Why is naked women’s paintings so common, why is it not common for naked men?
Why is naked men’s paintings not common?
Why is the proportion of women in naked painting is much higher than men?
I do n’t know if everyone feels like this. When we browse European painting in the nineteenth century, most of the human paintings we see are women: goddess, Eve, communication flower, prostitutes, Mu Yong or lying on women, etc. However, naked men’s works are rare.
Why is the proportion of women in naked painting is much higher than men? What factors have caused men to be naked more rare? Today we look at this issue from the level of aesthetics, society, gender.
The ideal beautiful man of the neoclassical school
First of all, the main cause of the images of naked men is caused by the admission of aesthetics and the increasingly micro -historical painting. In fact, before the early nineteenth century, the human body in Western art always targeted the ideal beauty of male nakedness.
Since the establishment of the European Art Academy since the establishment of the 16th century, he has been classical aesthetics as a Gui, so historical paintings have also been regarded as the most superior painting. In their opinion, men’s body and expression can most express the noble sentiments of the characters. At that time, the historical paintings were mostly based on ancient history, literature, and Bible, and mainly showed the story of heroes, saints, martyrs and other teachings in a magnificent pattern.
Therefore, the college painters must cultivate the ability to read classics and intellectual imagination, familiar with dissecting medicine, start from the male body in the ancient paintings and statues, advance to the human body sketch, reconcile ideal and true human body, and transform into grand narrative.
Male nude arts from the end of the eighteenth century to the beginning of the 19th century reached its peak. The “David’s Studio” that David Student Gu Xu waited for us to see the working environment of this school.
“David’s Studio”, 1814
In the quiet and simple room, a middle -aged male model took off his clothes, sitting on the square stool next to the heater like a statue, looking out of the window. The sun was projected on his tall body, Mu Ji supported his hands and feet, and a spare rope with auxiliary fixed gesture hanging on the wall. On the left side of the picture, there are more than a dozen young students of David David, holding various paintings, and fully focused on human sketches.
At that time, the painter had to describe the face and limb dynamics of one and more models, giving the classic beauty ideal shape, with various objects and backgrounds, and interpreting the key scene of classic stories.
“Agmannon Envoy Visiting Aquiris Camp”, 1801
David’s other student Angel also inherited the purely familiar techniques to portray the male body and master the trick to express complex narratives with the human body. “Agmannon Envoy Visiting Akiris Battalion” was a amazing work of the Roman Awards in 1801.
This scene is taken from Homer’s epic “Iliad”. Achilles and Petrox, who were standing in a closed war, were the essence of handsome young people, and their bones were flexible. The Greek coalition envoys Odysseus and Great Erus, they were in a queer and their lines were hard. Although Aquiris refused to return to the Troy War at this moment, the full painting was a strong masculine body, exuding the glorious glory of heroic friendship.
Historical paintings in the change of world wind
The college system maintains the lofty status of men in historical paintings. However, in 1840, the authority of the college was gradually challenged by modern artists, and historical paintings lost their absolute advantages, and hero -style nude no longer shines.
We can see the original majestic and solemn momentum of the original painting from Georom’s “Ancient Greek Youth Fighting Chicken” and convert it into a relaxed and intimate atmosphere. When the official salon appeared in 1847, the superb skills and vivid sense of presence were well received.
“Ancient Greek Youth Fighting Chicken”, 1846
The chicken is a traditional entertainment in ancient Greece. The rooster during the estrus dies decisively and died. The girl wearing a tulle was afraid, and it also set off the male spirit of the teenager to adults. It inherits the historical custom lines created by Dralo, chooses the ancient life theme of approachable people, and perspects the old daily customs of the old days.
Historical custom paintings mostly use the bright and smooth brushwork, integrate visual charm and main topics, and evoke the fun of seeing the anecdotes of historical anecdotes. It is like a simple and easy -to -understand sketch, grasping the details of life -winning life, and shortening the space -time gap between the audience and history.
However, at that time, the art critics also opposed the sound, pointing out that historical custom painting diluted the macro and insights of true historical painting, and reduced history into superficial appearance and kitsch entertainment. The poet Portlair, who has always been sharp, criticized Gealom’s too much craftsmanship, show off fine brushwork and archeological knowledge, but lacks deep imagination.
Portlair advocates imagination is the soul of romantic aesthetics and the key to modern art that touches people’s hearts. Yu did not inspire people’s hearts.
Although historical custom paintings will have a high history, it is not a strong enemy to kill historical paintings. The opponents who truly weaken historical painting forces are actually increasingly modern creators. They are dissatisfied with the deep -rooted painting class of the college, so they resist the cultural hegemony of historical painting.
In addition, middle -class audiences have become the main force of art sponsorship and consumption, and they prefer paintings, custom paintings, landscape paintings, and still paintings. In response to the transformation of this world style, conservatives sighs that the middle class’s historical and cultural has insufficient cultivation, and it tastes vulgar and short. The enlightened people are glad that the decline of historical paintings represents the disintegration of divine power and monarchy. Angel, a classic master Angel in 1867, died, and even sounded the funeral clock of historical paintings.
