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Journal articles on the topic 'Female nude in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

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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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 (January 1990): 323–35. http://dx.doi.org/10.1086/494586.

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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Farrington, Lisa E. "Reinventing Herself: The Black Female Nude." Woman's Art Journal 24, no. 2 (2003): 15. http://dx.doi.org/10.2307/1358782.

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12

González Hernández, Guillermo. "Meanings of the nude: Pan Yuliang in Hua Hun (1994)." MASKANA 15, no. 1 (June 28, 2024): 73–89. http://dx.doi.org/10.18537/mskn.15.01.05.

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Hua Hun (1994) is a biopic about the artist Pan Yuling, directed by Huang Shuqin. The film uses art to explore female agency. This article proposes an analysis of the treatment that both authors gave to the nude and the multiplicity of meanings that they attributed to it. To achieve this, their previous works (in painting and cinema) have been examined for thematic and aesthetic coincidences. Pan Yuliang’s portraits and self-portraits were tools for the construction of the female identity, which under Huang Shuqin’s interpretation, spin a narrative that represents the transgression of the object/subject dynamic, transforming their creator into both and neither, which results in the restitution of her full artistic and personal autonomy.

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13

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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14

Rodrigues, Ana Duarte. "“DO WOMEN HAVE TO BE NAKED TO GET INTO THE MET. MUSEUM?”." ERAS | European Review of Artistic Studies 4, no. 2 (June 30, 2013): 45–58. http://dx.doi.org/10.37334/eras.v4i2.132.

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“Do women have to be naked to get into the Metropolitan museum?” was the question put up by the Guerrilla Girls to all New York inhabitants seeking to shake art world consciousness. After making a study on the subject they have raised that even if a minority of women artists is represented in the museums, 85% of the nudes are female. Having the body of the Odalisque by Ingres with a gorilla head has a starting point; a story of the female nude throughout history will be criticized since the erotic painting of Venus by Titian. The same perfect body of the classical canon has been used for completely different ends. If one wants to get a place in society by being seen and the only way of being seen was using its beauty, the other demands a place in society by all means less beauty… never by using the perfect body. While to some this may seem obvious, the significance of this interpretation should not be underestimated. In fact, this assessment of the unique inflections of the body meaning and female power nowadays at the same time that quotes and evokes Antique art, attacks it in the heart by distorting it in terms of morphology, iconography, function and meaning.

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15

'Amr, Abdel-Jalil. "A Nude Female Statue with Astral Emblems." Palestine Exploration Quarterly 117, no. 2 (July 1985): 104–11. http://dx.doi.org/10.1179/peq.1985.117.2.104.

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16

Dobrowolska, Anna. "Akt kobiecy i rewolucja seksualna w dekadzie Gierka. Historia wystaw „Venus” na tle przemian obyczajowych w PRL." Kultura i Społeczeństwo 65, no. 4 (December 29, 2021): 139–56. http://dx.doi.org/10.35757/kis.2021.65.4.7.

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The paper aims to critically analyse media discourse on the “Venus” female nude exhibitions, organized annually in Kraków between 1970 and 1991. By analysing discourse that legitimised nudity in the public sphere, the paper sheds light on ways in which attitudes toward sexuality and the body changed during the so-called Gierek decade. The source base consists primarily of press publications, newsreels, and photo books from the 1970s. As the paper demonstrates, there were three dominant frameworks of discussing nudity in state-socialist Poland: artistic, pornographic and educational. Moreover, historical discourse analysis allows us to observe the role female nudes played in setting the stage for the Polish sexual revolution in the second half of the 1980s.

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17

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 (October 1996): 794. http://dx.doi.org/10.2307/506691.

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18

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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19

Haralambidou, Penelope. "The stereoscopic veil." Architectural Research Quarterly 11, no. 1 (March 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 explicit pornographic pose of the splayed legs and the exposed pudenda is dazzling. On careful inspection, this startling view is only possible through another intersecting surface; between the viewer and the nude stands a brick wall on which an irregular rupture has been opened – as if by a violent collision – making the scene even more unsettling. Defying traditional definitions of painting or sculpture Marcel Duchamp's enigmatic final work is a carefully constructed assemblage of elements, with an equally enigmatic title: Etant Donnés: 1°la chute d'eau, 2°le gaz d'éclairage… (Given: 1st the Waterfall, 2nd the Illuminating Gas…), 1946–1966.

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20

Lizun, Damian, Teresa Kurkiewicz, Mateusz Mądry, Bogusław Szczupak, and Jarosław Rogóż. "Evolution of Liu Kang’s Palette and Painting Practice for the Execution of Female Nude Paintings: The Analytical Investigation of a Genre." Heritage 5, no. 2 (April 20, 2022): 896–935. http://dx.doi.org/10.3390/heritage5020050.

