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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Silberstein, Elodie. "“Have You Ever Seen the Crowd Goin’ Apeshit?”: Disrupting Representations of Animalistic Black Femininity in the French Imaginary." Humanities 8, no. 3 (2019): 135. http://dx.doi.org/10.3390/h8030135.

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16 June 2018. London Stadium. Beyoncé and Jay–Z revealed the premiere of the music video Apeshit. Filmed inside the Louvre Museum in Paris, Beyoncé’s sexual desirability powerfully dialogues with Western canons of high art that have dehumanized or erased the black female body. Dominant tropes have historically associated the black female body with the realm of nature saddled with an animalistic hypersexuality. With this timely release, Apeshit engages with the growing current debate about the ethic of representation of the black subject in European museums. Here, I argue that Beyoncé transcend

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12

Ciobanu, Estella Antoaneta. "Food for Thought: Of Tables, Art and Women in Virginia Woolf’s To the Lighthouse." American, British and Canadian Studies 29, no. 1 (2017): 147–68. http://dx.doi.org/10.1515/abcsj-2017-0023.

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Abstract This article examines art as it is depicted ekphrastically or merely suggested in two scenes from Virginia Woolf’s novel To the Lighthouse, to critique its androcentric assumptions by appeal to art criticism, feminist theories of the gaze, and critique of the en-gendering of discursive practices in the West. The first scene concerns Mrs Ramsay’s artinformed appreciation of her daughter’s dish of fruit for the dinner party. I interpret the fruit composition as akin to Dutch still life paintings; nevertheless, the scene’s aestheticisation of everyday life also betrays visual affinities

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13

Hughes, Erika. "Art and illegality on the Weimar stage." Journal of European Studies 39, no. 3 (2009): 320–35. http://dx.doi.org/10.1177/0047244109106685.

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This essay explores the representations of crime and madness in the work of three German dancers during the interwar years. Before World War I, public displays of nudity were illegal, but after 1918 a window of opportunity appeared. This article analyses the work and reception of Celly de Rheydt, Anita Berber and Valeska Gert – contemporaries whose works differed greatly from one another but who all displayed contempt for onstage sexual norms. All three used the female body as a site where notions of art, pornography, legality and illegality were contested, both on stage and in the courtroom.

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14

Haralambidou, Penelope. "The stereoscopic veil." Architectural Research Quarterly 11, no. 1 (2007): 36–52. http://dx.doi.org/10.1017/s1359135507000486.

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At the back of a dimly lit room at the north-east wing of the Philadelphia Museum of Art the visitor may, or may not, discover an old, weathered Spanish door. Approaching this unlikely sight, a concealed view behind the door becomes noticeable as a result of light emanating from two peepholes. The act of looking through them transforms the unsuspected viewer into a voyeur and reveals a brightly lit three-dimensional diorama: a recumbent, faceless, female nude, holding a gas lamp and bathed in light is submerged in twigs in an open landscape where a waterfall silently glitters [1a, 1b]. The exp

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15

Rutkoff, Peter M., and William B. Scott. "Before the Modern: The New York Renaissance, 1876–95." Prospects 25 (October 2000): 281–310. http://dx.doi.org/10.1017/s0361233300000673.

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On the evening of March 31, 1895, three hundred of New York City's most notable artists and patrons assembled in Madison Square Garden to honor Chicago architect Daniel H. Burnham. Led by Burnham, Chicago had bested New York in a hotly contested competition for sponsorship of the Columbian World Exposition that proudly exhibited the nation's Gilded Age accomplishments in art, architecture, and technology. Astride New York's most prestigious public square, Madison Square Garden might well have been built for the occasion. Arriving by carriages in livery, New York's fin de siècle elite, dressed

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16

Rozenberg, Natalia. "A NON-CLASSICAL CLASSIC, A LOOK AT THE ART OF S. ERZYA (1876-1959) FROM THE 21 ST CENTURY." Herald of Culturology, no. 3 (2021): 71–82. http://dx.doi.org/10.31249/hoc/2021.03.05.

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For the first time in Russian art history, the article attempts to show the integrity of the art of the Russian-Argentine sculptor S. Erzya on the basis of an art history analysis of his most famous works created in Italy, Russia and Argentina. The features of his personal and creative development are revealed in the context of socio-cultural events, which were distinguished by a stormy, sometimes catastrophic nature. The youthful ideals of Tolstoyism in the mind of a mature master acquire the features of a worldview that asserts the priority of the ideals of moral and spiritual perfection, th

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17

Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.

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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture a

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18

Higgs, Peter. "(C.M.) Havelock The Aphrodite of Knidos and her successors. A historical review of the female nude in Greek art. Ann Arbor: U Michigan P, 1995. Pp. xii + 158, ill. £35.60. 047210585." Journal of Hellenic Studies 117 (November 1997): 262. http://dx.doi.org/10.2307/632613.

