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By Artspace Editors. The excerpts come from Phaidon's new book The Art Museum that features works selected from curators, art historians, and educators from across the globe, culled from hundreds of museums, galleries, and collections internationally. Yes please! Venus of Willendorf, Gravetian Period, c. This rare stone example of a Venus figurine, originally colored red, comes from a campsite at Willendorf, in lower Austria.
The face is looking down, the head covered by an elaborate hat. Female Figurine, c. Part of the Neolithic 'mother-goddess' tradition, this figurine's abundant breasts and hips suggest links to fertility and procreation. Her hair was probably painted black; brown ochre would have covered the body, and her necklace was probably yellow. Her seated posture, with arms crossed under the breasts, is common throughout the region, as is her extravagant hairstyle.
Room Hellenistic Sculpture and Portraiture. Aphrodite, Eros, and Pan c. Aphrodite, goddess of love, with her left hand shielding her pudenda, playfully threatens the demigod Pan, while her son Eros flutters overhead. The sandal is an allusion to lovemaking, for ancient erotic scenes often depict slapping with sandals as a form of sexual stimulation.
Capitoline Venus, 2nd century ad; marble; H: 6 ft. This statue of Venus Aphrodite caught nude in her bath is based on the first major nude representation of Find naked girls in Durham New York female body in Greek art, a statue carved by Praxiteles in the fourth century bc. Depictions of beautiful naked women became a popular Venetian genre in the sixteenth century, commissioned by male patrons for their private chambers. Jan van Scorel, Death of Cleopatra c. Van Scorel — was mesmerized by the sensuous paintings he saw in Venice, especially depictions of beautiful nudes in lush landscapes.
This painting of Queen Cleopatra shows in its composition, colors and loose brushwork how thoroughly van Scorel absorbed Venetian art, particularly that of Georgione. Artemisia Gentileschi, Venus and Cupid, c.
The subject of nudity was a fraught one in the seventeenth century. On the one hand, continuing fascination with Classical antiquity encouraged artists to depict the nude; on the other, Counter-Reformation writers warned against what they saw as indecency and lustfulness in art. Works such as this, however, appear to have been tailored to the taste of male patrons. Room The Nineteenth-Century Body. Over the course of the nineteenth century, depiction of the nude in painting and sculpture underwent a ificant shift, both stylistically and conceptually, away from a classicized, idealized body.
Female figures predominated, engendering debate about the purpose of art and its use in defining social space and social mobility, as well as prompting anxieties about sexual mores and gender roles. For artists of the nineteenth and early twentieth centuries, the work of Jean-Auguste-Dominique Ingres was one of the most important models for representing the female nude. This powerful female form was made to guard ancestral relics of the Fang people.
Her muscular build attests to her ability to combat supernatural threats.
She was placed on a cylindrical bark box that held ancestral skulls and long bones. Earlier sketches show the composition in landscape format, with a sailor in the background, implying a brothel setting. The final composition teeters between a theatrical scene, with the woman at the left seeming to draw back a curtain, and an undecipherable combination of still-life, nudes and indefinable interior.
This canvas exemplifies the notion of primitivism as possessing a savagery and uncivilized abandon that artists found both exciting and liberating. In a series of transformative actions, including covering herself in paint, grease, chalk, fur, feathers and garden snakes and ritually dancing around her loft space, Schneeman retakes control of her body from the male gaze.
With a background in painting, she undertakes Find naked girls in Durham New York work to further this association and infuse herself in her medium. Yasumasa Morimura b. Here, Morimura creates an ironic parody of the traditional female nude.
References to his nationality, including the kimono on which he lies and the maneki cat a type of Japanese mascotfurther align his own identity with the art historical tradition. We offer exclusive works you can't find anywhere else. Collecting with us means you're helping to sustain creative culture and supporting organizations that are making the world a better place.
We have the resources to find works that suit your needs. Artspace offers you authentic, exclusive works from world-renowned artists, galleries, museums and cultural institutions. Collecting with us helps support creative culture while bringing you art news, interviews and access to global art resources. in for personalized experiences, exclusive access to new works, special offers, invitations and features. up to view price and receive personalized experiences exclusive access to new works, special offers, invitations and features.
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