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The comprehensive technical investigation of female nude paintings by the Singapore pioneer artist Liu Kang (1911–2004) provided the evidence for a discussion of the evolution of his palette of colours and his working process for expression in this genre, particularly the execution of female bodies. As the artist’s free expression in classical nude paintings was limited by the censorship imposed by the Singapore government, the investigated artworks span two periods, 1927–1954 (early career) and 1992–1999 (the “golden years”, during which censorship policies were relaxed). Hence, eight paintings from the Liu family and National Gallery Singapore were selected for non- and micro-invasive analyses of the paint layers. The obtained results were supplemented with archival sources to elucidate certain aspects of Liu Kang’s working practice. The investigation revealed the importance of drawing and sketching studies in the development of artistic ideas. The analytical techniques, such as polarised light microscopy (PLM), field emission scanning electron microscope with energy dispersive spectroscopy (FE-SEM-EDS) and attenuated total reflectance–Fourier transform infrared spectroscopy (ATR-FTIR), enabled us to observe a transition from the yellow iron-based tonal ranges of skin colours to complex pigment mixtures composed of additions of cobalt blue, ultramarine, Prussian blue, Cr-containing yellow(s) and green(s), cadmium yellow, orange and/or red and organic reds, revealing the artist’s more liberal use of colours and his experimentation with their contrasting and complementary juxtaposes. In terms of painting technique, the artist’s comparatively laborious paint application using small brushes quickly gave way to a more effortless manipulation of the paint using bigger brushes and the incorporation of palette knives. Moreover, visible light (VIS), near-infrared (NIR) and X-ray radiography (XRR) imaging techniques led to the discovery of a hidden composition in one investigated artwork, which bears resemblance to the nude painting known only from an archival photograph. Additionally, for the first time, the archival search provided photographic evidence that Liu Kang used oil paint tubes from Royal Talens and Rowney in the 1990s. Overall, this in-depth investigation contributes to the understanding of Liu Kang’s approach to the female nude painting and may assist conservators and art historians in studies of twentieth-century commercial paints.

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21

Kaur, Sukhpreet, and Manju . "Unveiling Subjectivity: Metamorphosing the Female Nude in the Pantheon of Art History via John Berger’s “Ways of Seeing”." International Journal of Languages and Culture 3, no. 2 (December 5, 2023): 33–41. http://dx.doi.org/10.51483/ijlc.3.2.2023.33-41.

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22

Silberstein, Elodie. "“Have You Ever Seen the Crowd Goin’ Apeshit?”: Disrupting Representations of Animalistic Black Femininity in the French Imaginary." Humanities 8, no. 3 (August 9, 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 transcends the tension between nature and culture into a syncretic language to subvert a dominant imperialistic gaze. Drawing on black feminist theories and art history, a formal analysis traces the genealogy and stylistic expression of this vocabulary to understand its political implications. Findings pinpoint how Beyoncé laces past and present, the regal nakedness of her African heritage and Western conventions of the nude to convey the complexity, sensuality, and humanity of black women—thus drawing a critical reimagining of museal practices and enriching the collective imaginary at large.

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23

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 (December 20, 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 with the female nude genre. Mrs Ramsay’s critical appraisal of ways of looking at the fruit - her own as an art connoisseur’s, and Augustus Carmichael’s as a voracious plunderer’s - receives a philosophical slant in the other scene I examine, Lily Briscoe’s nonfigurative painting of Mrs Ramsay. The portrait remediates artistically the reductive thrust of traditional philosophy as espoused by Mr Ramsay and, like the nature of reality in philosophical discourse, yields to a “scientific” explication to the uninformed viewer. Notwithstanding its feminist reversal of philosophy’s classic hierarchy (male knower over against female object), coterminous with Lily’s early playful grip on philosophy, the scene ultimately fails to offer a viable non-androcentric outlook on life.

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24

Keohane, Oisín. "The Disrobing of Aphrodite: Brigitte Bardot in Le Mépris." Film-Philosophy 26, no. 2 (June 2022): 171–95. http://dx.doi.org/10.3366/film.2022.0194.

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This article examines a number of philosophical concepts that are at stake in the visual culture of the nude. It particularly focuses on Aphrodite’s appearance, or rather, what I call her exposed concealment, in Jean-Luc Godard’s 1963 Le Mépris. A film, I argue, which is not only concerned with Aphrodite and the figure of the female nude via Brigitte Bardot, but which also explores the very idea of the sex goddess in cinema. In the first section I introduce arguments from T.J. Clark about the changing status of the nude in nineteenth-century France. In the second section, having introduced Kenneth Clark’s work on Aphrodite, I outline Michael Williams’ work on the archaeology of divine stardom and discuss my disagreement with the way Ginette Vincendeau and Colin Gardner interpret Bardot in the film. In the longest section, the third, I examine several shots in Le Mépris in conversation with Stanley Cavell and argue that the nude scenes both invoke and rework the pictorial language of nudity found in the history of painting and sculpture, as well as Bardot’s film back catalogue, and I conclude by suggesting the film provides an indirect critique of what Hegel says about female nudity.