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19

Kimber, Marian Wilson. "Victorian Fairies and Felix Mendelssohn's A Midsummer Night's Dream in England." Nineteenth-Century Music Review 4, no. 1 (2007): 53–79. http://dx.doi.org/10.1017/s1479409800000069.

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In art, literature, theatre and music, Victorians demonstrated increased interest in the supernatural and nostalgia for a lost mythic time, a response to rapid technological change and increased urbanization. Romanticism generated a new regard for Shakespeare, also fuelled by British nationalism. The immortal bard's plays began to receive theatrical performances that more accurately presented their original texts, partially remedying the mutilations of the previous century. The so-called ‘fairy’ plays, A Midsummer Night's Dream and The Tempest, were also popular subjects for fairy paintings, s

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20

"The Aphrodite of Knidos and her successors: a historical review of the female nude in Greek art." Choice Reviews Online 33, no. 05 (1996): 33–2536. http://dx.doi.org/10.5860/choice.33-2536.

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21

Brown, Paul Tolliver. "The Artist and her Work in Carol Ann Duffy’s Poetry." English: Journal of the English Association, November 3, 2020. http://dx.doi.org/10.1093/english/efaa016.

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Abstarct The author analyses Carol Ann Duffy’s dramatic monologues and revisionist myths in Standing Female Nude and The World’s Wife that centre on speakers who are either fashioned into objects of art or that become artists themselves. In the process, the author demonstrates that Duffy deconstructs the practice of objectification and undermines humanist philosophy. At the same time, Duffy appears to reconcile the postmodern dispersal of the subject with a sense of creative agency and autonomy, unmaking archetypes while weaving together an inclusive plurality of voices engaged in both social

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22

Flint, Azelina. "‘Her lovely presence ever near me lives’: A Brief Encounter from the Archives with May Alcott Nieriker." Brief Encounters 2, no. 1 (2018). http://dx.doi.org/10.24134/be.v2i1.86.

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This article is a brief account of the professional and married life of painter, May Alcott Nieriker, sister of the author, Louisa May Alcott, who wrote Little Women (1868). I outline the theoretical importance of the current ‘archival turn’ in enabling the recovery of lesser-known female artists, and consider how scholarly bias has obscured the prolific and unpublished life-writings of Louisa May Alcott’s female relatives. The article provides a short account of how I became interested in May’s life, while conducting research for my PhD thesis on her sister at the Houghton Library, Harvard. I

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23

McKenzie-Craig, Carolyn Jane. "Performa Punch: Subverting the Female Aggressor Trope." M/C Journal 23, no. 2 (2020). http://dx.doi.org/10.5204/mcj.1616.

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The bodies of disordered women … offer themselves as an aggressively graphic text for the interpreter—a text that insists, actually demands, that it be read as a cultural statement, a statement about gender. (Bordo, 94)Violence is transgressive in fundamental ways. It erases boundaries, and imposes agency over others, or groups of others. The assumed social stance is to disapprove, morally and ethically, as a ‘good’ and ‘moral’ female subject. My current research has made me question the simplicity of this approach, to interrogate how aggression socialises power and how resistance to structura

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24

Thompson, Jay Daniel. "Porn Sucks: The Transformation of Germaine Greer?" M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1107.

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Introduction In a 1984 New York Times interview, Germaine Greer discussed the quite different views that have surrounded her supposed attitude towards sex. As she put it, “People seem to think I'm Hugh Hefner and that the reason women started having sex is because I told them to” (qtd. in De Lacy). This view had, however, shifted by the 1980s. As she told reporter Justine De Lacy, “Now they are saying that I'm against sex.” In this article, I tease out Greer’s remarks about the supposed transformation of her political persona. I do so with reference to her work on Suck Magazine, which was bill

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25

Lavers, Katie, and Jon Burtt. "Briefs and Hot Brown Honey: Alternative Bodies in Contemporary Circus." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1206.

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Briefs and Hot Brown Honey are two Brisbane based companies producing genre-bending work combining different mixes of circus, burlesque, hiphop, dance, boylesque, performance art, rap and drag. The two companies produce provocative performance that is entertaining and draws critical acclaim. However, what is particularly distinctive about these two companies is that they are both founded and directed by performers from Samoan cultural backgrounds who have leap-frogged over the normative whiteness of much contemporary Australian performance. Both companies have a radical political agenda. This

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26

Green, Lelia. "Sex." M/C Journal 5, no. 6 (2002). http://dx.doi.org/10.5204/mcj.2000.

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This paper addresses that natural consort of love: sex. It particularly considers the absence of actual sex from mainstream popular culture and the marginalisation of 'fun' sex as porn, requiring its illicit circulation as ‘illegitimate’ videos. The absence of sex from films classified and screened in public venues (even to over-18s) prevents a discourse about actual sex informing the discourse of love and romance perpetuated through Hollywood movies. The value of a variety of representations of sexual practice in the context of a discussion of love, sex and romance in Western cinema was brief

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