Female Nude in Plastic Arts

En comparant l’approche particulière du nu par les peintres de Die Brücke avec celle de Matisse, Derain et Van Dongen, ce texte propose une variation dans l’appréciation du lien entre l'homme et la nature traité de manière spécifique par les artistes allemands en raison de leur désir de communion dans l'art comme dans la vie.

Jean Popineau, peintre, dessinateur, sculpteur, imprimeur, restaurateur de tableaux et historien français (Paris 1929 - Beaune 1980).

Jean Popineau commence à dessiner et à peindre en 1948. Son style, inspiré d'abord par les grands peintres (Rembrandt pour le clair-obscur, Van Gogh pour l'utilisation de la couleur, Daumier pour le recours à la peinture en pâte épaisse, Manessier pour les harmonies colorées) devient très original par la suite, en mêlant les arts premiers (masques Dogons, masques japonais ou art médiéval) à des sujets religieux, des portraits ou des nus. Popineau écrit dès 1948 : "Aucune peinture ne s'approche de mon idéal, il faut que je l'invente moi-même". "Pour moi, un artiste est avant toutes choses un homme dont le cœur rit et pleure avec les choses qui l'entourent. Un homme qui a une âme qui vibre avec la nature".
Sa peinture est caractérisée par les fonds souvent non figuratifs ou parfois même absents, des animaux tirés du bestiaire médiéval fantastique ou des personnages, parfois issus de l'Ancien Testament, aux traits géométriques. Ces visages, inspirés des masques Dogons, que Popineau a découverts lorsqu'il vivait au Mali, ont des traits simplifiés à l'extrême, touchant à l'essence même des sentiments. On trouve aussi des paysages inspirés par le village familial de Roberval (Oise) ou les villages médiévaux du Massif Central (Conques, Garennac...). La diversité des techniques employées (gouaches, encre au pinceau, plume, huile, sculpture sur bois ou sur pierre, meubles) accompagne la diversité des styles, allant du figuratif le plus réaliste à l'abstraction pure. La production de Popineau est abondante et variée : 271 dessins, 114 peintures, deux statues, deux lits et deux commodes en bois sculpté et orné de peintures.
Parallèlement, Popineau poursuit une carrière d'imprimeur puis de restaurateur de tableaux dans les Hauts-de-Seine. Il contribue également à une meilleure connaissance des mythes indo-européens par ses articles, inédits pour la plupart, et consacrés aux mythes printaniers celtiques (Épona, Rhiannon, Hippios...).

The Great Art Nude Survey is a life-model led research initiative aimed at assessing the current state of nude arts working in British Arts and Education. It is an independent Public Arts and Community Education project from Cast-Off Drama and consults with a range of partners. The first phase of open consultation will last from Sept 2014 - 30 June 2015. The second phase lasts from 1st August 2015 - 31st March 2017. The attached powerpoint presentation was launched at the Engage Show and Tell event, Leeds Art Gallery, Tuesday 11th November 2014. For further information, please see Cast-Off Drama - www.castoffdrama@blogspot.com

El presente trabajo recoge y ordena toda una serie de tipos iconográficos relacionados con el desnudo femenino bajomedieval, describe la situación de la mujer en la Baja Edad Media de la península Ibérica y reflexiona acerca de ello desde una perspectiva de género.

Study of about 150 nude female bathers and related scenes painted on Athenian pottery from the last quarter of the sixth century to the later fourth century BC shows that in the Archaic  period most appear on symposium ware and represent a form of soft pornography targeted at male drinkers.  Around 430 BC the sudden appearance of  naked kneeling bathing brides, heroines, nymphs, and goddesses on vessels designed for use by women indicates a new concept of the naked female form in art.  Close reading  of ancient literary sources suggests that these vase paintings derive from the famous lost painting of Helen of Troy by Zeuxis of Herakleia and reveals how Zeuxis successfully overcame cultural resistance to establish the  female nude as a respectable subject of classical art in the later fifth century BC, at least two generations before Praxiteles' well-known statue of Aphrodite at Knidos.