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25

Čubrilo, Jasmina. "Atelje Zore Petrović / Zora Petrovic’s studio." AM Journal of Art and Media Studies, no. 2 (December 15, 2012): 21–29. http://dx.doi.org/10.25038/am.v0i2.18.

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The big oil on canvas in the studio from 1941, and small, undated, double-sided tempera on the paper of the same name are complex images that define the horizon of Zora Petrović’s art world – different social, art, ideological discourses intertwine on its surfaces. These images reflect overlapping the private and public sphere, different power positions inside this overlapping and within the local art world of that time such as female artist vs. male art collector; female artist vs. male artist, female artist vs. male artist; female artist vs. female model, female artist/worker vs. female (upper) middle class possible amateur. Broad strokes and colour, which, in the sense of matter that Petrović used to cover her canvases, to (almost all) critics manifest the quality of wild expression mostly seen as a “masculine approach” and manly strength, actually, possess the quality of untamed fluidity that breaks down the psychic barriers between the inner and the outer being, as well as the barriers between the self and the other. It would appear that all these critics, by reading this manly method into her work, actually projected their fear of the abject, of the horror of the impure, unsymbolised, as if they to present that surplus in language, to present its inexpressibility, in language after all, and thus make it an integral part of the symbolic network. Also, probably for the same reason, critics found it necessary to describe and rationalise her disorderly studio, the brushes that she did not wash with water, the palettes underneath the layers of dried paint, as a consequence of her total dedication to her sublime task of creating uniquely valuable objects, which prevented her from dealing with such trifling, feminine tasks as keeping her working area orderly and clean. In that way the new signifying network was produced, the one that recognizes Zora’s studio in the metonymic series: studio, the surface of painting, female nude and her real proportions as dominant motif in Zora’s painting, body of the female model, body of the female artist, female desire, postponed, unavailable and approximated sexuality, pure jouissance in Lacanian as well in Kristevian terms

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26

Hammerschlag. "Excavating Evidence from Frederic Leighton's Paintings of the Female Nude." Victorian Studies 56, no. 3 (2014): 442. http://dx.doi.org/10.2979/victorianstudies.56.3.442.

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27

Bernstein, Joanne G. "The Female Model and the Renaissance Nude: Durer, Giorgione, and Raphael." Artibus et Historiae 13, no. 26 (1992): 49. http://dx.doi.org/10.2307/1483430.

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28

Klich, Lynda. "Little Women: The Female Nude in the Golden Age of Picture Postcards." Visual Resources 17, no. 4 (January 2001): 435–48. http://dx.doi.org/10.1080/01973762.2001.9658607.

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29

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 in top hats, black ties, and tails, leisurely entered architect Stanford White's resplendent edifice, accompanied by their glitteringly attired female companions. Atop the Garden's Florentine tower rested a nude sculpture of Diana, Greek goddess of the hunt.

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30

Hughes, Erika. "Art and illegality on the Weimar stage." Journal of European Studies 39, no. 3 (September 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. The Nackttanz (nude dance), as performed by Celly de Rheydt, who along with her producer– husband was convicted of lewdness, possessed a self-awareness of the potential for artistic catharsis which she then played upon sexually. She performed in a small space where the performers and audience were in close physical proximity, and in which drugs and alcohol were consumed, thereby setting the space apart from the traditional stage. Yet some women performers took offence at such dehumanization and abstraction. Valeska Gert danced in the guise of prostitutes, corpses, and ruined young girls as an alternative to the quasi-pornography of the Ballet Celly de Rheydt. She did not titillate, but rather forced her audience to examine ugly bodies and characters that had been debauched. Drugs also found their way into performances: Anita Berber’s Kokain paid homage to the drug that would later contribute to her early death. This paper looks at these dancers and the performances that tested the boundaries of representative mores in the interwar period. It shows how popular dancers, by presenting scenes of delinquency and insanity as the centre of their art, utilized it to refl ect on and criticize their society.

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31

Betterton, Rosemary. "How Do Women Look? The Female Nude in the Work of Suzanne Valadon." Feminist Review, no. 19 (1985): 3. http://dx.doi.org/10.2307/1394982.

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32

Betterton, Rosemary. "How do Women Look? The Female Nude in the Work of Suzanne Valadon." Feminist Review 19, no. 1 (March 1985): 3–24. http://dx.doi.org/10.1057/fr.1985.2.

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33

McCafferty, Sharisse D., and Geoffrey G. McCafferty. "The Conquered Women of Cacaxtla." Ancient Mesoamerica 5, no. 2 (1994): 159–72. http://dx.doi.org/10.1017/s0956536100001127.

