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Relevant bibliographies by topics / Baths Female nude in art

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Academic literature on the topic 'Baths Female nude in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Baths Female nude in art"

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Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (2020): 62–87. http://dx.doi.org/10.46539/cmj.v1i2.21.

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As part of a larger study on the mainstreaming of pornography in contemporary film and television, this essay attempts to examine and extend our vocabulary for discussing visual representations of the human body by revisiting Kenneth Clark’s important study The Nude from 1972. Clark’s book provides a history of the male and female nude in two- and three-dimensional art from Ancient Egypt and Greece to the Renaissance and beyond. This essay focuses on places within his analysis that are especially generative for understanding pornography such as the importance of placing the nude form within a

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Markowitz, Sally, and Lynda Nead. "The Female Nude: Art, Obscenity, and Sexuality." Journal of Aesthetics and Art Criticism 53, no. 2 (1995): 216. http://dx.doi.org/10.2307/431556.

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Nead, Lynda. "The Female Nude: Pornography, Art, and Sexuality." Signs: Journal of Women in Culture and Society 15, no. 2 (1990): 323–35. http://dx.doi.org/10.1086/494586.

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MARKOWITZ, SALLY. "Lynda Nead, The Female Nude: Art, Obscenity, and Sexuality." Journal of Aesthetics and Art Criticism 53, no. 2 (1995): 216–18. http://dx.doi.org/10.1111/1540_6245.jaac53.2.0216.

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del Mar Pérez-Gil, María. "Undressing the Virgin Mary: Nudity and Gendered Art." Feminist Theology 25, no. 2 (2017): 208–21. http://dx.doi.org/10.1177/0966735016679907.

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Stripping the Virgin Mary of the myths, stories, and dogmas surrounding her is a task that has particularly appealed to a branch of feminist theology which seeks to reclaim her as a figure of female empowerment. This article aims to explore the transformation of Mary’s body into an element of resistance in the work of some contemporary artists. By depicting her nude or semi-nude, artists disrupt the gender values commonly associated with the Virgin and open up alternative possibilities of affirmative selfhood through her body. I contend that, in these works, the Virgin’s body functions as a ‘r

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Breazeale, Mary Kenon. "The Female Nude in Public Art: Constructing Women's Sexual Identity in the Visual Arts." Frontiers: A Journal of Women Studies 9, no. 1 (1986): 56. http://dx.doi.org/10.2307/3346133.

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King, Helen, Christine Mitchell Havelock, and Heiner Knell. "The Aphrodite of Knidos and Her Successors: A Historical Review of the Female Nude in Greek Art." American Journal of Archaeology 100, no. 4 (1996): 794. http://dx.doi.org/10.2307/506691.

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Giroux, Hubert, and Christine Mitchell Havelock. "The Aphrodite of Knidos and Her Successors: A Historical Review of the Female Nude in Greek Art." Phoenix 51, no. 1 (1997): 90. http://dx.doi.org/10.2307/1192593.

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Juzefovič, Agnieška. "CREATIVE TRANSFORMATIONS IN VISUAL ARTS OF EARLY FRENCH MODERNISM: TREATMENT OF NUDE BODY." Creativity Studies 9, no. 1 (2016): 25–41. http://dx.doi.org/10.3846/23450479.2015.1112854.

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Resent paper is focused on the early modern culture, particularly on the topic of visual art and its confrontation with traditional, pre-modern culture and aesthetic. The author unveils how and why painters of early French modernism had rejected traditional representation of eroticism, typical for pre-modern art, especially for the art of academicism. Thus from their artworks disappeared sublimated, exalted nudity, withdrew nudes modestly hidden under mythological or religious context. In the works of impressionists and postimpressionists naked body was depicted frankly, openly, without any ex

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Joyce, Lillian B. "Dirce Disrobed." Classical Antiquity 20, no. 2 (2001): 221–38. http://dx.doi.org/10.1525/ca.2001.20.2.221.

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The Punishment of Dirce was a theme that intrigued both artists and patrons of the Roman period. It appeared in diverse locations and media, notably as a wall painting in the House of the Vettii in Pompeii and the Toro Farnese once displayed in the Baths of Caracalla in Rome. In all representations, Dirce struggles with the bull that will trample her to death. Traditional studies of this imagery have focused on the formal characteristics of these representations, studying issues of workshop practice and the relationship between originals and copies. Scholars seldom analyze the meaning of the m

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Dissertations / Theses on the topic "Baths Female nude in art"

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Kreilinger, Ulla. "Anständige Nacktheit : Körperpflege, Reinigungsriten und das Phänomen weiblicher Nacktheit im archaisch-klassischen Athen /." Rahden/Westf. : Leidorf, 2007. http://www.vml.de/d/detail.php?ISBN=978-3-89646-982-3.

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McCusker, Nicole Catherine. "Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School." Thesis, University of Canterbury. Social and Political Sciences, 2012. http://hdl.handle.net/10092/7656.

