From the art of the Greeks to that of Renoir and Moore, this work surveys the ever-changing fashions in what has constituted the ideal nude as a basis of humanist form.
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From the art of the Greeks to that of Renoir and Moore, this work surveys the ever-changing fashions in what has constituted the ideal nude as a basis of humanist form.
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His work is as densely packed with meaning as you might expect to find in the writings of Reinhold Niehbur yet is possessed of a wonderfully literary mask. The writing is so well done, one might accidently read right over the meaning in the haste of seeing what will come next.
If you're the highlighting or underlining type, I'd recommend saving such marking for the second read as more of the true significance bubbles to the fore. Put aside your expectations of a "typical" art history text and prepare for an incredible enlightenment.
Enjoy!
Approaching first the male nude ["Apollo"] from the Kouros of 600 BC through the vases, sculptures, reliefs, and paintings from all periods of history, he then moves to two views of the female nude - Venus I [the celestial female form] and Venus II [the woman of earthly form]. Having laid the foundation for the use of the nude in general, he then addresses the artistic emotions of Pathos, Energy, and Ecstasy in a manner that is near novel-like in reading. He closes his lecture series/book with a thought-provoking discussion of how man has viewed the nude through history, vacillating between laud and honor to the depiction of guilt, of the human stain. And finally he demonstrates in "The Nude As An End In Itself" both the occult appropriation of repeated forms and the acknowledged plagiarism of the nude studies from the earliest to the current. The Book is generously illustrated but in the paperback version available the illustrations are in black and white only. This profound and warmly human book is a must for artists and art lovers alike. Highly Recommended