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AbstractThe vividly painted “Battle Mural” of Cacaxtla (Tlaxcala, Mexico) depicts the gory results of a battle between racially distinct factions, characterized by their opposing jaguar and bird insignia. The two central Bird figures that remain standing are shown as captives, and in both cases they are attired in elaborate costumes that include diagnostic items of female clothing, including thequechquemitlcape and long skirt. Other figures are nude or are shown in simple male costumes, including themaxtlatlloincloth. This paper considers arguments of whether the two central figures were biological females, or rather, that the presence of female apparel on male actors was used within a context of conquest, symbolically transmitted through a gender ideology of male dominance and female subordination. While the evidence is inconclusive, we employ a contextual analysis of pre-Columbian pictorial manuscripts and Mexican cosmology to argue that these individuals were female. Furthermore, we suggest that the elaborate costume elements associated with these female figures, and their recurrence with the Jaguar Lord 3 Deer Antler “Tlaloc mask,” indicates that this was a noblewoman destined for marriage as a means of binding the Jaguar and Bird dynasties. Thus the Battle Mural depicts the capture of the “founding queen,” with the subsequent union demonstrated by the complementary depictions of Jaguar and Bird lords on Building A.

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Cheng, Shi, Mingyan Guo, Zhongqi Liu, Yanni Fu, Haixuan Wu, Chengli Wang, and Minghui Cao. "Morphine Promotes the Angiogenesis of Postoperative Recurrent Tumors and Metastasis of Dormant Breast Cancer Cells." Pharmacology 104, no. 5-6 (2019): 276–86. http://dx.doi.org/10.1159/000502107.

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Background: Surgery plays a significant role in the comprehensive treatment of breast cancer, and opioids are often the first-choice analgesics in the perioperative period. However, recent studies showed that opioids may enhance the angiogenesis of breast cancer and the recurrence and metastasis of tumor cells. Objectives: We aim to investigate the influence of opioids on recurrence and metastasis of breast cancer in nude mice. Methods: Forty female nude mice with breast tumor were randomly divided into 4 groups (n = 10). They were treated with (i) normal saline (10 mL/kg), (ii) morphine (10 mg/kg), (iii) morphine plus naloxone (10 + 4 mg/kg), and (iv) naloxone (4 mg/kg) for 2 weeks. Four groups of MDA-MB-231 cells were administered (i) Dulbecco’s Modified Eagle’s Medium, (ii) morphine (10 μmol/mL), (iii) morphine plus naloxone (10 + 10 μmol/mL), and (iv) naloxone (10 μmol/mL). The influence of morphine in each treated group was evaluated by immunocytochemistry and Western blotting. Results: Mice in the morphine group had higher rates of Ki67-positive cells, lower rates of apoptotic index, and a significant increase in the microvessels density of the tumor as evidenced by CD31 staining (p < 0.05). Furthermore, the MDA-MB-231 cells in the morphine group showed an increase in p-Akt, c-Myc, and thrombosponin-1 expression. Conclusion: In the current study, we found that morphine promotes the angiogenesis of the recurrent postoperative tumors of nude mice with breast cancer and the proliferation of tumor cells and such promotion may be related to the PI3K-c-Myc signaling pathway.

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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, the devotion to which was almost invariably paid with the price of life. A documentary confirmation of Erziʼs words is given in the entry of his secretary, L. Orsetti. People who knew Erza intimately in Italy, Russia, and Argentina also wrote about their commitment to these ideals. The theme of sacrifice, the suffering path unites both his biblical works and things of revolutionary themes. Their success is described in the article not only on the basis of periodicals, but also for the first time with the involvement of exhibition catalogues. In Argentina, Erzya created monumental portraits of the spiritual leaders of mankind - these portraits by the sculptor himself were collected in a special exhibition in his house: Moses, Beethoven, Tolstoy, N. Gogol. The motives of beauty and birth, the continuation of the human race are embodied by Erzya in the famous female images «Nude», «Eve», «Motherhood», «Dance». The plastic beauty and the mystery of the transformation of the female body fascinated the audience at the exhibitions of the sculptor's works and were evidence of the change in his somatic perception in Argentina. Thus, in the art of Erzi in Argentina, the intuition and emotional supernormality inherent in the cultural consciousness of Latin Americans are manifested. The sculptor's attitude to the material he chose for a particular work was dictated by the concept. His rare ability to work in any material - cement, marble, bronze, wood-makes him stand out among modern sculptors. He followed the Michelangelo tradition in the processing of the marble block and became the only master to conquer the hard species of tropical trees. Today it is obvious that the legacy of the sculptor-thinker Erzya is not fully appreciated.

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Zavyalova, Elena E. "Nudity and Half-Naked Body in the Work of A. S. Pushkin: Options, Values, Principles of Implementation." Corpus Mundi 3, no. 1 (May 30, 2022): 52–72. http://dx.doi.org/10.46539/cmj.v3i1.60.

