Relevant bibliographies by topics / Female nude in art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Female nude in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Female nude in art"

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Hsu, Chi-Wei. "Alice Neels Female Nudes: Society, Feminism and Art." Communications in Humanities Research 3, no. 1 (May 17, 2023): 648–62. http://dx.doi.org/10.54254/2753-7064/3/20220547.

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Alice Neel is one of the most prolific contemporary American artists, a realist in an age of abstraction. Her tenacity in portraying the people, the world and the issues that come with them led her portraits to carry not just a likeness to the subject, but also the subjects social, political, economic baggage. With that, Neels candor in portraying her subjects also allowed for representation of women of all circumstances, something historically lacking. Specifically, in her ground-breaking nude portraits of women, she breaks down previous conception of female nudes by incorporating the status quo of the woman as a key element; not just an escapist object of the male gaze but a person. This paper aims to reveal the tangled interconnectivity of the relationships between Neel herself, with feminism, society and her art through the analysis of her female nude artworks.
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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 (January 1990): 323–35. http://dx.doi.org/10.1086/494586.

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Sliti, Adel. "Carol Ann Duffy's ‘Standing Female Nude’." Critical Survey 35, no. 3 (September 1, 2023): 1–16. http://dx.doi.org/10.3167/cs.2023.350301.

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Abstract The present article addresses the evocative potential of posing nude in Carol Ann Duffy's poem ‘Standing Female Nude’. My assumption is that the posing model/prostitute displays two bodies: the physical body and the signifying body. The interplay between both bodies triggers a process of signification whereby art is not simply a studio production but a meta-frame encapsulating a reflection on society, culture, self-representation and politics of identity. The poem substantiates the poet's experimental method of writing which draws on nude art genre, the dramatic monologue, theatre and metafiction. What the posing female nude recounts is not just experience of posing nude in a studio, but reflections on her body as a posing model and as a writing model or a narrative imbricating in its texture cynical comments and attitudes on artistic and socio-cultural values as the female model pokes fun at the reception of artistic work in the bourgeois society.
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MARKOWITZ, SALLY. "Lynda Nead, The Female Nude: Art, Obscenity, and Sexuality." Journal of Aesthetics and Art Criticism 53, no. 2 (March 1, 1995): 216–18. http://dx.doi.org/10.1111/1540_6245.jaac53.2.0216.

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Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (July 13, 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 narrative (Venus is emerging from her bath, for example) or attempts by artists to suggest movement within static forms. The essay places Clark’s rich typology in conversation with other thinkers, such as Fredric Jameson, Erwin Panofsky, E. H. Gombrich, and Michel Foucault. The piece ends with a discussion of androgyny and hermaphroditism as they relate to the expression of gender in plastic art, especially the notion that all representations of the body necessarily include a gender spectrum within one figure. Artists whose work is looked at in some detail include Da Vinci, Michelangelo, and Donatello.
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Haralambidou, Penelope. "Drawing the female nude." Journal of Architecture 14, no. 3 (June 2009): 339–59. http://dx.doi.org/10.1080/13602360903027863.

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Sandhoff. "Let’s Get Physical! The Athletic Nude Female Body in Etruscan Art." Memoirs of the American Academy in Rome 68 (2023): 167. http://dx.doi.org/10.2307/27271678.

