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Journal articles on the topic 'Nude in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Scheid, Kirsten. "NECESSARY NUDES: ḤADĀTHA AND MUʿĀṢIRA IN THE LIVES OF MODERN LEBANESE." International Journal of Middle East Studies 42, no. 2 (April 13, 2010): 230a. http://dx.doi.org/10.1017/s0020743810000334.

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In Beirut between 1920 and 1940, the fine-art nude was a necessary genre. Exhibitions of these pictures put audiences on display as much as nudes. Thus, these events enable probing the role of art at intercultural junctures and understanding the experience of self-modernizing subjects outside metropolitan locales. Al-ḥadātha and al-muʿāṣira are analyzed as complementary but noninterchangeable aspects of the modernizing project, to argue that viewing art and appreciating nudes were necessary components of an urban, modern identity for Mandate-era Beirutis. The concept of dislocation is introduced to explore why artists such as Moustapha Farroukh employed academic art formulae to intervene in representational conventions and, in doing so, dislocated common ways of seeing and relating to “Easterners.” Nude paintings evince the importance of intellectuals’ physical and aesthetic experiences in the production of modernity. Moreover, they complicate the common idea that “authenticity” opposed “modernity” in Arab and colonial settings.

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2

Samu, Margaret. "The Nude in Eighteenth- and Nineteenth-Century Russian Sculpture." Experiment 18, no. 1 (2012): 33–60. http://dx.doi.org/10.1163/221173012x643044.

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Abstract This article analyzes Russian attitudes toward nudity in art in the eighteenth and nineteenth centuries, from the importation of Italian nudes by Peter the Great to the continued study of the nude model by Socialist Realist artists. Questions addressed include the reception of nude sculpture in Russia and its change over time; the role of life models; and the subject matter sculptors chose.

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3

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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4

Minns, Frank. "Art: Egon Schiele: the Radical Nude." British Journal of General Practice 65, no. 630 (December 29, 2014): 33. http://dx.doi.org/10.3399/bjgp15x683233.

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5

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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6

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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7

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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8

Albano, Ninotchka Mumtaj. "OBJECTIFYING NUDE ART THROUGH SARTRE’S “THE IMAGINARY”." Philosophia: International Journal of Philosophy 20, no. 1 (January 2019): 80–96. http://dx.doi.org/10.46992/pijp.20.1.a.5.

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9

Rosen, David. "The Lost Art of Nude Fan Dancing." Sexuality & Culture 23, no. 3 (May 22, 2019): 1019–24. http://dx.doi.org/10.1007/s12119-019-09612-8.

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10

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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11

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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12

Stanley, Lawrence A. "Art and "Perversion": Censoring Images of Nude Children." Art Journal 50, no. 4 (1991): 20. http://dx.doi.org/10.2307/777319.

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13

Okediji, Moyo. "The Naked Truth: Nude Figures in Yoruba Art." Journal of Black Studies 22, no. 1 (September 1991): 30–44. http://dx.doi.org/10.1177/002193479102200104.

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14

Picard, Alyssa. "“To Popularize the Nude in Art”: Comstockery Reconsidered." Journal of the Gilded Age and Progressive Era 1, no. 3 (July 2002): 195–224. http://dx.doi.org/10.1017/s1537781400000232.

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Of all the figures in the struggle over turn-of-the-century vice reform, Anthony Comstock is perhaps the last one might expect to encounter immortalized in the nude. He acquired his fame as a censor of nudity, among other offenses: from 1873 to his death in 1915, Assistant United States Postmaster Comstock lent his name and his enthusiasm for law enforcement to the prosecution of the “Comstock Laws,” the eponymous statutes which restricted the dissemination of vicious images and information through the United States mail. In his government post and as the head of New York City's private Society for the Suppression of Vice, Comstock prosecuted quack physicians, abortionists, lottery runners, purveyors of lewd literature and art, free love advocates and physical culture devotees. By the end of his career, he had arrested more than 3,700 people and burned over fifty tons of obscene books, 3,984,063 obscene pictures, and 16,900 photographic plates.