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The aim of the article is to determine the functions of the nude and naked body image in the A. Pushkin legacy. The main tasks are to reveal regularities in the choice of motifs, images and perspectives, to correlate them with the author's world viewpoints and the evolution of his views, to connect them with philosophical and aesthetic dominants of his art. The works of art, as well as critical and travel notes, letters, sketches, drawings served as the basis for the study. The biographical and mundane context was involved. Orientation to the consistency and integrity of the analysis determines the novelty of the study. It is noted that the concept of “nudity” acquires the author conceptuality that correlates with form simplicity and naturalness. Pushkin tends to aestheticize the female body. It is proved that the intensity, selectivity, measure of spatial distance in its depiction are determined by a specific life stage, literary type, genre, attitude towards the subject of the image. The assumption is substantiated that the problem of visual perspective is not least related to fashion trends. “Serene” nudity in the works of Alexander Pushkin is usually a sign of foreignness, otherness; attractive is associated with the realm of the infernal, here the poet is influenced by folk mythology and the Gothic. In erotic descriptions the movements, the nervous and mental atmosphere are very important. The variety of the naked body interpretations can be compared with a palimpsest, especially since Pushkin's sketches clearly testify to his refining predilection.

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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 (June 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 and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.

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Chen, Yue-qun, Hua-li Fei, and Hong-li Zhu. "Bu Shen Yang Xue Prescription Has Treating Effect on Endometrial Cancer through FSH/PI3K/AKT/Gankyrin/HIF-α/cyclinD 1 Pathway in Ishikawa Cells." Evidence-Based Complementary and Alternative Medicine 2018 (October 9, 2018): 1–10. http://dx.doi.org/10.1155/2018/8412984.

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Background. The formulation of Bu Shen Yang Xue (BSYX) has been clinically used in treating gynecologic disease in China, especially for the development of the endometrium. Endometrial carcinoma is the most common malignant tumor of the female genital tract in developed countries. And few studies have been reported on the antitumor activity of BSYX. Therefore, this study aimed to investigate the effect of BSYX on endometrial cancer and make an initial discussion of the underlining mechanisms in Ishikawa cells. Methods and Results. Firstly, 60 SPF female nude mice were randomly divided into control group, model group, BSYX group, and positive group. The models of subcutaneous tumor xenograft of nude mice were established by injection of human endometrial carcinoma cell line Ishikawa tumor cell suspension. Compared with model group, BSYX reduced effectively tumor volume and changed pathological feature in mice tumor issue. Meanwhile, proteins from tumor issues were detected by western blot analysis. The protein levels of follicle-stimulating hormone receptor (FSHR), p-Akt/Akt, Gankyrin, and cyclinD1 in the model group were higher than those in control group but the expression in BSYX group was lower than that in the model group. The hypoxia inducible factor alpha (HIF-α) protein level in the model group was lower than those in control group and upregulated in BSYX group. In addition, Ishikawa cells were cultured and then exposed to follicle-stimulating hormone (FSH), LY294002, a highly selective PI3K inhibitor and serum containing BSYX, respectively. LY294002 and BSYX markedly decreased the cancer cell viability and migration ability and increased the apoptosis rate. FSH promoted the cancer cell ability and migration ability. LY294002 and BSYX evidently downregulated the proteins levels of FSHR, p-Akt/Akt, Gankyrin, and cyclinD1 and upregulated the expression of HIF-α protein, and FSH was on the opposite. Conclusions. Taken together, our results showed that the formulation of BSYX had antitumor effect on endometrial cancer in vivo and in vitro and was related with FSH/PI3K/AKT/Gankyrin/HIF-α/cyclinD1 transduction pathway.

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Zhang, Li Q., Hua Q. Yang, Su Q. Yang, Ying Wang, Xian J. Chen, Hong S. Lu, and Ling P. Zhao. "CNDP2 Acts as an Activator for Human Ovarian Cancer Growth and Metastasis via the PI3K/AKT Pathway." Technology in Cancer Research & Treatment 18 (January 1, 2019): 153303381987477. http://dx.doi.org/10.1177/1533033819874773.