Resumen: El desnudo artístico ha sido una constante a lo largo de la Historia del Arte, especialmente en las mujeres, quienes aparecen mostrando sus atributos en numerosas composiciones artísticas desde las venus prehistóricas hasta hoy. Así, el presente estudio, se centrará en la fotografía y el mundo de la performance actuales como soportes materiales que recogen diferentes miradas del desnudo. Consecuentemente, se profundizará en tres visiones del desnudo y el sexo: la pasividad y el erotismo propios del voyerismo, el desnudo como libertad de expresión y, finalmente, el desnudo y el sexo como posesión del otro, práctica sadomasoquista que, incluso, puede conllevar la autodestrucción. Todo ello nos ayudará a entender cómo las personas, a través de las diferentes propuestas artísticas, conciben su relación con otras e incluso sirven para proyectar su identidad. Palabras clave: mirada, desnudo, sexo.

Abstract: Artistic nudity has been a constant throughout the History of Art specially in women who usually appear showing their attributes in large number of artistic compositions since prehistorical Venuses until today. Therefore, this analysis focuses on current photography and the performances which serve as the support which gather all the different gazes of nudity. Consequently, it will go in depth into three sights of nudity and sex: the indifference and eroticism inherent in voyeurism, nudity as freedom of expression and, finally, nudity and sex as possession of the other, a sadomasochistic practice that can even entail self-destruction. All this will help us understanding how people conceive their relationships, through the different artistic proposals, and to project their own identity.

https://sketchfab.com/models/b5460f99be8b47b8a018dd29c22ca114

How to quote this model in a scientific paper?

Fr. Colin & C. Duvette, “Nude female figurine IES_NI_0709, Artifact 3D model 11280/a0b109dc”, Strasbourg, 2018. Online since 2 March 2018, connection on MM/dd/yyyy.

or abbreviated Fr. Colin & C. Duvette, “Artifact 3D Model 11280/a0b109dc”, Strasbourg, 2018.

This model is stored in a long-lasting way on the data service “Nakala” of the “TGIR Huma-Num” (https://www.nakala.fr). The handle 11280/a0b109dc is a persistent identifier (PID) allowing to designate this digital data regardless of its location. It is managed by Corporation for National Research Initiatives (CNRI, http://www.handle.net).

Inv. Nr: IES_NI_0709. Former Inv. Nr. 1255.

The Egyptian collection of the Institut d’égyptologie de Strasbourg was collected at the end of the XIXth and at the beginning of the XXth Century.

«It is hard to imagine a contemporary sculptor without relating him to Maillol”. This is how, in 1930, Lionello Venturi began the paragraph dedicated to Arturo Martini’s stylistic sources of an article on the sculptor. The scholar’s instance is not isolated: upon careful examination, the French master had been, for some time, unanimously consecrated as an essential example of modern sculpture by European critics. Therefore, it is far more significant that Venturi’s statement can be applied to another Italian sculptor who, beginning from the mid 1930s, drew the main aspects of his own figurative language from a critical attitude towards Martini: Marino Marini. My paper aims to analyse the complex dialogue between Aristide Maillol’s sculptures and those of Marino Marini by examining the female nudes the Italian artist created from 1935 to 1945. I will formulate the comparison between the two sculptors from two points of view. The first looks at the use both made of a limited number of sculptural typologies, articulated differently. In this way, not only were they able to carry out their work with an impressive continuity, but they also explored the female nude, an academic theme par excellence, with a modernist attitude. I will argue that Marini’s interest in Maillol’s female nudes wasn’t limited to simply using the French master’s preferred subject (the Etruscan goddess of fruitful abundance, Pomona), rather it translated into the definition of a sculpture sustained by precise compositional and architectural norms. Secondly, I will attempt to demonstrate that if Maillol’s sculptures were a lesson for Marini to follow in terms of forms and volumes, the Italian master placed himself in a position diametrically opposite the older colleague in regards to the treatment of the surface. In fact, with the intent to go beyond Auguste Rodin’s expressive impetus, Maillol’s female nudes declare a strong continuity between form and modelling through the smooth surfaces that bind the general tendency of his art towards absolute plastic and abstraction. On the other hand, the skin of Marini’s young women and Pomone seems to disengage itself from the architectural developments of the forms on which the skin itself rests: it is always wrinkled and tormented, cut through by scratches which welcome and reflect the bright accidents and give a breath of life to the artistic material. I will explain this discontinuity between the two sculptors with Marini’s intention to mitigate his works’ abstract values through a naturalistic touch, and I will trace this balancing act between the model’s truth and the form’s stylization back to a conscious overturning of the results achieved by Maillol’s plastics. In light of a new consideration of Maillol and Marini’s work and by reading little-known and unpublished archival documents, I will develop these themes giving attention to the multiple opportunities Marini had to view Maillol’s works (the Venice Biennale of 1934, the 1935 trip to Paris of the Italian sculptor, John Rewald’s 1939 monograph on the French artist); the variation of the stylistic problems faced depending on the different artistic techniques (sculptures in terracotta, plaster and bronze, and drawings on paper); and the conscious ways the coeval press reproduced the statues, which were often the result of the collaboration between artists, photographers and editors.