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15

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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16

Lilley, Ed. "Art, Fashion, and the Nude: A Nineteenth-century Realignment." Fashion Theory 5, no. 1 (February 2001): 57–77. http://dx.doi.org/10.2752/136270401779045743.

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17

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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18

Lathers, Marie. "The Nude in French Art and Culture, 1870-1910 (review)." Nineteenth Century French Studies 32, no. 3 (2004): 361–62. http://dx.doi.org/10.1353/ncf.2004.0021.

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19

Voloshenko, Anna. "The Method for Teaching Art Education Students in the Nude Figure Drawing with the Soft Art Materials." Intellectual Archive 12, no. 4 (December 7, 2023): 118–29. http://dx.doi.org/10.32370/ia_2023_12_9.

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This paper considers the issue of professional training future specialists in Fine arts, in particular, forming their artistic skills in image creation using soft materials in a process of portraying nude art model in drawing and painting. The article covers both the educational process in institutions of higher education and individual creative activity. The article highlights the main achievements of the scientific research in Ukrainian National Mykhailo Dragomanov University in the discipline "Creative Drawing". It also reveals the specifics of the process of human body construction, which is the basis of the Fine art literacy and formation of artistic skills of a future specialist in visual Art pedagogy. It was determined that the students learn quickly to work with soft materials and do the educational scope of tasks in painting and drawing. They also get the practical technical skills which contribute the holistic vision of a model and their reflection in the sense of proportion, details and personality assessment. Students form aesthetic taste, figurative and colour vision, perception and understanding of time and space in environment. It allows them to grow professionally, show curiosity and implement their creative ideas. It was established that using soft art materials is the basis for the formation of art skills in reproduction of a nude figure in painting and drawing in professional education of the future qualified specialists.

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20

Wu, Yi. "Anatomical Studies of Renaissance Art: A Case Study of DÜRer’S Artworks." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 368–76. http://dx.doi.org/10.54097/9d3gv231.

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This essay examines to what extent was Albrecht Dürer’s nude figures influenced by Venetia artists’ philosophy on human anatomy. During Albrecht Dürer’s lifetime, he traveled twice to Venice to obtain more knowledge and development on human anatomy. This study will be led out from 3 different aspects: the comparison of Albrecht Dürer’s early “before his first/second travel to Venice“ works and his later works- the comparison between the engraved and painted versions of Dürer’s Adam and Eve, how did Dürer embed the Venetian way of portraying nude bodies into his art – how was Dürer’s relationship with Giovanni Bellini affect his way of painting and constructing his painting of human figures, and to what extent did Leonardo da Vinci influence Albrecht Dürer due to Leonardo’s high reputation in Venice as Leonardo was highly influential in Venice for his anatomical studies and his technical design were highly appreciated by the artists and artisans in Venice.

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21

ShiPu Wang. "The Impossible Nude: Chinese Art and Western Aesthetics (review)." China Review International 15, no. 2 (2009): 234–43. http://dx.doi.org/10.1353/cri.0.0158.

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22

Christian Helmut Wenzel. "The Impossible Nude: Chinese Art and Western Aesthetics (review)." Philosophy East and West 59, no. 2 (2009): 240–43. http://dx.doi.org/10.1353/pew.0.0053.

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23

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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24

Cody, Steven J. "Aimé Mpane’s Nude: A Body that Questions." Zeitschrift für Kunstgeschichte 86, no. 4 (November 22, 2023): 533–48. http://dx.doi.org/10.1515/zkg-2023-4005.

