The Body Nude: some key points The nude = a product of art, not just a naked person. The male nude: primary subject of ancient Greek sculpture (the

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  • The Body Nude: some key points The nude = a product of art, not just a naked person.The male nude: primary subject of ancient Greek sculpture (the ultimate source of the idealised nude in art) and much classical art until late 18th century.Controlling and containing the body; seductive but not obscene.In some 19th century paintings, both academic and avant-garde, the gaze of the (male) viewer is exposed, and voyeurism is itself scrutinised and questioned.Painterly treatment of the nude can reveal the fact that a painting is a construction, not a replication of reality, but it can also betray a more intense, emotional response.Naturalistic representations of the nude eliminate the disguise of narrative, along with classical conventions such as idealisation the body.

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  • 22. Degas, Woman with a Lorgnette27. Cassatt, Woman in Black at the Opera, 1880

  • 22.28. Czanne, A Modern Olympia, 1873

  • 28. Czanne10. Manet

  • 1. Self-Portrait with Easel, 1885-87Form and Space:Nothing to Hide:Czanne andPost-Impressionism

  • 2.3.4.5.

  • 6. The Abduction, 18677. The Murder, c1867-68 9. Still Life: Skull and Candlestick, c18668. Self-Portrait, 1861-62

  • 4. The Large Bathers, 1898-1905

  • 11. Bathers, 1892-9410. Bathers, 1890-91

  • 12. The Large Bathers, 1900-19054.

  • 13. Mont Sainte-Victoire, 1904-614. Mont Sainte-Victoire, 1906

  • Fleeting, transient effectsAtmosphericPainted rapidly and spontaneously

    Objective record of optical phenomenaEnduring, timeless

    Solid and substantialPainstaking, calculated constructionIntense subjective response to the subjectImpressionismCzanne(Post-Impressionism)

  • 13. Mont Sainte-Victoire, 1904-614. Mont Sainte-Victoire, 1906

  • 15. In the Park of the Chateau Noirc189816. Winding Road in Provencec1868

  • 18. The Thaw, 1870-7117. Turn in the Road, 1881

  • 20. Pissarro, The Road to Ennery, 187419. Czanne, The Sea at LEstaque, 1882-85

  • 19. The Sea at LEstaque, 1882-85

  • 19.7. The Murder

  • 20. Pissarro, The Road to Ennery, 187419. Czanne, The Sea at LEstaque, 1882-8521. CzanneThe House of the Hanged Man, 1872-73

  • Displacement of drama and emotion:1860s: Figures enact violent and disturbing events in landscape settings.

    1870s onwards: Figures are absent, but the landscape is invested with emotion via the formal qualities of the paintings: dramatic or ambiguous spatial effects; brooding or jarring colours; collisions of foreground and background.

  • 22. House and Farm at Jas de Bouffan, 1889-9019.

  • 22. House and Farm at Jas de Bouffan, 1889-9023. A Modern Olympia, 1869-70

  • 24.Madame Cezanne in Redc1880-1889

  • 25. Still Life with a basket, 1888-90

  • Spatial effects:Problem of representing 3-dimensional objects on a 2-dimensional surface.Attention to surface structure rather than coherent treatment of objects in space.Multiple viewpoints rather than single, static viewpoint.Moving around objects succession of different perspectives.Tipped-up viewpoint everything displayed prominently no distant space.

  • 25. Still Life with a basket, 1888-90

  • 26. Still Life (detail), 1895

  • 27. Ginger Jar and Fruit, c189528. Still Life: Sugar Pot, Pears and Blue Cup, c1866

  • 29. Still Life with Skull, 1895-190030. Still Life: Skull and Candlestick, c1866

  • 32. Pyramid of Skulls, c190131. Three Skulls, 1900

  • 6. The Abduction, 1867

  • 7. The Murder, c1867-68

  • Two sides to Czanne The formal structure of Czannes paintings is significant particularly his juxtaposition of colour-patches to create a sense of space.

    The intensely emotive aspects of Czannes paintings are also important, though often overlooked. Throughout his career he produced works that appear disturbing, dramatic and disjunctive.