A Justiça deu a ele o direito de dar aulas pelado por critérios éticos da Lei 10639, e exigiu da Universidade de Brasília que fosse responsável por todo custo e cuidado para que nada violasse a lei do Pudor, obviamente a Lei 2848 em seu artigo 216. Isso foi em 1996.

This paper investigates the female nude in ancient Greek monumental sculpture based on the Aphrodite of Knidos. It first emphasises that Greek statues mostly represent deities and heroic figures in human forms. One of the reasons for this was the anthropomorphisation of the gods and heroes, the base of the Greek religion. As a result, the image of the human body constantly occupied the imagination of sculptors. Recently, there has been a shift of interest in the study of Greek statues, particularly cult statues. Iconographic and iconological considerations have been increasingly replaced by attempts to comprehend and receive the sculpture just like ancient Greeks. The text quotes a large group of researchers who have undertaken fresh efforts to interpret Greek cult statues, combining a meticulous analysis of ancient texts with studies on the preserved body of works and the contemporary reflection on the broadly understood visual culture and the ways it influences and is received by people. Important in these studies is also the recognition of the enormous impact of the modern, especially post-Enlightenment tradition, on the contemporary reception and meaning attributed to the ancient Greek art, especially statues.
The article then provides a clear overview of various interpretations of the Aphrodite of Knidos, a famous work of Praxiteles, in the context of the considerations about the statues and their agency, and explores the reflection on the development of the so-called naturalistic style in Greek sculpture. The paper shows how common is the interest in goddess-related issues, notably the one depicted in the statue from Knidos. On the one hand, this stems from the popularity of gender studies, blossoming also in antiquity research, and on the other hand, from a reflection on modern European art coming from feminist art history. Unfortunately, within these approaches, the Praxiteles’ work is subject to accusations, because the sculptor supposedly showed the weakness of Aphrodite, embarrassed with her nudity, as opposed to the proudly presented nudity in male statues. The embarrassment, covering up, shows the goddess as weak and vulnerable, susceptible to injury. The naked Aphrodite of Knidos is therefore believed to have been sexually objectifi ed by being subordinated to the male gaze. This makes the cult statue a thing subordinated to male needs and devoid of any impact.
Ewa Bugaj argues that such interpretations signifi cantly reduce the phenomenon of the cult statue and its functioning in antiquity, as presented at the beginning of the paper. We cannot forget that Aphrodite was first of all the goddess, not an ordinary woman, and the religious aspect of the  functioning of the statue, so important for the ancients, should not be overlooked in the interpretation. The paper thus shows that an ancient Greek, a follower of the goddess, is unlikely to have separated his gaze from his or her religious beliefs, given that the Greeks viewed the sculpture as a statue and the goddess at the same time. Other interpretations of Praxiteles’ work are also given. It has been argued that based on religion studies as well as literary and historical references, Aphrodite cannot be called a modest goddess. Hence, her perfect and attractive body, carved by Praxiteles, was probably meant to emphasise her power. Furthermore, the decision to leave the genitals at the statue of Aphrodite of Knidos unmarked could have resulted from an intention to distinguish her divine body from the bodies of ordinary women. This permitted the goddess, embodied in the statue, to retain the status of impact and power. The nudity of the Aphrodite of Knidos rendered by Praxiteles in a very sensual manner, seemed to manifest her bodily availability, yet ultimately, the goddess was not fully accessible (both in the myths about the goddess and the legends about the statue). The beautiful, worthy of the highest admiration and lust outside of the goddess, masterfully shown by Praxiteles, enabled the Greek to image her inner divine qualities. Thus, the aim of the representation was perhaps not to stimulate lusty glances and intimate relations with the statue, but to inspire religious awe and elation.