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Abstract Aimé Mpane is an especially versatile Congolese artist based in Brussels and Kinshasa. This paper examines his Nude (2006–2008), a life-sized sculpture of the idealized male form. Thinking carefully about Mpane’s treatment of the body, his selection of material, and his manipulation of the sculpture’s surface, I argue that Nude operates on an ethical level. The work engages with social conceptions of Black bodies, the history of nudity in western art, and—most interestingly—Frantz Fanon’s theory of embodiment, as presented in Black Skin, White Masks (1952). Nude thus allows us to explore the relationship between a leading artist of the African diaspora and one of the most important critics of the colonial condition. The work also contributes to our increasingly nuanced understanding of art’s place within the wider spheres of post-colonial discourse.

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25

Zamir, Tzachi. "Gestures of/at Art." Aesthetic Investigations 6, no. 2 (December 31, 2023): 141–57. http://dx.doi.org/10.58519/aesthinv.v6i2.14686.

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An odd occurrence within a live model session is that the model, while nude, is drawn in a way which renders irrelevant the nakedness. Participants may focus on the model's face, or draw the pose while heavily blurring breasts or genitalia—the unveiling of which is, presumably, partly what the model is hired for. Why? If a live model presents an opportunity to study human anatomy or embodied gestures without the interruption of clothing, participants would likely focus upon parts which normally remain private. Instead, it is not rare to see sketches and work which could have been produced while permitting the model to wear swimwear or even substantial clothing.Nudity's status within the artist-live model relationship will be one topic of this essay. Three additional questions will be (1) the model's motivation; (2) the degree of agency attributed to the model: for some, a mere prop; for others, a full-fledged performer; (3) the role of 'art' in the live model session given how much of it remains incomplete and not displayed.

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26

Beisel, Nicola. "Morals Versus Art: Censorship, The Politics of Interpretation, and the Victorian Nude." American Sociological Review 58, no. 2 (April 1993): 145. http://dx.doi.org/10.2307/2095963.

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27

Charrier, Philip. "Nojima Yasuzō's primitivist eye: ‘Nude’ and ‘Natural’ in early Japanese art photography." Japanese Studies 26, no. 1 (May 2006): 47–68. http://dx.doi.org/10.1080/10371390600636208.

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28

王, 兴珍. "Secular, Rational, Divine—The Nature of Nude Art in the Italian Renaissance." Art Research Letters 12, no. 03 (2023): 173–78. http://dx.doi.org/10.12677/arl.2023.123030.

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29

Wright, Ellen. "Having Her Cheesecake and Eating It." Feminist Media Histories 2, no. 4 (2016): 116–42. http://dx.doi.org/10.1525/fmh.2016.2.4.116.

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Bunny Yeager was a pinup model and photographer who appeared on TV and in exploitation films, while creating pinups and “art” nudes for Playboy, coffee-table books, and how-to publications. She is currently experiencing a revival as part of a subcultural vogue for 1950s and 1960s Americana. In her images she was often both subject and photographer, and her self-reflexive pictures engage with issues of authorship, control, and the sexualized gaze. This text examines Yeager's portraiture, her instructive writing, her representation in the film Bunny Yeager's Nude Camera (1963), and the way she positioned herself when discussing her work, to demonstrate how she embodied a mode of professional and sexual agency that engaged with broader, progressive ideas pertaining to women's labor and identity circulating in 1960s America as part of feminism's second wave.

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30

Kidoń, Dagna. "Katarzyna Kozyra. An Artist in the Art Field. A Case Study." Acta Universitatis Lodziensis. Folia Sociologica, no. 80 (March 30, 2022): 77–94. http://dx.doi.org/10.18778/0208-600x.80.06.

