skills in image creation using soft materials in a process of portraying nude art model in drawing and painting. The article covers both the educational process in institutions of higher education and individual creative activity. The article highlights the main achievements of the scientific research in Ukrainian National Mykhailo Dragomanov University in the discipline "Creative Drawing". It also reveals the specifics of the process of human body construction, which is the basis of the Fine art literacy and formation of artistic skills of a future specialist in visual Art pedagogy. It was determined that the students learn quickly to work with soft materials and do the educational scope of tasks in painting and drawing. They also get the practical technical skills which contribute the holistic vision of a model and their reflection in the sense of proportion, details and personality assessment. Students form aesthetic taste, figurative and colour vision, perception and understanding of time and space in environment. It allows them to grow professionally, show curiosity and implement their creative ideas. It was established that using soft art materials is the basis for the formation of art skills in reproduction of a nude figure in painting and drawing in professional education of the future qualified specialists.

Enemies

Enemies

НАЙДЕННЫЕ НАСКАЛЬНЫЕ РЕЛЬЕФЫ В, ШАНЛЫУРФЕ II ТЫСЯЧЕЛЕТИЯ ДО Н.Э.

During the surface surveys conducted in Şanlıurfa in recent years, a large number of reliefs dating back to the timeframe from 2 th B.C. to 1th B.C. were discovered. Dağyamacı reliefs, located 500 m east of the Harran Plain within Tek Tek Mountains region, are reliefs dating back to 2 th B.C. Said reliefs dating back to 2 th B.C. were unearthed at some quarry-like location. The location where Dağyamacı reliefs were discovered is the only limestone quarry that has been dated to 2 th B.C. in the region. Orthostatic relief sketches, embossed friezes and stone blocks extracted in the form of cubes were unearthed in the quarry located at Dağyamacı. The reliefs depict sitting figures, standing nude figures, fauna and flora motifs. These reliefs, estimated to be fabricated between the first quarter and the last quarter of 2 th B.C., present features similar in style to some artifacts previously unearthed in the region and delivered to Şanlıurfa Museum. Discovery of the rock tombs from Early Bronze Age and the relief of a lion dating to 1 th B.C. in the ancient settlement of Soğmatar located close to the Dağyamacı reliefs indicates that the region around Tek Tek Mountains has been a key region for stonemasonry since early times. The blocks of limestone from the valleys of Tek Tek Mountains should be extracted rather easily thanks to the natural slopes of the valley, and should have been transported from these valleys to the settlements established in Harran Plain. Absence of limestone resources in Harran Plain should have led to emergence of the quarries where such reliefs were fabricated in Tek Tek Mountains region. The fact that Dağyamacı reliefs are fabricated in small sizes in line with the prevailing fashion trends of the era and that such reliefs present similar features in style allows us to date such reliefs back to 2 th B.C. This study intends to introduce the reliefs from 2 th B.C. unearthed in Şanlıurfa either recently or during previous excavations.

From Kharkiv to Istanbul: Creative Work of Mykola Kalmykov – Naci Kalmukoğlu

The article is dedicated to the art of Mykola (Nikolay) Kalmykov, whose maturity and creative activity took place in historical and cultural realias of Turkey in the 1920s and 1940s. Years of artistic formation associated with Ukraine in the first decades of the 20th century are an integral part of his creative biography. A high level of academic training, knowledge of historical styles, obtained at Kharkiv Art School, on the one hand, on the other hand, admiration for the artists of the “Seven” group, of which M. Kalmykov was an active member, for applied forms of creativity, orientation towards European modernism as a space of creative freedom determined the artistic universalism of the novice. The modernist nature of Istanbul artworks of M. Kalmykov is undoubtable. At the same time, absorbing the plastic discoveries of French modernism, the artist existed in a special emotional sphere, where there was a place for aesthetic research in the art of past epochs. In this dichotomous fusion of impressionistic worldview and passeism, most of the custom-made things were solved – mise-en-scenes for murals and theatrical scenery, historical canvases and still lifes. Exclusively pictorial ambitions were embodied in depiction of nude figures, in portraits of relatives and friends, in hundreds of landscape scenarios, the main role in which was assigned to sunlight. Painting as such, attractive in itself, related M. Kalmykov to A. Grishchenko, the author of the plastic concept “color dynamos”. Construction of a pictorial plot on the ratio of color masses, structural framework of which was set by horizontal and vertical axes of free brushstrokes are its basic features. Creative biography and personality of Mykola Kalmykov are widely known to Turkish specialists, collectors and art lovers. Discovery of art of Mykola Kalmykov by their Ukrainian colleagues is still ahead.