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Introduction: The mechanism of tumorigenesis and metastasis of ovarian cancer has not yet been elucidated. This study aimed to investigate the role and molecular mechanism of cytosolic nonspecific dipeptidase 2 in tumorigenesis and metastasis. Methods: Cytosolic nonspecific dipeptidase 2 expression in human ovarian cancer tissues and cell lines was assessed with methyl thiazolyl tetrazolium (MTT), clone formation, and transwell assays performed to evaluate the ability of ovarian cancer cells to proliferate and migrate. Nude mice tumor formation experiments were also performed by subcutaneously injecting cells with stable cytosolic nonspecific dipeptidase 2 knockdown and control SKOV3 cells into BALB/c female nude mice to detect changes in PI3K/AKT pathway-related proteins by Western blotting. Results: Cytosolic nonspecific dipeptidase 2 was highly expressed in human ovarian cancer tissues, with its expression associated with pathological data, including ovarian cancer metastasis. A cytosolic nonspecific dipeptidase 2 stable knockdown or ectopic expression ovarian cancer cell model was established and demonstrated that cytosolic nonspecific dipeptidase 2 could promote the proliferation of ovarian cancer cells. Transwell cell migration and invasion assays confirmed that cytosolic nonspecific dipeptidase 2 enhanced cell metastasis in ovarian cancer. Furthermore, in vivo xenograft experiments demonstrated that cytosolic nonspecific dipeptidase 2 can promote the development and progression of ovarian cancer, increasing the expression of phosphorylated PI3K and AKT. Conclusions: Cytosolic nonspecific dipeptidase 2 promotes the occurrence and development of ovarian cancer through the PI3K/AKT signaling pathway.

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Ringelberg, Kirstin. "Reading Cisheteronormativity into the Art Historical Archives." Arts 13, no. 3 (May 14, 2024): 89. http://dx.doi.org/10.3390/arts13030089.

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Madeleine Lemaire (1845–1928) might appear to be a typical “woman artist” of the Belle Époque, a painter of images of fashionable women, equally popular for her watercolor flowers and her skills as a salon hostess, with biographical sketches of her then and now assuming that if she had sex or romance, it was with men. However, a closer look has also revealed Lemaire to be potentially atypical. Unlike her women colleagues, she exhibited salacious nudes; her work was once described as having “a bit of the mustache”; and she generally dodged discussions of either her gender or her sexuality, even though her social group included those who openly flaunted their own non-conformities. Using archival materials, artworks, and contemporary theory to unpack the possibilities presented by Lemaire’s case, I also explore the gains for art history in reconsidering previously female-identified and straight-seeming artists in more fluid gender and sexual terms. What might we discover if we recognize ourselves as the constructors of a cisheteronormative past, reading into the archives the assumptions that our current culture’s binary norms enforce?

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Whaley, Susannah. "Rita Angus: A New Madonna 1942–1951." Back Story Journal of New Zealand Art, Media & Design History, no. 6 (July 1, 2019): 21–41. http://dx.doi.org/10.24135/backstory.vi6.43.

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This article explores the ‘New Madonna’ in Rita Angus’s artwork in the 1940s and early 1950s. The New Madonna combines female independence and celibacy with sexualityand motherhood. She develops from Angus’s position as a woman painter who lived and worked alone, and is expressed in three nudes and a number of goddess portraits which are discussed. The origins of the term ‘New Madonna’ and the interpretative possibilities it affords to Angus’s art are examined. These works allow Angus to inscribe herself with a value derived from being female. In order to offer insight into these portraits, Angus’s letters to the composer Douglas Gordon Lilburn are considered.

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Giubellino, Alessio, Petra Bullova, Svenja Nölting, Hana Turkova, James F. Powers, Qingsong Liu, Sylvie Guichard, Arthur S. Tischler, Ashley B. Grossman, and Karel Pacak. "Combined Inhibition of mTORC1 and mTORC2 Signaling Pathways Is a Promising Therapeutic Option in Inhibiting Pheochromocytoma Tumor Growth: In Vitro and In Vivo Studies in Female Athymic Nude Mice." Endocrinology 154, no. 2 (January 10, 2013): 646–55. http://dx.doi.org/10.1210/en.2012-1854.

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Several lines of evidence, including the recent discovery of novel susceptibility genes, point out an important role for the mammalian target of rapamycin (mTOR) signaling pathway in the development of pheochromocytoma. Analyzing a set of pheochromocytomas from patients with different genetic backgrounds, we observed and confirmed a significant overexpression of key mTOR complex (mTORC) signaling mediators. Using selective ATP-competitive inhibitors targeting both mTORC1 and mTORC2, we significantly arrested the in vitro cell proliferation and blocked migration of pheochromocytoma cells as a result of the pharmacological suppression of the Akt/mTOR signaling pathway. Moreover, AZD8055, a selective ATP-competitive dual mTORC1/2 small molecular inhibitor, significantly reduced the tumor burden in a model of metastatic pheochromocytoma using female athymic nude mice. This study suggests that targeting both mTORC1 and mTORC2 is a potentially rewarding strategy and supports the application of selective inhibitors in combinatorial drug regimens for metastatic pheochromocytoma.

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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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Yu, Mengjie, Qianqian Tang, Bingli Lei, Yingxin Yang, and Lanbing Xu. "Bisphenol AF Promoted the Growth of Uterus and Activated Estrogen Signaling Related Targets in Various Tissues of Nude Mice with SK-BR-3 Xenograft Tumor." International Journal of Environmental Research and Public Health 19, no. 23 (November 26, 2022): 15743. http://dx.doi.org/10.3390/ijerph192315743.