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The purpose of the paper is to present the artistic accomplishments of Katarzyna Kozyra as a representative of critical art in the context of her position in the art field. The analysis was expanded to her relationship with the audience, based on a chain of artistic communication exemplified by the Nude Study sculpture of 1991. In March 2021, a study on the reception of modern artworks was carried out in the Zachęta Gallery in Warsaw. The respondents were asked to view and to interpret, among others, the Nude Study by Katarzyna Kozyra of 1991. To confront the general understanding of the work and to verify the efficiency of artistic communication, a free-form interview with the artist was also carried out, where she presented her own interpretation of the study. The artist’s responses and opinions of the audience became the research material quoted here. The analysis disclosed consistency of the message and even though the answers did not overlap closely with the artist’s intention, they were fully accepted by her. The interview also offered an impetus for reflecting on the position of the artist in the art field and her relationship with the agents in the field. It turns out that the artist is clearly dominated by the political field which affects her functioning in the art field. The results above may offer an inspiration for further research on the creative activities of other artists, who may struggle with completely different problems and create different layouts in the art field.1

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31

Alexander, Victoria D., and Anne E. Bowler. "Scandal and the Work of Art: The Nude in an Aesthetically Inflected Sociology of the Arts." Cultural Sociology 12, no. 3 (June 20, 2018): 325–42. http://dx.doi.org/10.1177/1749975518770283.

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American sociologists working in the production perspective have produced a rich body of work on systems of aesthetic-cultural production, distribution, and consumption, but they have paid relatively little attention to the work of art. Aligning with new sociological work that takes the work of art seriously, this article contributes to an aesthetically inflected sociology of the arts: research that includes the work of art as an integral part of the analysis. Substantively, we examine a 19th-century scandal surrounding paintings of nudes. We show that the work of art constitutes crucial evidence for understanding arts scandals. Artworks are connected with social and aesthetic issues by means of their pictorial elements, which are viewed by a public through historically situated ‘period eyes’. Each of these elements is needed to spark an arts controversy, and all must be studied in order to understand them.

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32

Mitrović, Slađana. "The Wound in Visual Art." Monitor ISH 17, no. 2 (November 3, 2015): 73–94. http://dx.doi.org/10.33700/1580-7118.17.2.73-94(2015).

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The fine arts abound in images of the pierced, wounded, tortured, dismembered, crippled or decapitated body in all historical periods. The iconography of the wound is of long standing, and the passion for depicting open bodies can only be compared to the enthusiasm for the nude. In the history of painting and sculpture, the wounded body is most often represented in renditions of Christ’s Passion and Christian martyrs, as well as of Biblical stories about decapitation and slaughter. The topic of the wound has proved relevant to modern and contemporary art as well. In the second half of the 20th century, around 1965, when the Viennese Actionism appeared, as well as between 1968 and 1974, the two milestone dates of body art, artists engaged in performative practices, shattering the notions of the wounded or penetrable body which dominated at the time. What they exposed was the anxious image of the artist’s body. By analysing the art photos by Rudolf Schwarzkogler, the paper shows how the wound is materialised as a topic of visual art.

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Lyons, Kieran. "The Grand Old Lady of Modern Art: Marcel Duchamp’s Nude Descending a Staircase." Leonardo 47, no. 5 (October 2014): 525–26. http://dx.doi.org/10.1162/leon_r_00882.

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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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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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Stevenson, Tom. "The ‘Problem’ With Nude Honorific Statuary and Portraits in Late Republican and Augustan Rome." Greece and Rome 45, no. 1 (April 1998): 45–69. http://dx.doi.org/10.1093/gr/45.1.45.