Three Cycladic figurines in the Syros Museum (SM) Prehistoric Collection, are published here. They are a complete figure of the Dokathismata variety (SM 356, pls. 1-2) and two fragmentary ones combining features of the Spedos and Dokathismata varieties (SM 358, pls. 3-4, SM 377, pls. 5-6). The three figurines are of unknown provenance, but the circumstances of their confiscation indicate that they are products of looting and not forgeries.
Two of these figurines, SM 356 and SM 377, have an apparently swollen abdomen, suggesting pregnancy. Most of the Cycladic female figurines, including those representing women in a pregnant or post-parturition state, derive from graves. This might reflect the increased mortality of women during these phases of their life.
The fear for the mortality of women would be important to the Early Cycladic islanders on a personal and a community level, not only because of a demographic problem, which cannot be proven on the basis of the available evidence, but also for another reason. Women needed to play multiple roles, since the biologically more powerful male members of the community, had to be away from home for long period of time voyaging with their longboats which had no sails. The archaeological evidence shows more and more connections of the Cyclades to the whole of the Aegean during the 3rd millennium BC.

In 1939, in one of his best-known statements, Marino Marini juxtaposed life-size female nudes with portraiture. Compared to portraiture, the sculptor wrote, “the statue requires a vaster research into forms, lines, masses. My women, whom some find clumsy, are an answer to this concern. Nevertheless, this search for volumes is not the unique purpose of the sculptor, who must never forget that what touches most in a sculpture is always its poetry.” This paper elaborates on Marini’s female nudes of the late thirties and forties in light of the relationship between form and poetry, or in other words, between the plastic construction of volumes and the expressive power of surfaces. Firstly, it discusses the fracture between form and modeling, volumes and profiles, plastic development and surface definition, tracing a path à rebours from the Danzatrice (Dancer) of 1949 now at MoMA in New York to the Maschera (Mask) of 1936 at the Fondazione Marino Marini in Pistoia. Secondly, it offers an examination of Marino’s wooden Nudo femminile (Female nude) traditionally dated to 1932, showing a mechanical dependency between the latter and the 1936 statue, and fixing the chronology between 1936 and 1941.

Kobieca perspektywa może być przyczynkiem do odświeżającego fermentu w sztuce fotografii zdominowanej przez spojrzenie męskiego widza-voyeura. Analizowanie aktów z perspektywy kobiecej nabiera szczególnego znaczenia w XXI wieku, bowiem kobiety są dziś także twórczyniami aktów, ale i odbiorczyniami sztuki aktu, voyerkami, które ingerują w zastane kategorie estetyczne i wizualną hierarchię władzy. Artykuł analizuje zagadnienie estetycznej transgresji, odwołując się do teorii takich badaczek, jak Lynda Nead, Deirdre Robson czy Tania Modleski.

Para nosso trabalho, escolhemos a
obra Outono de Horácio Hora para
pesquisar. A obra de 119,90 cm de
largura por 260 cm de comprimento
está localizada no acervo do Museu
Mariano Procópio em Juiz de Fora,
e não está exposta por conta da
restauração do museu. Começamos
o trabalho a partir das informações
disponíveis no site do museu, são
elas: tema alegoria, técnica óleo
sobre tela, provável data de 1886 e
sua chegada ao Museu Mariano
Procópio a partir de Antônio
Nogueira Penido.

Rad donosi prikaz rodne perspektive pri tumačenju javne plastike iz doba antike, s naglaskom na nage ili polunage ljudske figure. Propituje se dominantan muški pogled i interpretiranje antičke plastike tijekom pisanja povijesti umjetnosti i pokušava se, s jedne strane demistificirati funkcija ženske nagosti u klasičnom i helenističkom periodu, a s druge strane, kritički sagledati hiperseksualizirana ženska draperija, tzv. mokra draperija, analizom društvenog konteksta Grčke tijekom 5. st. pr. Kr. (pitanje socijalne pravde i jednakosti, pozicija žene u antičkom svijetu i slično). U radu se donose recentniji radovi u polju feminističke kritike te ih se suočava s „tradicionalnim“ tumačenjem prikaza ranjivih i erotiziranih žena, kako u umjetnosti namijenjoj eliti, tako i u popularnoj umjetnosti. Otvara se prostor za novo tumačenje objektivizacije ženskog lika u umjetnosti, uz ključno pitanje – je li svrha njihove estetske idealizacije stvaranje erotskog prizora namijenjenog užitku muških promatrača.