Looking for modern beauty
In the middle of the nineteenth century, the highest status of classical aesthetics fell in crisis. The ideal male model inherited by the college also seemed unsuccessful and useless in the development trend of modern art.
Dumier’s ironic comic “Controversy of Painting School: Idealist Fighting Realism” shows that the barriers to artistic trends at that time were clear. In this witty confrontation scene, the classicist painter hanging up the old and the short -lived actors.
“Conflict of Painting: Idealism Fighting Realism”, 1855, stone version of the stone version
The appearance of the old painter came from David’s Shabin City woman. The original Roman king’s heroic and upright posture was ridiculed into a thin and relaxed old man, and he tried to compete. The rustic and realistic painter in the soil came to make the old painter’s naked body look fragile and funny.
Realism advocates living in the contemporary times, embracing nature and ordinary, and undoubtedly impacted the ideal beauty of classicalism. In the 1846 Salon comments, Portlair encouraged artists to observe the lives of the city of Xiaomin, the popular things in the glittering world, and even look for modern hero spirit and aesthetics from criminals and mistresses.
He believes that each era has its own beauty, and all beauty contains eternal and short -lived, that is, absolute and unique. Absolutely and eternal beauty is an abstract beauty extracted from different individuals; unique beauty comes from emotions, such as west Shi in the eyes of lover.
Portlair also cares about the direction of modern nude paintings: naked, the treasures of artists, and the elements of fame. They are very common and indispensable in ancient times and today, and they are on the bed, bathhouse, and anatomy theater. The style and theme of nude paintings in ancient and modern times are also rich in themes, but a brand new element appears, which is modern beauty.
There are two noteworthy points in this passage: First, modern nude paintings require a reasonable situation of naked body, such as bedrooms, bathhouses, and teaching hospitals. In the past, nude paintings came from the characters chanted by literary drama. Today, painting has no text basis, but it is in line with common sense of life.
Second, there is a need for emotional links between the painter and the object to convey the unique sense of modern human body. As a result, the beauty of the human body is separated from the classical Golden Ke law, and the aesthetic experience and emotional factors are inseparable.
Watch the gender attitude of nude painting
Since modern nude painting has opened a new field of vision, subject matter, and style, why is male naked painting uncommon? This is related to the role of gender differences in human painting.
In a patriarchal society, men often dominate the production, comments, transactions and collections of art. After a long time, the viewing habits and preferences of heterosexual men have become mainstream values. When naked painting fades from history, myths, and religion, it tends to be visual pleasure, psychological comfort, and functional functions.
British writer John Berger wrote in the “Watching Method” that the Renaissance was fell. Most of the sponsor and collector of naked female art were men. They were invisible protagonists. By watching and having naked female paintings, they confirmed that they were men.
Indeed, naked women’s works were trend in the 19th century salon exhibition, always attracting a large number of men to watch. However, such erotic images make female audiences embarrassed. Women’s experience in watching nude works is not as free as men, and their sights are trained by gender power.
“Xia Jing (Swimmer)”, 1869
Under the visual culture of heterosexual male, what is the power and way of watching the modern naked male painting? This becomes a topic that needs to be appropriate in terms of human beauty and context design.
“Xia Jing (Swimmer)” painted by Baziey is a rare man’s swimming group portrait, and was selected and exhibited in 1870. Master Bazie and Mono, the same college painter Graier, have the ability to sketch the human body, and refer to the Greek statue and the art of Renaissance.
In order to express the characteristics of the times, men wear swimming trunks and trousers, each with different expressions, physical fitness, and hairstyles, and integrate ideal beauty and modern beauty; and the background is painted by the landscape of the Ritz River in Monpelille, the hometown of Bazie, filled with early days. The brilliant glory of Impressionism.
In the past, most of the water maps were used as naked women, and the public was accustomed to the integration of women into nature. Bazie is brave to break the convention and put the eight men’s swimming, wrestling, sunbathing and other attitudes, and the three -dimensional work is now in the light and shadow of summer. From the prospects of the boys, to the men with wide clothes under the tree, all of them are in the warm air of the south.
This world may be taken from Bazie’s childhood memories, or the male space he wants to want. The overall composition is arranged in an orderly manner, the men’s movement is stable, and they are cautious to avoid any indulgence, exceeding moment, and feminine components. You know, under the social atmosphere that was terrified at that time, naked men’s paintings needed to exclude the front naked, suppressing the same sexual desire, and hiding the “deviation” reveriered by the mainstream society to be selected.
Today, when we look at “why naked women’s paintings are so common, is it rare for naked men’s works?” This question also means that gender consciousness and viewing methods in the early 21st century have become more open and diverse. When we look back at the naked men’s paintings in the nineteenth century, we will also find that men are not absent in exploring physical images and constructing self -identification in their self -identification.