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Painting renaissance nude tits

A new exhibition explores how the naked form revolutionised painting and sculpture. Cath Pound looks at shifting attitudes and what they reveal about society and sexuality. Renaissance artists transformed the course of Western art history by making the nude central to artistic practice. The revival of interest in classical antiquity and a new focus on the role of the image in Christian worship encouraged artists to draw from life, resulting in the development of newly vibrant representations of the human body. The ability to represent the naked body would become the standard for measuring artistic genius but its portrayal was not without controversy, particularly in religious art. Although many artists argued that athletic, finely proportioned bodies communicated virtue, others feared their potential to incite lust, often with good reason. More like this: - A Victorian painter of gender fluidity - How black women were whitewashed by art - Eight odd details hidden in masterpieces. The Renaissance Nude at the Royal Academy in London explores the development of the nude across Europe in its religious, classical and secular forms — revealing not only how it reached its dominant position, but also the often surprising attitudes to nudity and sexuality that existed at the time. View image of Credit: The J. Paul Getty Museum, Los Angeles.
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No one has ever painted naked women as gorgeously as Titian did. His ravishing Venus is a lover laying her beauty bare, and the recipient of her optical largesse is anyone who happens to stand in front of this painting in the Uffizi gallery in Florence, Italy.
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Because of stringent controls over female modesty, the idea goes, it was inappropriate for women to get undressed in front of men. Now, this is both right and wrong. As a matter of fact, one of the handful of extant renaissance drawings after the female nude is by Michelangelo to the left, now in the Louvre.
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While the preponderance of nude figures are there for totally artistic reasons, the catalogue of naked humans turns out to be a pretty good representation of people from the past. As the thinking goes, lifestyle, longevity and other factors have made the cancer much more prevalent in the industrial age. But recent research is showing that the disease was quite common all the way back to antiquity. While looking at breast iconography while working on a larger study of breast cancer's prevelance in the past, the researchers came across two particular Renaissance paintings with figures displaying signs of breast cancer. These are believed to be the earliest known depictions of breast cancer found so far. Traverso reports that the first depiction appears in the painting " The Night " by Michele di Ridolfo del Ghirlandaio, likely painted between and and based on a sculpture by Michelangelo. In the image, a nude woman is reclining and sleeping in a dream world which includes a cherub, an owl, flowers and various masks. Her left breast is smaller than the right and her nipple is retracted, all signs of cancer. The second painting, "The Allegory of Fortitude" by Maso da San Friano, depicts a female figure sitting on top of a lion. Her left breast seems to show swollen tissue around the nipple and an area where a tumor has broken through the skin.
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F ull of surprises, and a few shocks, sexy, sacred and profane, The Renaissance Nude is almost as salacious as it is scholarly. It is a riot of bodies in these low-lit, sober grey rooms. Christian martyrs are impaled on trees. Several Saint Sebastians stand about, pin-up boys oblivious to the arrows that pierce them. A procession of flagellants in a Netherlandish Book of Hours prepare themselves for their hooded tormentors in a scene as erotic as it is devotional. The delicacy and intimacy of the image counterpoints its impending violence. Filled with detail, the crepuscular image is a nightmarish pastoral of fanciful architecture, the silence of slumber and the cacophony of the besieged city. The little monsters complete the over-the-top scene. I could look at this all day. Their nakedness, it is suggested, is an association with animalistic barbarity rather than heroism, or a return to a fanciful antiquity.

No one has ever painted naked women as gorgeously as Titian did. His ravishing Venus is a lover laying her beauty bare, and the recipient of her optical largesse is anyone who happens to stand in front of this painting in the Uffizi gallery in Florence, Italy. Titian creates with mind-boggling skill the lavish presence of this nude: the rapture of her carnal glory. There's something divine about such beauty. Some people find profundity in religious art, in abstract art, in conceptual art.

For me, there's nothing more moving in art than the breasts of the Venus of Urbino. Nudity never loses its power. The conventions of the nude can be enjoyed, and challenged, in limitless ways. Vivienne Westwood glories in poses culled from painting as she exults in all the possibilities of nakedness in art, while in her 70s.

The mistress of the king of France proudly displays her bottom in this picture from the age of the Marquis de Sade. In the 18th century of Enlightenment and spanking, Louise O'Murphy is not just nude — she is posed erotically.

The artistic tradition of the nude, which goes back to ancient Greece, is sometimes wrongly imagined to be an ethereal pursuit of classic beauty. In fact, as Boucher and his model prove, it has always been and always will be about sex. This insouciantly provocative nude is gratuitously offered to the eye of some imagined sultan. Her perfume of orientalist fantasy casts the onlooker as a decadent connoisseur of sensual pleasure. Ingres makes his Odalisque almost surreally curvy, impossibly waxen-skinned, yet more real than any photograph.

Utterly amoral, this painting is a depraved engine of delight. In this classic riposte to millennia of male voyeurism, the Guerrilla Girls give an ape head to Ingres's nothing-if-not-objectifying Odalisque.

There are more female nudes in art than there are famous women artists. Is the nude just an instrument of oppression? Are Titian and Ingres misogynists? Today, it's hard to look at the nude without asking those questions. Picasso imagines his lover as a welcoming cloud of pinkness, a constellation of curves, in this ecstatic painting. The woman, here, is a part of nature, reduced to the status of objects in a still life, to be enjoyed by the male artist.

Yet his love, possessive as it is, cannot be doubted. Picasso puts his own sexuality into every pigment of this opulent painting. If his vision of the nude is utterly proprietorial, it is also absolutely honest.

Wilke exhibits herself as a "starification object", her body marked by the stigmata of voyeurism. In a world ruled by the male gaze, she seems to have sprouted surreal vagina-like growths under the pressure of relentlessly being stared at. This feminist perspective on the oppression of looking turns the ancient tradition of the nude in art inside out to display the pain of being gazed at.

The Greek sculptor Praxiteles more or less created the idea of the female nude. In one of his lost masterpieces, which can be seen only through later Roman copies, he portrayed the goddess Venus naked in a pose that ancient Greeks found intensely provocative. At least one onlooker is said to have attempted to copulate with it. In this alternative take on his daring theme, Praxiteles gives Venus a more decorous pose — even as she is seen naked, she attempts to cover herself modestly, in a way that actually draws attention to sexuality and its dangers.

Botticelli revived the love goddess Venus in the Renaissance, posing her in the modest manner pioneered by the ancient artist Praxiteles, as he sets out not to titillate, but philosophise.

According to Plato and his followers the contemplation of physical beauty can lead the mind to heavenly truth. Botticelli's Venus is not a sex object. She is a divine teacher of spiritual enlightenment. Hers is a beauty that heals the world. In the early 20th century this luxuriant nude was attacked by a suffragette who slashed it repeatedly. As we feast our eyes on pink flesh laid out amid rich silvers and reds, the model is looking in a mirror.

Her features in the glass are blurred and hesitant, her expression grave. What is she thinking of? He sets up an anxious tension between mind and body, between displayed flesh and secret soul.

In so doing he paints a nude not only beautiful, but profound. Titian — Venus of Urbino No one has ever painted naked women as gorgeously as Titian did. Juergen Teller — Vivienne Westwood Topics Art and design Top 10s in art. Reuse this content. Order by newest oldest recommendations. Show 25 25 50 All. Threads collapsed expanded unthreaded. Loading comments… Trouble loading? Most popular.



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