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Environmental estrogens can promote the growth, migration, and invasion of breast cancer. However, few studies evaluate adverse health impacts of environmental estrogens on other organs of breast cancer patients. Therefore, the present study investigated the effects of environmental estrogen bisphenol AF (BPAF) on the main organs of female Balb/cA nude mice with SK-BR-3 xenograft tumor by detecting the organ development and gene expression of targets associated with G protein-coupled estrogen receptor 1 (GPER1)-mediated phosphatidylinositol 3-kinase/protein kinase B (PI3K/Akt) and mitogen-activated protein kinase (MAPK) signaling pathways in hypothalamus, ovary, uterus, liver, and kidney. The results showed that BPAF at 20 mg/kg bw/day markedly increased the uterine weight and the uterine coefficient of nude mice compared to SK-BR-3 bearing tumor control, indicating that BPAF promoted the growth of uterus due to its estrogenic activity. Additionally, BPAF significantly up-regulated the mRNA relative expression of most targets related to nuclear estrogen receptor alpha (ERα) and GPER1-mediated signaling pathways in the hypothalamus, followed by the ovary and uterus, and the least in the liver and kidney, indicating that BPAF activated different estrogen activity related targets in different tissues. In addition, BPAF markedly up-regulated the mRNA expression of GPER1 in all tested tissues, and the molecular docking showed that BPAF could dock into GPER1. Because gene change is an early event of toxicity response, these findings suggested that BPAF might aggravate the condition of breast cancer patients through exerting its estrogenic activity via the GPER1 pathway in various organs.

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Dai, Congxin, Bo Zhang, Xiaohai Liu, Sihai Ma, Yakun Yang, Yong Yao, Ming Feng, et al. "Inhibition of PI3K/AKT/mTOR Pathway Enhances Temozolomide-Induced Cytotoxicity in Pituitary Adenoma Cell Lines in Vitro and Xenografted Pituitary Adenoma in Female Nude Mice." Endocrinology 154, no. 3 (March 1, 2013): 1247–59. http://dx.doi.org/10.1210/en.2012-1908.

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Abstract Invasive pituitary adenomas (PAs) are often refractory to standard therapy and salvage treatment with temozolomide (TMZ). Hyperactivation of the phosphoinositide 3-kinase (PI3K)/AKT/mammalian target of rapamycin (mTOR) pathway contributes to chemotherapy resistance in many cancers. XL765, a novel dual-PI3K/mTOR inhibitor, has recently shown its efficacy as a monotherapy and in combination with conventional therapeutics in many cancers. The hyperactive PI3K/AKT/mTOR pathway frequently occurs in invasive PAs. In this study, we investigated whether XL765 sensitizes PA cells to TMZ in vitro and in vivo. Experiments were carried out to evaluate the effect of XL765 and TMZ alone or in combination on cell proliferation and apoptosis of PA cell lines (αT3-1, GH3, and MMQ) in vitro as well as the tumor growth and serum GH and prolactin secretions in a GH3 xenograft tumor model of female nude mice. XL765 and TMZ synergistically inhibited the growth of PA cell lines and induced apoptosis. Combination of XL765 and TMZ synergistically inhibited tumor growth, decreased serum GH and prolactin levels, and reduced the sacrifice rate of GH3 xenograft tumor models without increased systemic side effects. In addition, XL765 in combination with TMZ dramatically decreased phosphorylation of AKT and mTOR as well as the expression of Bcl-2. The increased expression of cleaved poly (ADP-ribose) polymerase and Bcl-2-associated X protein along with elevated caspase-3/7 activity were also observed in the combination group. Therefore, dual inhibitors of PI3K and mTOR may enhance alkylating agent-mediated cytotoxicity and provide a novel regimen in the treatment of invasive PAs.

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Laskowska-Hinz, Sabina. "Designing Goddesses: Shakespeare’s "Othello" and Marian Nowiński’s "Otello Desdemona"." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 135–51. http://dx.doi.org/10.18778/2083-8530.21.09.

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The article discusses the intertextual relationship between the poster by Marian Nowiński, Otello Desdemona, and the content of Shakespeare’s play, while presenting the most important elements of the plot that are decisive for the portrayal of Desdemona. It also discusses the tradition of female nudes in Western art. This allows to usher out these characteristic features of elements of Desdemona that fashion her into Venus Caelestis and Venus Naturalis. The article focuses on the ambivalence of Nowiński’s poster and discusses the significance of the paintings by Titian, Giorgione, and Fuseli in designing the figure of Desdemona as a goddess.

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Laskowska-Hinz, Sabina. "Designing Goddesses: Shakespeare’s "Othello" and Marian Nowiński’s "Otello Desdemona"." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 135–51. http://dx.doi.org/10.18778/2083-8530.21.09.