The influence of art censorship on New York collectors in the Gilded Age

Abstract With ample funds to furnish enormous homes and contribute to new public art museums, New York collectors in the mid-nineteenth century made a variety of choices regarding nudity and sexual themes in the works they purchased. After a surge in art censorship cases, beginning in 1883, collectors increasingly were confronted with polemical rhetoric urging them to refrain from purchasing art representing nude figures. While some collectors clearly adhered to this moralizing advice, including William H. Vanderbilt, James Lenox and Morris K. Jesup, others – most famously Henry O. and Louisine Havemeyer – were spurred on by their advocacy for civil liberties and cosmopolitan sophistication to purchase more nudes. Understanding both the intended and unintended consequences of art censorship campaigns in the Gilded Age is instructive for the likely outcome of analogous debates about appropriate subject matter on display in our own time.

Park Street

Park Street Cindy Juyoung Ok (bio) Everyone is envious of those morealive than them and when we are notaware of this we are directed by spite. I once felt a long absence of the magicand the summer after the sense passed,I visited the city where I had been young, walking street corners where I hadcried out of an absorption with an ideaof myself and with a desire to be witnessed, to be made public. Curtains weredrawn on the room where I was changingwhen I noticed a man walking past repeatedly, presumably to watch the silhouette ofthe nude figure through a crack in the linen.Longing is always a threat but that which is longed after is not the threatnor is it the threatened. The town hadspread and melted, promising again that with time, the concept of a heart—of any central location—diminishes. [End Page 91] Cindy Juyoung Ok cindy juyoung ok is a poet with work in journals like the Bennington Review, the Colorado Review, and Conjunctions. She teaches creative writing in Iowa City. Copyright © 2021 Yale University

Application of a Body Map Tool to Enhance Discussion of Sexual Behavior in Women in South Africa, Uganda, and Zimbabwe.

Body mapping methods are used in sexual and reproductive health studies to encourage candid discussion of sex and sexuality, pleasure and pain, sickness and health, and to understand individuals' perceptions of their bodies. VOICE-D, a qualitative follow-up study to the VOICE trial, developed and used a body map tool in the context of individual in-depth interviews with women in South Africa, Uganda, and Zimbabwe. The tool showed the outline of a nude female figure from the front and back perspective. We asked women to identify, label, and discuss genitalia and other body parts associated with sexual behaviors, pain, and pleasure. Respondents could indicate body parts without having to verbalize potentially embarrassing anatomical terms, enabling interviewers to clarify ambiguous terminology that may have otherwise been open to misinterpretation. Body maps provided women with a non-intimidating way of discussing and disclosing their sexual practices, and minimized miscommunication of anatomical and behavioral terminology.

A North African Plate Unearthed in the Andriake Excavations

Twelve fragments constitute the subject of this article, one of which is part of a body and eleven are parts of borders. Six fragments (figs. 2, 4/a-f, 5) belong to the longer border of a rectangular plate. A corner fragment shows a bearded, nude figure with open arms standing inside a kantharos. Along the border is a running lion figure. The remaining section shows a standing figure (Lazarus) wrapped inside an aedicula with a triangular pediment. Six different fragments (figs. 3/g-l, 6, 7) are distinguished by their clay composition but represent the same decorative motifs. Behind a lion there appears part of a triangular pediment. Additionally, a section of a lion’s mane, the body of a running lion, and the lower part of a kantharos are discernible. A small fragment shows a part of a horse’s head and body along with an inscription. The central decoration must be a depiction of the Dioscuri. These fragments belong to plates manufactured in North Africa. This type is dated between the years AD 360 and 430. However, the dating could be extended to the late 5th century up to early 6th century AD. We can propose a period between the second half of the 4th century and the early 6th century AD.

Francis Place (1647–1728) and his collection of works on paper

Abstract Within the modest archive of materials relating to the artist Francis Place at Hospitalfield House in Arbroath is an eighteenth-century notebook listing a selection of drawings by Place and others, which were inherited by his daughter Frances Wyndham. Although Place’s original and significant collection of prints, drawings and paintings is now widely dispersed, the drawings notebook at Hospitalfield and a corresponding notebook listing intaglio prints go some way to reconstructing the contents of his studio or ‘painting room’ at York, and aid our understanding of the influences that informed this largely self-taught artist. The details in the drawings notebook of sketches now lost or in private hands also greatly develop Place’s known oeuvre in this medium; evidence is provided for a far broader range of subjects, including nude figure studies and biblical subjects, than has previously been acknowledged.

