Sculptures and other paintings can be found here. Click on a picture to see an enlargement. To return here, use the Back button of the browser. Other paintings are here , here , here and here. Some of these pictures show explicit male nudity; the artists or photographers this applies to are marked with asterisks.
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The male nude laid bare
The top 10 male nudes in art | Art and design | The Guardian
Untitled Bronze 1 Chazen Museum of Art. By John De Andrea. Female Nudes in the Art of Classical Antiquity. The standing male nude kouros first became important in the sculpture of ancient Greece , which associated the male body with athletic prowess and moral excellence. However, attitudes towards female nudity were different. The female body was associated with the divinity of procreation, and for almost five centuries, the Greeks preferred to see the standing female kore clothed. Then in the 4th century BCE sculptor Praxiteles carved a naked Aphrodite, known as the Cnidian Aphrodite , which established a new aesthetic tradition for the female form.
Category:Paintings of nude standing females in the 19th century
Perhaps the history of the nude in art, which traditionally begins with the heroic male of Greek art of the classical period 6th - 5th century BC , should be pushed back to around , BC. This is the date of the tiny statuette, probably designed to be held in the hand, popularly called the Willendorf Venus and depicting a corpulent female. Like much early art, she was almost certainly a fertility symbol of some kind. Indian temple art, some dating from at least the 1st century BC, often depicts voluptuous female nudes. Again, these erotic figures had a serious religious function, representing various manifestations of fertility deities.
I n the Pompidou Centre in Paris staged a show entitled Feminine-Masculine, the Sex of Art, devoted to artistic interpretations of heterosexuality in the 20th century. The topic, never addressed by museums, raises key political, moral, social and artistic issues. However, it does require a structured approach. The show at the Pompidou Centre included references to the history of politics, social mores and ideas. Unfortunately, its successor is muddled, because it lacks any historical perspective, an absence that one of the curators, Guy Cogeval, defends as an asset, whereas it is merely a case of mistaken method.