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The article discusses the intertextual relationship between the poster by Marian Nowiński, Otello Desdemona, and the content of Shakespeare’s play, while presenting the most important elements of the plot that are decisive for the portrayal of Desdemona. It also discusses the tradition of female nudes in Western art. This allows to usher out these characteristic features of elements of Desdemona that fashion her into Venus Caelestis and Venus Naturalis. The article focuses on the ambivalence of Nowiński’s poster and discusses the significance of the paintings by Titian, Giorgione, and Fuseli in designing the figure of Desdemona as a goddess.

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Kimber, Marian Wilson. "Victorian Fairies and Felix Mendelssohn's A Midsummer Night's Dream in England." Nineteenth-Century Music Review 4, no. 1 (June 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, stemming from the establishment of the Boydell Shakespeare Gallery in 1789. In such a context, it is no wonder that Felix Mendelssohn's incidental music for A Midsummer Night's Dream was so overwhelmingly popular in England and that his style became closely associated with the idea of fairies. This article explores how the Victorians’ understanding of fairies and how the depiction of fairies in the theatre and visual arts of the period influenced the reception of Mendelssohn's music, contributing to its construction as ‘feminine’. Victorian fairies, from the nude supernatural creatures cavorting in fairy paintings to the diaphanously gowned dancers treading lightly on the boards of the stage, were typically women. In his study of Chopin reception, Jeffrey Kallberg has interpreted fairies as androgynous, but Victorian fairies were predominantly female, so much so that Lewis Spence's 1948 study, The Fairy Tradition in Britain, includes an entire section on fairy gender intended to refute the long-standing notion that there were no male fairies. Thus, for Mendelssohn to have composed the leading musical work that depicted fairies contributed to his increasingly feminized reputation over the course of the nineteenth century.

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Sbai El Idrissi, Zineb, and Maryam El-kssiri. "Zainab Fasiki’s Feminist Artistic Practice: A Semiotic Study of the Exhibition Hshouma at Le Cube – Independent Art Room." International Journal of Linguistics, Literature and Translation 5, no. 12 (December 5, 2022): 84–95. http://dx.doi.org/10.32996/ijllt.2022.5.12.11.

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Moroccan feminist activist Zainab Fasiki has become a prominent contemporary artist. After the publication and success of her graphic novel Hshouma, Fasiki has gained international popularity. Nevertheless, Fasiki 's artistic practice is seldom thoroughly explored and analyzed. This article attempts to conduct a deep-level analysis of her work utilizing a Moroccan repertoire of symbolism. To reach this aim, this paper provides a semiotic analysis of Hshouma, Fasiki’s first exhibition in Morocco. The analysis of the different components of the exhibition is undergirded by the artist’s own statements and comments. The article introduces the artist and deconstructs her approach. It also provides background information on the female nudes in Moroccan art history and defines the Moroccan concept ‘hshouma’. Then, it describes the artworks showcased in the exhibition prior to a thorough examination.

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Moschetta, Marina G., Camila Leonel, Larissa B. Maschio-Signorini, Thaiz F. Borin, Gabriela B. Gelaleti, Bruna V. Jardim-Perassi, Lívia C. Ferreira, et al. "Evaluation of Angiogenesis Process after Metformin and LY294002 Treatment in Mammary Tumor." Anti-Cancer Agents in Medicinal Chemistry 19, no. 5 (June 27, 2019): 655–66. http://dx.doi.org/10.2174/1871520619666181218164050.

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Background:The angiogenesis process is regulated by many factors, such as Hypoxia-Inducible Factor-1 (HIF-1) and Vascular Endothelial Growth Factor (VEGF). Metformin has demonstrated its ability to inhibit cell growth and the LY294002 is the major inhibitor of PI3K/AKT/mTOR pathway that has antiangiogenic properties.Methods:Canine mammary tumor cell lines CMT-U229 and CF41 were treated with metformin and LY294002. Cell viability, protein and gene expression of VEGF and HIF-1 were determined in vitro. For the in vivo study, CF41 cells were inoculated in female athymic nude mice treated with either metformin or LY294002. The microvessel density by immunohistochemistry for CD31 as well as the gene and protein expression of HIF-1 and VEGF were evaluated.Results:The treatment with metformin and LY294002 was able to reduce the cellular viability after 24 hours. The protein and gene expression of HIF-1 and VEGF decreased after treatment with metformin and LY294002. In the in vivo study, there was a decrease in tumor size, protein and gene expression of HIF-1 and VEGFA, in addition to the decreasing of CD31 expression after all treatments.Conclusion:Our results demonstrate the effectiveness of metformin and LY294002 in controlling the angiogenesis process in mammary tumors by VEGF and HIF-1, the most important angiogenic markers.

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