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Juzefovič, Agnieška. "CREATIVE TRANSFORMATIONS IN VISUAL ARTS OF EARLY FRENCH MODERNISM: TREATMENT OF NUDE BODY." Creativity Studies 9, no. 1 (June 2, 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 excuse of what was supposed to be decent. Such were the nude women of paintings of Auguste Manet and Amedeo Modigliani who present merely their femininity and sexuality, while symbolizing the liberation from moral norms and heralding sexual revolution of the 20th century. Relaxed, healthy, pink-cheeked girls in Pierre-Auguste Renoir’s paintings spread subtle eroticism and the mood of joyful life. Life of Parisian cabarets and brothels come alive through naked or semi-naked female figures which on Henri de Toulouse-Lautrec and Edgar Degas canvases seem as if they are unaware of being watched. Nude bodies in the paintings of such French post-impressionists like Henri Matisse and Paul Gauguin were depicted in exotic, oriental ambience and referred to the philosophical background of romanticism. Paul Cézanne’s nudes particularly his famous scenes with bathers disclose essential aims of this painter – to reach the essence of the very thing. Transformations of the treatment of nude body by early French modernists help to understand general context of creative changes in visual arts on the edge of the 19th and 20th centuries.
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del Mar Pérez-Gil, María. "Undressing the Virgin Mary: Nudity and Gendered Art." Feminist Theology 25, no. 2 (January 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 ‘relational’ body that enters into dialogue with hitherto marginalized categories, such as the carnal, the sensual, the notion of fleshly materiality, or even the excluded sexualities of transgender people.
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Dissertations / Theses on the topic "Female nude in art"