Ciało w odcieleśnionej rzeczywistości. „Tango” Kultury Zrzuty

Body in disembodied reality. The „Pitch-In Culture” and „Tango”This is an essay about PITCH-IN CULTURE — an alternative current, alternative group of artists, who in the 1980s in Lodz had created an autonomic space, an artistic shelter which let them function away from an official, mainstream structures of life and its culture designed by the state. Counterculture from Lodz, rebelling against reality and fictional freedom created by author­ities, found its space in the city centre, in the attic of one of townhouses. THE ATTIC had be­come an agora of underground, place of transgression of enforced schemes, clichés, patterns and truths. According to an idea — DO IT YOURSELF — DIY they published handmade magazine with art works that aroused or were related to sexual desire, often incorporating nude figures.

Beautiful Contradiction: The Concrete Sculpture of Christopher Smith

“I am a sculptor with the nude human figure as my primary subject.” —Chris Smith

Lukianos és Kallistratos műtárgyleírásai: szöveg és hagyomány

Lucian of Samosata’s descriptions of works of art are invaluable for the studying of the Classical and post-Classical Greek sculpture. The Second Sophistic author does not only give accurate and detailed descriptions about Greek sculptures and paintings, but as a real connoisseur of art he also judges them from the perspective of aesthetics. In the first main part of my paper, I will focus on the characteristics of his descriptions by analyzing the nude figure of Aphrodite of Cnidus made by Praxiteles and the ‘eclectic’ portrait of Panthea. The aim of the second part of my paper is to present the essential features of Ekphraseis of the sophist Callistratus who lived in Late Antiquity (IV–Vth century AD). It has been disputed if Callistratus’ work inspired by the rhetorical exercises has any art history values. This paper also raises the question how the tradition of both Lucian and Callistratus could influence the description of the sculpture ‘Apollo Belvedere’ included in Winckelmann's epoch-making Art History.

Pre-Fall Forecast, and: All Becoming, Primitive Colors II :: The High Priestess, and: Before Rothko Marked the Soft Edge VI :: The Lovers

Pre-Fall Forecast, and: All Becoming, Primitive Colors II :: The High Priestess, and: Before Rothko Marked the Soft Edge VI :: The Lovers Cait Weiss Orcutt (bio) Pre-Fall Forecast after Shelley Wong Berries, sun-dried tomatoes, almonds cracked open under trees, beastsof the land and sea, their plumage all azure, orchid purples, green—pre-fallthe forecast is light breeze, clear skies, nudity. Lilith has found four fig leaves, softened a pine needle in the dew. She stitchesa fascinator, a veil of blue violets, ostrich plume. While he is blowing hot airfrom his lips pretending names are made from the outside in, she and Evetry on the new hats, ground-breaking, every one. All Becoming, Primitive Colors II :: The High Priestess waitin turquoise. Of the split-ripe guava orbs, she keeps fingering the omens; left hand soothing scroll's surface like [End Page 160] airon ocean-cheek. The red seeds which encrust the fruit on the veil, cannot help but bleed cochineal eggs of the scaleinsect, her gem housed in exoskeleton casings crushed by fabric makers, bodies in kilos, illuminating ourface of Mary now virgin, the blush still in her cheeks. The pearl floats on cerulean, Egyptian coronet; whereupon the stars, blackwoodland ladies'- tresses, erect dayflower, little club-spur orchid, and Texas purple spike, snake around each other. Allharmony absorbs the violence of experience— the black and white production—of indigo, slave trade, Charleston, bodies sold, whips, blade strokes, these things take a seat in the temple; the space between [End Page 161] spoken historyand silent history the same as the space between the High Priestess's lips. Her robes and the moon grow old in it. Before Rothko Marked the Soft Edge VI :: The Lovers of the evening in his chapel, two nude figures stood in light; he and he, or he andshe, or she and she, or they and they (love is love is love) looked up; look up andhere's the start of the story; with nothing to modify them but the light that is paint, pigmentation a tube full of bloodgiving color, drawing form; you can see themrespect their lines: they have no seeping out, nor do they realize the mauvevapors billowing in between their two faces. But what fun can they have with this angel above them, the snake up the tree on the left? Community is not a crime, but letthese two enjoy some privacy before God bursts in. Community,moreover, that has been committed to judgment, instead of flowering around the feet of these beings, lurks all above as if to punish them with the forced-cisrules of postlapsaria, gender norms, heteronormativechurch/state practices. Without our protest, representations are as they always [End Page 162] have been—at imaginary binaries as if there ever were a delimited heor she. "We're born naked, and the rest is drag." In the unclothed, palmforwardpose, an irrelevant sky force presiding—we have the vitalreminder of hope. Let 'em at it! Lust is no timid ninny, no precious thing. Let them fall into one another's arms.Know that love is motion, not organ; "I measure time by how a body sways." [End Page 163] Cait Weiss Orcutt Cait Weiss Orcutt's work has appeared in Boston Review, Chautauqua, FIELD, Hobart, Juked, and more. Her manuscript VALLEYSPEAK (Zone 3, 2017) won Zone 3 Press's First Book Award, judged by Douglas Kearney. Cait has an mfa from The Ohio State and is currently getting her PhD in poetry from the University of Houston. She teaches creative writing to college undergraduates, local youth at the Salvation Army Young Adult Resource Center, public school students through Writers in the Schools (WITS) at the Menil Collection, and senior citizens via Inprint at the Jewish Community Center. She is the recipient of an Inprint C. Glenn Cambor/MD Anderson Foundation Fellowship. Copyright © 2018 University of Nebraska Press