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My thesis examines the event of Dr Sketchy's Anti-Art School, which has branches in over 120 cities worldwide. Dr Sketchy's combines the format of a life drawing class with burlesque performance, creating an event that focuses on both the performance and the creation of art by the attendees. Dr Sketchy's was begun in New York in 2005 by its creator Molly Crabapple, now an internationally recognized artist and popular alternative celebrity. I focus my study on the Christchurch branch of Dr Sketchy's Anti-Art School, founded in June 2010 by Audrey Baldwin, a performance artist and Fine Arts grad

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McEwin, Florence Rebecca. "American women artists and the female nude image (1969-1983)." Thesis, North Texas State University, 1986. http://catalog.hathitrust.org/api/volumes/oclc/23638110.html.

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Thesis (Ph. D.)--North Texas State University, 1986.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).

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Winthrop, Emily. "Allegories of the Modern: The Female Nude in Art Nouveau." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4203.

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Modernism is a plurality, not a singular concept. This project explores examples of Art Nouveau nudes to describe the particular expressions of the modern through varied and complicated allegorical bodies. The female nude as a nexus for ideals of gender, art, and beauty, is informed by and constructs the understanding of these ideals within society. Art Nouveau thus employed the nude to represent complex manifestations of modernity. Three diverse cases provide the subjects of each chapter. All explore modernism through objects and interiors, in public and private environments, and each connec

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Suescun, Pozas María del Carmen. "Modern femininity, shattered masculinity : the scandal of the female nude during political crisis in Colombia, 1930-1948." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85958.

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This dissertation examines two controversies involving paintings of the female nude by artists Debora Arango and Carlos Correa during a period of political crisis in Bogota (Colombia) in order to open the political to cultural analysis and thus shed light on scenarios of change in the 1930s and 1940s. Unpacking the controversies lends insight into the unique ways in which modernity, the body, its representations, sexuality, gender and politics came together in Colombia during this period. Such an approach also shows that modernity in Colombia involved shifts in religious and secular fra

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Cronje, Karen. "The female body as spectacle in nineteenth- and twentieth-century Western art." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52528.

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Thesis (MA)--University of Stellenbosch, 2001.<br>ENGLISH ABSTRACT: A spectacle denotes an impressive or deplorable sight, and necessarily involves the power and politics of viewing. The female body exists as a sexualised object of these processes of looking within Western culture, not only in high art, but also in discourses such as medicine and science. In both art and medicine the female body has been treated as a passive object to be studied, analysed and classified. Power relations and patriarchal ideologies have played a great part in the resulting objectifying representations, fi

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Forman, Sophia R. "Bringing Back Color, Bringing Back Emotion: Exploring Phenomenological Empathy in the Reclamation of the Female Nude in Painting." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/187.

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At the nexus of the seemingly disparate art-theoretical topics of color and the female nude is a critical consideration of phenomenology in both one of its most basic senses—as the first-person experience of perceived phenomena—and as a larger philosophical position which, through its abstraction of perception to subject-object relationships, implicates the painted figure. Specifically, this paper conflates the phenomenology of color with the transcendental phenomenology of Edmund Husserl and Maurice Merleau-Ponty in investigating empathy. Structured as a dialectic, it establishes the most pro

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Thompson, Thomas S. "The Maturing of Rembrandt (1630-1662): Four Stages of Expressive Development in the Depiction of the Female Nude in Drawings and Etchings." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1400512462.

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Tell, Cornelia. "Vem får vara naken på Instagram? : En jämförande bildanalys av fotografier som tagits ner från, respektive tillåtits finnas kvar på, Instagram." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-406944.

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The aim of this essay is to examine the censorship that the social media platform Instagram exerts over pictures of female nudes, and whether the body type of the women depicted is a factor in how the censorship is carried through. This is executed by making a comparative picture analysis of eight nude photos published on Instagram, four of which are allowed on the platform and four which are not, and have therefore been deleted. The bodies are analysed, and aspects of how they are depicted which are related to the Instagram Community Guidelines, and furthermore if the body depicted conforms t

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Höljö, Nikolina. "Att kliva utanför ramen : Nakenhet, feminism och kritik av tre performanceverk från 1960- och 70-talet." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-357940.

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This essay examines the performance artworks Action Pants: Genital Panic (1969), Interior Scroll (1975) and S.O.S Starification Object Series (1974-82) by artists VALIE EXPORT, Carolee Schneemann and Hannah Wilke. The objective is to analyse the expressions of these artworks, from a theoretical viewpoint of feminist art-theoreticians and their critique regarding the female body in representation. Performance- and body-art have been the subject of discussion with respect to the female nude in the history of art, and the patriarchal structures that surround it. These eminent theories about the f

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Books on the topic "Baths Female nude in art"

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Yi shu jia chu ban she (Taiwan), ed. Yi shu zhong de mu yu: Baths and toilet in art. Yi shu jia chu ban she, 2012.

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Anständige Nacktheit: Körperpflege, Reinigungsriten und das Phänomen weiblicher Nacktheit im archaisch-klassischen Athen. VML, Verlag Marie Leidorf, 2007.