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In his seminal work, The Power of Images in the Age of Augustus, Paul Zanker wrote of a problem with nude honorific statuary in Late Republican Rome and of ‘conflict and contradiction’ in the style of Roman portraits during the same period. The ‘problem’ was a matter of nudity and style; it also had a moral dimension. Under political or social pressure, there was a tendency at Rome to express the effects of cultural change in moral terms: viz., literary works concerned with political or social attitudes of the Romans tended to describe elements like luxuria and adulatio(‘luxury’ and ‘sycophancy’) as ‘Greek and decadent in contrast to good, honest, ‘Roman’ values and traditions, such as virtus (‘courage’), fides (‘good faith’), and pietas (‘devotion’). Taking his cue from such attacks on aspects of the hellenization of Rome, Zanker gave a moral dimension to the ‘conflict and contradiction’ he discerned in the style of Roman honorific statues and portraits of the second and first centuries B.C. This idea that art can express moral values, even moral conflict, is of great interest and fundamental significance. The present paper focuses upon the way Zanker applies it to Late Republican statues and portraits in the light of recent scholarship. In particular, it will be argued, firstly, that the form of the art does not really make sense if there was as much conflict with Greek ideas and styles as generalizations from the literary sources might imply; secondly, that a nude or partially nude portrait statue of a living noble or emperor was not as problematic at Rome as is commonly believed; and thirdly, as a consequence, that Zanker's views about moral conflict in the style of Late Republican statues and portraits, and about the stylistic resolution of this ‘conflict’ under Augustus, should be substantially modified.

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37

Zholkovsky, Alexander. "Digital High: The Art of Visual Seduction?" Arts 11, no. 5 (September 28, 2022): 97. http://dx.doi.org/10.3390/arts11050097.

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The paper focuses on the structure of an advertising image for a 2010s computer company in the neo-capitalist Moscow, Russia. The analysis looks back to the pioneering studies of advertising as a commercial “applied art” by Sergei Eisenstein, Leo Spitzer and Roland Barthes. The picture’s plot and composition are shown to be a consistent and sophisticated near-artistic design that uses textual puns, poetic topoi and visual stereotypes (in particular, sex appeal) for the promotion of the advertised merchandise (a smartphone). The psychological naturalization of the design is clarified with references to the insights of Sigmund Freud, Heinz Kohut and Gerard Genette into the dynamics of narcissism. In a widening circle, the contextualization of the design involves: the literary topos of using birds in love poetry (made famous by its treatment in the lyrics of the Roman poet Catullus) and in painterly variations on the theme; the narcissist discourse of a modern Russian poet (Eduard Limonov); and the grand pictorial tradition of portraying a nude (Venus) before the mirror (relevant classical canvases are considered briefly).

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38

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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Felter-Kerley, L. "The Art of Posing Nude: Models, Moralists, and the 1893 Bal des Quat'z-Arts." French Historical Studies 33, no. 1 (January 1, 2010): 69–97. http://dx.doi.org/10.1215/00161071-2009-021.

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Sharma, Sudhirendar. "The Seduction of Curves:The Lines of Beauty that Connect Mathematics, Art, and the Nude." Current Science 115, no. 4 (August 1, 2018): 783. http://dx.doi.org/10.18520/cs/v115/i4/783-783.

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Mathews, Patricia. "Returning the Gaze: Diverse Representations of the Nude in the Art of Suzanne Valadon." Art Bulletin 73, no. 3 (September 1991): 415. http://dx.doi.org/10.2307/3045814.

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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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Hajdú, Attila. "Lukianos és Kallistratos műtárgyleírásai: szöveg és hagyomány." Antikvitás & Reneszánsz, no. 1 (January 1, 2018): 21–40. http://dx.doi.org/10.14232/antikren.2018.1.21-40.

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Lucian of Samosata’s descriptions of works of art are invaluable for the studying of the Classical and post-Classical Greek sculpture. The Second Sophistic author does not only give accurate and detailed descriptions about Greek sculptures and paintings, but as a real connoisseur of art he also judges them from the perspective of aesthetics. In the first main part of my paper, I will focus on the characteristics of his descriptions by analyzing the nude figure of Aphrodite of Cnidus made by Praxiteles and the ‘eclectic’ portrait of Panthea. The aim of the second part of my paper is to present the essential features of Ekphraseis of the sophist Callistratus who lived in Late Antiquity (IV–Vth century AD). It has been disputed if Callistratus’ work inspired by the rhetorical exercises has any art history values. This paper also raises the question how the tradition of both Lucian and Callistratus could influence the description of the sculpture ‘Apollo Belvedere’ included in Winckelmann's epoch-making Art History.