The Flesh of Painting: Caillebotte’s Modern Olympia

ABSTRACTThe language of putrefaction, often applied through a culinary analogy, appeared consistently in the critical reception of modern-life and Impressionist painting. For example, two critics used the term faisandé, referring to well-hung meat, to describe Manet’s nude figure of Olympia in 1865. The analogies that they posed between morgue bodies, female figures, meat, and fleshy paint material became central modes of denigrating Impressionist paintings of women in the ensuing decades. Gustave Caillebotte’s Veal in a Butcher’s Shop (c. 1882), depicting anthropomorphized, gendered, and sexualized animal flesh, can be considered in this context. In my reading, the painting enacts the critical responses to his colleagues’ figures, foregrounding the violent operations through which bodies might be reduced to meat, whether literal or metaphorical. In their comparisons to rotting flesh, nineteenth-century critics expressed a visceral reaction to works of art that Veal in a Butcher’s Shop demands.

G for GYNOMORPHISM IN ÉTANT DONNÉS

Abstract The article asks why the nude figure’s vulva in Duchamp’s Étant donnés appears to be depicted inaccurately? It may be that Duchamp simplified the anatomy in order that it be indicated but not dominate the entire installation. An overly graphic depiction might have detracted from the scene in its entirety. The figure was based on a drawing and plaster cast of Maria Martins, who was fifty-five years old at the time and had five children, which may point to physical changes due to age and childbirth. The weight of the plaster during the casting process might also produce distortions. The figure as presented maintains an extremely difficult pose that, in combination with the physical irregularities, could be the result of an accumulation of errors over the many years of production.

The corset, the bicycle and the Hottentot: Alexandre Falguière’s The Dancer and Cléo de Mérode’s modern feminine body

ABSTRACTIn 1896, Alexandre Falguière’s sculpture The Dancer (La Danseuse), was the succès de scandale of the Salon des Artistes Français. While the public wondered whether the nude figure indeed represented Cléo de Mérode, a rising star in the ballet of the Opéra de Paris, art critics reacted with unusual vehemence to the work, labeling it a “modern” body and denouncing it as “deformed” or “damaged.” This essay examines the associations of deformity, femininity and modernity raised in the emphatic critical reception to the work. Through an investigation of the roles of the two principals in the sculpture’s production – the artist and the model – and of the critical reception to the work, it argues that this “modern” body proved troublesome to contemporary viewers, not only because it was seen as the likeness of a public celebrity, but also because the figure’s proportions resonated in complex and contradictory ways within contemporary discourses of dance, art, fashion and anthropology. The product of a collaboration between artist and model, the body portrayed in Falguière’s sculpture embodied not simply an individual dancer, but also changes in contemporary conventions governing feminine behavior – changes that were widely perceived as threatening.

Discovering Davies-Land: Arthur B. Davies in the West, 1905

Arthur Davies’s 1905 excursion in the West is only occasionally mentioned in discussions of his career, and then but briefly. The artist’s itinerary and the subjects that captured his attention have, like his western sketches, been largely neglected. Scant written records from his travels and the scattering of the more than seventy oil sketches produced en route contribute to this neglect. Yet in the years after his return, the subjects and compositions of Davies’s easel paintings suggest the impact that unique trip to the American West had for this otherwise dedicated Europhile.Discovery of a number of the small oil-on-panel sketches helps to identify the path Davies pursued. More importantly, the sketches suggest the inspiration for his post-excursion canvases, many of which grew larger in format in response to the scale of the spacious western landscape. A good number of these larger paintings were in fact landscapes, a motif otherwise relatively rare among Davies’s oils, and incorporated familiar aspects of western scenery (mountain horizons, towering redwoods). Some also included nude figures in newly sensual poses and combinations.Consideration of the panels illuminates the praise of contemporaries who lauded Davies’s “superbly faithful and glowing [western] sketches” and predicted that “some day collectors will compete for them.” In 1924, critic Virgil Barker admired the western-inspired works from what he called “Davies-Land,” paintings that required “an emotional comprehension of mood.” In them Barker discovered “this time’s most explicit appeal to the imagination. Therein lies their measure of greatness”—a greatness that began with a sketch.