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Jane, Harris, and Valdez Sarah, eds. Curve: The female nude now. Universe,c2003., 2003.

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Civardi, Giovanni. Drawing the female nude. Studio Vista, 1995.

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The female nude: Art, obscenity, and sexuality. Routledge, 1992.

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The Female nude: Art, obscenity and sexuality. Routledge, 1992.

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Reclining nude. Chronicle Books, 2002.

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Tô, Ngọc Vân. Nude paintings and graphics. Nhà xuất bản Mỹ Thuật, 2008.

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Mark, Smith. The nude female figure: Classic studio poses. Watson-Guptill Publications, 2007.

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Galleries, Mall. Good figures: An exhibition of the female form depicted by 30 contemporary female artists. Tint-Art Press, 2015.

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Book chapters on the topic "Baths Female nude in art"

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"Female Bathers And The Emergence Of The Female Nude In Greek Art." In The Nature and Function of Water, Baths, Bathing and Hygiene from Antiquity through the Renaissance. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004173576.i-538.13.

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Eaton, A. W. "What’s Wrong with the (Female) Nude?" In Art and Pornography. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199609581.003.0014.

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Leppert, Richard. "The Female Nude: Surfaces of Desire." In Art and the Committed Eye. Routledge, 2019. http://dx.doi.org/10.4324/9780429034602-13.

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Ituarte, Maru. "Reproduction: An Apologia of the Female Nude." In Reconciling Art and Mothering. Routledge, 2017. http://dx.doi.org/10.4324/9781315089072-20.

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"The Ancient ‘Female Nude’ (and Other Modern Fictions)". У The Art of the Body Λntiqvity and Its Legacy. I.B.Tauris, 2011. http://dx.doi.org/10.5040/9780755625239.ch-003.

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"Getting down to basics: art, obscenity and the female nude." In New Feminist Discourses. Routledge, 2012. http://dx.doi.org/10.4324/9780203120569-22.

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"Getting down to basics: art, obscenity and the female nude." In Routledge Library Editions: Women, Feminism and Literature. Routledge, 2013. http://dx.doi.org/10.4324/9780203119471-24.

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Wilson, Emma. "Nan Goldin." In The Reclining Nude. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620245.003.0005.

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Focusing on two projects first mounted in Paris, an installation about Goldin’s sister Barbara, Sisters, Saints and Sibyls and a projection and grid pictures inspired by images in the Louvre Museum, Scopophilia, this chapter looks at the melancholy and sensuality of the European phase of Goldin’s work. It looks in particular at her attention to women (cisgender and occasionally trans). She moves from images of prostration, lying down to die on railway tracks, being struck down by piercing grief, being tied down in a hospital bed, to images of radiant beauty, exposure, and female eroticism. Through the expansive range of feelings conjured by her photographs, Goldin vindicates female pleasure in looking, and further explores the contestatory power in images of indolence, languishing, and inactivity. The chapter engages closely with Goldin’s statements about her art. It offers, like the book as a whole, an exultant apprehension of new engagements with intimacy and eroticism, and new visions of a feminist, resistant passivity.

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Wilson, Emma. "Agnès Varda." In The Reclining Nude. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620245.003.0003.

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Agnès Varda studied art history and photography, and the influence of the visual arts in her filmmaking has long been remarked. This discussion is the first to close in on the figure of the reclining nude which appears in her work in the form of tableaux vivants from the early film, L’Opéra Mouffe, and returns extensively in her portrait film Jane B. par Agnès V. In this film, together with cinematographer Nurith Aviv, Varda creates an cinematic reclining nude in a very slow, sensual pan across the prone naked body of Jane Birkin, from her feet to her smiling face. Here, and in another film from the 1980s, Documenteur, Varda explores reclining figures as part of her filmic experiments with emotion and rêverie, the reclining figure drawing and expressing feelings of erotic pleasure, repose, delay, melancholy, and depression. Her interest in still visual precedents in her work coalesces with her career-long feminist attention to states of female feeling and being.

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Gorfinkel, Elena. "Introduction." In Lewd Looks. University of Minnesota Press, 2017. http://dx.doi.org/10.5749/minnesota/9781517900175.003.0001.

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New York City, mid-1960s, black-and-white 35mm film stock and a familiar sexploitation scenario: young Candy leaves her small town. We see her departing on the train. She is fleeing the fate of her mother, a prostitute who has committed suicide. She opines in voice-over about a new life in New York City, which holds the promise of another identity and respite from the shame bestowed by maternal disgrace. Candy (Barbara Morris), with dark hair and cropped bangs, evokes a low-budget Anna Karina circa Jean-Luc Godard’s early 1960s films. She moves in with an old girlfriend, her enchantment by the city’s roiling creative energies and architectural marvels rendered through street scenes, vertiginous views of skyscrapers, female flânerie. Introduced to the world of the single urban working girl by the women whom she befriends, Candy resorts to nude modeling and escorting. After two failed romances, with a philandering nude photographer and a sculptor more piqued by his art than by Candy, she returns to her party girl life while secretly edging toward despair....

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