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Prosser, David. "1 The Education of the Audience." Canadian Theatre Review 57 (December 1988): 17–21. http://dx.doi.org/10.3138/ctr.57.003.

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A recent issue of Toronto’s T.O. magazine (the one with the photo of film critic Jay Scott nude on the cover) devoted its feature space to reviews, by various hands, of the city’s reviewers. Scott was deemed “world-class” and “ sexy” by his reviewer, while food critic Joanne Kates was called “a star” by hers; art critic John Bentley Mays was granted to be “brilliant” if “often dead wrong.” And the theatre critics? Well, the theatre critics didn’t fare so well.

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Rindisbacher, Hans J. "The Seduction of Curves: The Lines of Beauty that Connect Mathematics, Art, and the Nude." European Legacy 24, no. 2 (November 2, 2018): 243–45. http://dx.doi.org/10.1080/10848770.2018.1538090.

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Banchoff, Thomas. "The seduction of curves: the lines of beauty that connect mathematics, art, and the nude." Journal of Mathematics and the Arts 12, no. 4 (October 2, 2018): 252–56. http://dx.doi.org/10.1080/17513472.2018.1527744.

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Sweeney, J. Gray. "The Nude of Landscape Painting: Emblematic Personification in the Art of the Hudson River School." Smithsonian Studies in American Art 3, no. 4 (October 1989): 43–65. http://dx.doi.org/10.1086/smitstudamerart.3.4.3108990.

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Dyke, Phil. "The Seduction of Curves: The Lines of Beauty That Connect Mathematics, Art, and the Nude." Leonardo 51, no. 3 (June 2018): 321–22. http://dx.doi.org/10.1162/leon_r_01626.

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Sweeney, J. Gray. "The Nude of Landscape Painting: Emblematic Personification in the Art of the Hudson River School." American Art 3, no. 4 (January 1989): 42. http://dx.doi.org/10.1086/424082.

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Li, Jia, Wenyu Feng, Huiping Lu, Yan Wei, Shiting Ma, Linfeng Wei, Qian Liu, Jinmin Zhao, Qingjun Wei, and Jun Yao. "Artemisinin inhibits breast cancer‐induced osteolysis by inhibiting osteoclast formation and breast cancer cell proliferation." Journal of Cellular Physiology 234, no. 8 (December 7, 2018): 12663–75. http://dx.doi.org/10.1002/jcp.27875.

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AbstractIn addition to being used to treat malaria, artemisinin (Art) can be used as an anti‐inflammatory and antitumor agent. In this study, we evaluated the effects of Art on osteoclast formation and activation and on the development of breast cancer cells in bone. To evaluate the effect of Art on osteoclast differentiation in vitro, we treated bone marrow‐derived macrophages (BMMs) with various concentrations of Art and evaluated the expression of genes and proteins involved in osteoclast formation. We also performed cell counting kit‐8 assays to evaluate the toxicity of Art in BMMs and MDA‐MB‐231 cells. We also performed Transwell assays, wound‐healing assays, colony formation assays, and cell apoptosis assays to evaluate the effect of Art in MDA‐MB‐231 cells. We also evaluated the effect of Art in an in vivo osteoclast bone resorption assay using a nude mouse model. We demonstrated that Art inhibits the differentiation and establishment of osteoclasts even though Art is not toxic to osteoclasts. In addition, Art reduced expression of genes involved in osteoclast formation and inhibited osteoclast bone resorption in a concentration‐dependent manner. Based on our data, we believe that Art can inhibit proliferation of breast cancer cells by activating apoptosis pathways, and inhibit osteoclast formation and differentiation by inhibiting activation of cathepsin K, ATPase H+ transporting V0 subunit D2, nuclear factor of activated T cells 1, calcitonin receptor, and tartrate‐resistant acid phosphatase and by inhibiting nuclear factor‐κB activation.

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