Albrecht Dürer’s The Men’s Bathhouse of 1496–1497: Problems of Sexual Signification

This essay synthesizes the historiography of art history and sexuality/gender studies, while carefully navigating the difficulties inherent in historical sexual signification, in order to reveal the complexity of Albrecht Durer’s The Men’s Bathhouse (Das Mannerbad) (1496–97). Over time, the woodcut has accrued a wide variety of critical responses. Within this fortuna critica, some scholars have attempted to reduce the print to evidence of Durer’s cognizance of classical aesthetics prior to his first trip to Venice in 1494–95, in that it seems to provide a stylistic precursor to his later, more overtly classicizing The Fall of Man (1506, engraving). Other scholars have implicitly or explicitly sought to employ the woodcut as supportive of arguments for the existence of a universal homosexual identity, in that the artwork proves Durer’s homosexuality ergo an early modern homosexuality consonant with the way the modern terms “homosexual”/“heterosexual” conflate sexuality with identity. Arguably, classicism and eroticism simultaneously inform the full iconographic potentiality of Durer’s print; and an analysis of it shows how he inverted the traditional imagery of bathers by imagining men as the sole object of display within an all-male space and then veiled that socially proscribed, same-sex desire behind the plausible deniability of the classically-derived, nude male figure.

The Black Genteel Tradition

In 1911 the Harvard philosopher George Santayana published a lecture, “The Genteel Tradition.” His subject was focused specifically on philosophical thinking in America, but the phrase itself, the “Genteel Tradition,” took off and soon came to designate a wider phenomenon, the whole high-culture ethos that one of its gravediggers, Sinclair Lewis, declared in his Nobel Prize acceptance speech, for at least half a century had been the persistent enemy and slow poisoner of good writing in America. The Genteel Tradition was the American variant of Victorianism, the style of that period synonymous with sexual repression and moral uplift: a perfect example, the frieze The Triumph of Arts and Letters in the Royal Albert Hall that includes triumphing nude pseudo-Greek figures in heroic poses—but with no genitals. The literature that issued from and contributed to this moralistic matrix is neatly encapsulated in the definition that Oscar Wilde’s Miss Prism gives of the novel: “The good end happily, and the bad unhappily. This is what fiction means.” Malcolm Cowley, in his introduction to After the Genteel Tradition (1937), notes that the editor of one of the nation’s leading journals pulled a war story that had already been accepted for publication because it contained this sentence: “The bullet had left a blue mark over the brown nipple.” Nude statues with no genitals, soldiers with no nipples (to speak of): this was the Genteel Tradition. But the avertedeyes squeamishness extended to much more than body parts. An editor at Scribner’s refused stories that contained “slang, profanity, vulgarity, agnosticism or radicalism.” The grimmer aspects of life—the desperate poverty of immigrants, for instance, or the post-Reconstruction

Michelangelo's Medici Chapel and its Aftermath: Scattered Bodies and Florentine Identities under the Duchy

The Medici Chapel was not fully completed in the state that it presently exists until nearly thirty years after Michelangelo’s departure from Florence in 1534. This gave artists, intellectuals, and patrons the extraordinary opportunity to study the sculptures close up and from different points of view, a habit that continued well after their installation through reductions and casts. Any study of the influence of Michelangelo’s chapel sculptures on Florentine artists and patrons must take into account how they were viewed, experienced, and studied. In portraits of young Florentine patricians, Bronzino and Salviati drew on the practice of copying the statues from different angles and detailed scrutiny of body parts to assemble these views and parts in images of their patrons that made overt reference to Michelangelo as well as displayed their own distinctive style. While these portraits were made for private palaces to convey both Florentine erudition and its artistic tradition, Duke Cosimo adapted the Medici Chapel sculptures for portrayals of himself in public settings, including Vasari’s tondo in the Palazzo Vecchio and the Uffizi corridor facade together with Vincenzo Danti’s reclining nude figures, these coinciding with his association with Michelangelo in the founding of the Accademia del Disegno. The reassembled body parts in engravings of the completed tombs by Cornelis Cort in 1570 represented Florence to a wide public, but no longer functioned to signify a distinct Florentine artistic tradition and cultural identity.