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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 graduate of the University of Canterbury. In my thesis I discuss the way Dr Sketchy's Anti-Art School combines and compromises between the life drawing format and the burlesque performance, despite the differences and seeming incompatibilities between these two forms. I investigate Dr Sketchy's as a contemporary cultural performance which combines and to some degree inverts established genres of performance. I give a detailed history of burlesque performance and of life drawing within art education to allow a comprehensive comparison of the two traditions, particularly the way each has conceptualized the nude female body. I argue that the combination of the two forms allows Dr Sketchy's Anti-Art School to transgress the traditional boundaries of each format and introduce influences that would otherwise endanger the status of life drawing and burlesque performance within their respective contexts. I also argue that the nude within Dr Sketchy's Anti-Art School transgresses the traditional conception of the nude within life drawing by using burlesque as an acceptable reference for the transgressive elements of the show. The arguments put forward in this thesis are the product of extensive participant observation, interviews and literature reviews on the relevant art and performance traditions.
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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.
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 connects the decorative arts with accounts of European modernism in the late nineteenth and early twentieth century. The modernist movement, in these decades, is still predominantly understood through painting. This project draws its case studies from Paris, Glasgow, and Vienna, each a distinct cultural arena during the 1890s and 1900s: the sculptural furniture of François Rupert Carabin (1862-1932); the metalwork of Margaret Macdonald (1865-1933) and her sister Frances Macdonald (1873-1921); and the graphic motifs of Ver Sacrum, created by the artists of the first Vienna Secession (1897-1905). In conception and expression, these nudes articulated the diverse representational practices of different modernisms. They each embody drastically different histories, aesthetics, and social expressions. Their varied modernisms expose the prominent nationalism of Art Nouveau. Examination of these three very different cases expands and complicates current understandings of the nude, allegory, and the modern.
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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 frames of sense-making and morality. This dissertation argues that the controversies and the female nudes provide a window into the Liberal regime's creation of culture as an autonomous sphere as part of its cultural program, which bridged high and popular culture, as well as on aspects of private life concerned with sexuality and gender. It shows how such changes registered in the lives of the artists and how the artists translated the changes they experienced into modes of pictorial expression. This dissertation argues that the demands of the aesthetic and the demands of politics during this period pressed on each other, resulting in the wide-spread perception of moral breach that came to a head in the "scandals of the female nudes." This dissertation thus sheds light on dimensions of both the political and the private during this period.
Because art and politics were thus entangled, this dissertation shows that, in this particular Colombian modernity, society was not polarized, that the private and the private overlapped, that issues of intimacy surfaced in the public realm, and that Catholicism was the idiom shared by men and women who were grappling with change. It shows that the cultural program of the Liberal regime was the immediate referent for criticism in these events and, through it, of the Liberal regime's reforms of education of 1934 and 1936. Finally, it shows that this modernity and its attendant anxieties were played out through the body in the public and the private realms, within, not against, the Catholic tradition, in unprecedented ways. This thesis demonstrates that politics and issues of sexuality and gender were entangled in the public sphere and converged in the female nudes, turning them into a major threat to morality within both religious and secular frameworks. By unpacking the controversies, this dissertation marks a seminal break with historical accounts that describe Colombia's as a failed modernity, its society as polarized, and debates over sexuality and gender as the product of politics. This dissertation also contradicts art historical writings that account for the production of images and the reception of art in this period solely in political terms.
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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.
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, firmly locating images of the female body within the realm of the spectacle. Bodily perceptions, in terms of the female body, have changed much, particularly through the reinterpretation of sexuality through feminist theory. Modem culture and technology have opened up many new possibilities for the redefinition and understanding of the body. Modem bodies seem to be under as much close surveillance and scrutiny as their nineteenth century counterparts. This study explores these ideas through a wide range of examples from painting, photography and performance art, and non-art objects such as anatomical objects and medical illustrations. Central to the construction of the body as spectacle, are issues of looking and viewing. Chapter 1 examines ideas around the gaze; the politics and processes of vision, objectification and fetishisation are explored in relation to the functioning of the medical and aesthetic gaze. The concept of spectacle is also elaborated upon in terms of ideas around the nineteenth century carnival and freak show, and in terms of societal taboos and transgression. Aspects of aesthetic and medical discourse focus on the display and scrutiny of the female body. Chapter 2 examines the way in which these discourses attempted to reveal the female body by rendering it in highly visual terms. The dominant ideologies informing both discourses played an instrumental role and resulted in representations that defined the female body in normative standards and ideals of beauty and health. Pornography is considered as a modem discourse in which the female body is defined and displayed as an object of scrutiny. Feminist theory challenged exclusively male representations of the female body and the subversion of traditional forms of representation of women is studied by examining the work of Annie Sprinkle and Cindy Sherman. Many representations of the female body by feminist artists are considered highly disturbing and transgressive, precisely because they traverse traditional and acceptable representations of it. The idealised nude forms the epitome of contained ideals of health and beauty, and the work of Orlan and Cindy Sherman is examined within these terms in Chapter 3. These artists' representations of the female body are in direct opposition to such norms, rather settling for an open-ended, unconfined and abject representation. However, such transgressive cultural images produced by women artists are often regarded as pathological acts, and dismissed in terms of deplorable spectacle. The research concludes with a commentary on the candidate's practical work, which in dealing with the representation of the human body explores some issues of visuality, spectacle and fragmentation.
AFRIKAANSE OPSOMMING: 'n Spektakel kan op 'n indrukwekkende of betreurenswaardige skouspel dui; gevolglik betrek dit die politiese en magseienskappe van besigtiging. Die vroulike liggaam bestaan as 'n seksuele objek van só 'n proses van besigtiging binne die Westerse kultuur - nie net in kuns nie, maar ook in diskoerse soos geneeskunde en die wetenskap. In beide kuns en geneeskunde, is die vroulike liggaam beskou as 'n passiewe objek vir bestudering, analisering en klassifisering. Magsverhoudinge en ideologieë het gevolglik 'n groot rol gespeel in die uiteindelike objektifiserende representasies, en gevolglik is die uitbeelding van die vroulike liggaam in terme van spektakel vasgelê. Liggaamlike persepsies, veral in terme van die vroulike figuur, het noemenswaardige veranderinge ondergaan - veral deur die hervertolking van seksualiteit deur feministiese teorie. Moderne kultuur en tegnologie bied verdere moontlikhede vir die herdefiniëring en begrip van die liggaam. Die moderne liggaam word onder streng bewaking en betragting geplaas - net soos sy negentiende-eeuse ewebeeld. Hierdie studie ondersoek dié idees deur die bestudering van 'n verskeidenheid voorbeelde vanuit skilderkuns, fotografie en 'performance' -kuns, asook objekte soos anatomiese objekte en mediese illustrasies. Kwessies van besigtiging is sentraal tot die konstruksie van die liggaam as spektakel. Hoofstuk londersoek dus idees rondom besigtiging - onder andere die politiese en magseienskappe, en die gevolglike objektifiserende effek daarvan - in verhouding tot die funksionering van die mediese en die estetiese blik. Die konsep van spektakel word verder uitgebrei in terme van die negentiende-eeuse karnaval, asook in terme van taboes en sosiale oortreding. Sekere aspekte van estetiese en mediese diskoerse fokus op die vertoning en besigtiging van die vroulike liggaam. Hoofstuk 2 ondersoek die wyse waarop hierdie diskoerse die vroulike liggaam in hoogs visuele terme uitgebeeld het. Beide diskoerse is gemotiveer deur dominante ideologieë, wat gevolglik 'n instrumentele rol gespeel het in die uitbeelding van die vroulike liggaam. Sulke uitbeeldings is dikwels gemotiveer deur standaarde en ideale van skoonheid. Gevolglik word pornografie in hierdie hoofstuk bespreek as 'n moderne diskoers wat georganiseer is rondom die vertoning en besigtiging van die vroulike liggaam. Feministiese teorie skep 'n positiewe ruimte waarin sulke eksklusiewe, manlike definisies en uitbeeldings van die vroulike liggaam uitgedaag kan word. Die omverwerping van tradisionele metodes van uitbeelding word hier ondersoek deur die werk van Annie Sprinkle en Cindy Sherman te bespreek. Die herdefiniëring van die vroulike liggaam deur feministiese kunstenaars word dikwels beskou as onstellend; waarskynlik omdat dit tradisionele en aanvaarbare uitbeeldings van die liggaam oortree. Die werk van Orlan en Cindy Sherman word in terme van sosiale oortreding in Hoofstuk 3 ondersoek. Die klassieke naakfiguur stel die ideale van skoonheid en stabiliteit voor. Hierdie kunstenaars se uitbeeldings toon egter 'n doelbewuste verontagsaming van sulke ideale, deurdat hulle eerder 'n oop, onstabiele en gefragmenteerde figuur uitbeeld. Oortredings van kulturele norme deur vrouekunstenaars word dikwels beskou as patalogiese aksies; en dit word dus maklik afgekeur as 'n spektakel. Die navorsing word afgesluit met 'n bespreking van die kandidaat se praktiese werk, wat die uitbeelding van die menslike liggaam ondersoek. Gevolglik word kwessies van besigtiging, spektakel en fragmentasie verder ondersoek.
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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 prominent views of both color and the female nude—the nude as a symbolic figure, color as perceptual experience—before delving into their various points of theoretical and art-historical intersection within these categories. This analysis ultimately forms the argument that color can be a powerful tool in reclaiming the female nude figure, stimulating emotive bodies that inspire empathetic viewers and intersubjective rather than objectifying, or abjectifying, dialogues.
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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 to the norms of our contemporary beauty standards and “the Male Gaze”, are reviewed. This fundamental part of the study isbased on the formal analysis and the methods of semiotics. Furthermore, the history of the nude in art, the body norms and ideals of our contemporary society, the Instagram Community rules and Guidelines and the artists are presented briefly. The discussion which has been carried through is based on the analysis and thesis of how female nudes of the Western art cannon have been received, judged, divided into categories and censored to answer the central inquires of the essay. In conclusion, this essay finds how pictures of nude women on Instagram are received, judged, and censored differently depending on whether they fit into the norms of beauty and conform to the male gaze. Hence, the rules of Instagram are found to have been followed through with double standard and bias.
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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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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 female body in art differ from one another, leaving this study to investigate given works and the explicit body-language that unites them, with the aim to identify a favourable representation of the female body in 1960sand 70s performance art with the vantage point of these artworks. The present essay has demonstrated that vaginal iconology exists in all works and can be presented in various ways. It becomes clear that the work of VALIE EXPORT provides a framework most suitable as a feminist, critical strategy to counteract the notion of the male gaze, framing, and representation of the body as commodity in capitalist-society. However, the works of Schneemann and Wilke, with more essentialist themes, can through ambiguity contribute to a positive representation of woman in representation. There is no simple answer to which way 2 of using the body is the most beneficial for feminism, however, a critical representation of the female body in performance and body art, in relation to the artists’ own intentions, creates positive ambiguity, thus these artworks do not only reinforce patriarchal conventions regarding the female body.
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Books on the topic "Female nude in art"

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

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Productions, Seventh Art, Ambrose Video Publishing, and Channel Five (Great Britain), eds. The nude in art. New York: Ambrose Video, 2002.

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1962-, Smith Alison, Upstone Robert, and Tate Britain (Gallery), eds. Exposed: The Victorian nude. London: Tate Publishing, 2001.

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Tô, Ngọc Vân. Nude paintings and graphics. [Hanoi?]: Nhà xuất bản Mỹ Thuật, 2008.

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Bridgman, George Brant. Drawing the female form. Mineola, N.Y: Dover, 2005.

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

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

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Braithwaite, T. R. The art of T. R. Braithwaite. Burbank, Calif: Joan Braithwaite Haller, 1999.

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Phiên, Thái. Xuân thì: Springtime : art photography. Hà Nội]: NXB Văn nghệ, 2008.

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Pirnat-Spahić, Nina. Akt na Slovenskem: The nude in Slovenia. Ljubljana, Slovenia: Cankarjev dom, Kulturni in kongresni center, 1999.

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Book chapters on the topic "Female nude in art"

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Nead, Lynda. "Introduction." In The Female Nude, 1–5. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032641799-1.

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Thisted, Kirsten. "Un-shaming the Greenlandic Female Body." In On the Nude, 107–17. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003049968-10.

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Leppert, Richard. "Art, Aesthetics, and Male Genitalia." In On the Nude, 187–202. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003049968-18.

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Maes, Hans. "Erotic Art and the Nude." In The Routledge Companion to the Philosophies of Painting and Sculpture, 39–48. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003312727-6.

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Daniels, Megan. "‘Orientalising’ networks and the nude standing female." In Networks and the Spread of Ideas in the Past, 31–78. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429429217-3.

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Evans, Dorinda. "5. A Challenge to International Neoclassicism." In William Rimmer, 117–64. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.05.

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Rimmer's major sculptural works, such as St. Stephen, Falling Gladiator, Dying Centaur, and Osirus (destroyed), were created for exhibition and in response to the international neoclassical movement. In different ways, they are actually critiques of the rage for neoclassicism. Much of what Rimmer was trying to do is conveyed in his teaching, and he used his exhibited art as an extension of this. He wanted an art based not on copying from antique casts or from life but, rather, on the artist's own imagination so that the work is self-expressive. The fact that the man in Falling Gladiator assumes an impossible position is an instance of his insistence on the imaginative. The St. Stephen and a cast of the Falling Gladiator were exhibited in Paris at the Salon des Refusés, where the Gladiator created a stir as it seemed, wrongly, to be a cast of a live person. Rimmer broke new ground in producing fragmented human figures with an antique reference, such as his Osiris, a classical-Greek-looking nude male without parts of his arms. They resembled the broken ancient sculpture of the present rather than of the revered past. Originally Osiris had the head of a hawk. As with his pictures, Rimmer also was unusual in frankly accepting and portraying abnormalities as in his Seated Man (Despair). The late Fighting Lions, showing a male and female in vicious combat is arguably an allegory of male dominance. As an original thinker, Rimmer, more than once, explored the problem of expressing the spiritual in the material, most effectively in his relatively abstract Torso, which is an attempt to show the divine awakening or creation of a human soul. Following the Bible, the plaster cast retains the effect of a man’s torso having been crudely fashioned from clay. Perhaps just as unexpected was his plan for a colossal sculpture, Tri Mountain (never executed), which amalgamated the effect of three men and three hills as a symbol of the city of Boston. His one major public statue is the over-life-size Alexander Hamilton on Commonwealth Mall in Boston.
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Martin, Thomas. "The Nude Figure in Renaissance Art." In A Companion to Renaissance and Baroque Art, 402–21. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch19.

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Watanabe, Toshio. "Nude art, censorship and modernity in Japan." In The Persistence of Taste, 206–21. 1 [edition]. | New York : Routledge, 2018. | Series: Culture, economy, and the social: Routledge, 2018. http://dx.doi.org/10.4324/9781315617299-17.

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Parkin-Gounelas, Ruth. "Olive Schreiner’s Organic Art." In Fictions of the Female Self, 99–119. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1057/9780230378254_5.

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Ginsburg, Elizabeth, and Maren Shapiro. "ART in Cancer Survivors." In Female and Male Fertility Preservation, 47–66. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-47767-7_4.

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Conference papers on the topic "Female nude in art"

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Knowlton, Ken. "Nude (studying in perception), 1996." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281647.

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Yang, Bingjie. "Female Art in Chinese Contemporary Art." In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.179.

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Koven, Mark. "Female Gape #3." In ACM SIGGRAPH 2006 Art gallery. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178977.1179037.

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Chin, Sin-Ho. "Analyzing visual enjoyment of color: using female nude digital Image as example." In Sixth International Conference on Digital Image Processing, edited by Charles M. Falco, Chin-Chen Chang, and Xudong Jiang. SPIE, 2014. http://dx.doi.org/10.1117/12.2064819.

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Han, Yoon Chung, Rebecca Allen, Colette Bangert, Darcy Gerbarg, Copper Frances Giloth, Barbara Nessim, Joan Truckenbrod, and Jane Veeder. "Retrospective of Female Digital Art Pioneers." In SIGGRAPH '23: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3588428.3606842.

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Tangalyacheva, Rumiya. "FEMALE ISSUES IN KOREAN ART-HOUSE CINEMA." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s07.004.

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Zaitseva, M. V., Yu Yu Nebesnik, and U. M. Maraieva. "Transformation of the female image in art." In CURRENT TRENDS IN ART AND CULTURE. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-427-6-5.

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Hapsari, Prima Dona, F. A. Wisnu Wirawan, and Heri Abbiburrahman Hakim. "Socio-cultural Development of Female Education: Kartini Context for Female Art Students." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008563002470254.

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Marian, Ana. "Anatomical constructions in the making of the nude moldovan sculpture. Approaches in the realm of realism." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.07.

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In Moldovan sculpture, there are two types of the introduction of anatomical structures in the creation of sculptural nudity: based on realism and stylized ones. The pioneer in the study of sculptural nudity was Alexander Plamadeala. Although his studies at the Imperial Academy of Art, Sculpture and Architecture allowed him to comprehensively approach the depiction of sculptural nude, the sculptor still continued to experiment and seek new ways in the description of nude. “Nude” in Yuri Kanashin’s interpretation is an integral part of thematic compositions and has a separate logic, subordinated to the author’s sensitivity. Anatomical interpretation in Ion Zderciuk’s works is the starting point for realistic forms which transform into stylized ones, where metaphor takes the leading place and the solutions are innovative. Interpretations of sculptural nudity involve long-term training, knowledge of the anatomy of the skeleton and musculature, the proportions of the human body. Based on this, the sculptors practiced stylization, always different in artistic manners, but which represented a new vision of the interpretation of sculptural nudity in Moldovan plastic art.
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Qin, Yu. "A Female Politician or the Empress Dowager?" In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.100.

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Reports on the topic "Female nude in art"

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Buell, Krista. Aphrodite of Knidos, Trendsetter: Depictions of the Female Nude and Sexuality in Ancient Greek Sculpture. Portland State University Library, January 2016. http://dx.doi.org/10.15760/honors.265.

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Shell-Duncan, Bettina, Reshma Naik, and Charlotte Feldman-Jacobs. A state-of-the-art synthesis on female genital mutilation/cutting: What do we know now? Population Council, 2016. http://dx.doi.org/10.31899/rh8.1002.

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Vu, Lung, Brady Zieman, Adamson Muula, Vincent Samuel, Lyson Tenthani, David Chilongozi, Simon Sikwese, Grace Kumwenda, and Scott Geibel. Assessment of community-based ART service model linking female sex workers to HIV care and treatment in Blantyre and Mangochi, Malawi. Population Council, 2021. http://dx.doi.org/10.31899/hiv12.1031.

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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
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