enhancing their feelings of masc

http://nudismphotos.net/?p=164 , looking at bare men can cau
se them to worry about their
perceived heterosexuality. The me
n that Eck interviewed didn’t
tend to compare their bodies to
the guys they were revealed. Rather, the guys eith
er rejected the pictures, or highlighted their
indifference (possibly to distance
themselves from homosexuality)
. Eck found that it was only
much harder for both sexes to talk about images of the male naked.
It’s no wonder that the
nude man is more obscure than the female nude
! We simply do not know what to make with
him. But nearly surely our distress with
the male bare, and the evident deficiency of nicely
Understood man nudes in post-Renaissa
nce Western artwork is intertwine
d, and probably even cyclical.
So, maybe we should explore why male nude
s fell out of favor in the first place.
The Decline of the Male Nude
The decrease in male nudes within the western
art historical perspec
tive can be comprehended by
the boost in imagery of the female nude
during the nineteenth
century Salons. In

Problem: A Crisis in Representation,
Abigail Solomon-Godeau clarifies the male nude came
to symbolize the outdate
d ideals of the Academy.
The arrival of modernism arguably occurred
during the nineteenth century, and given that
modernism signifies the anti-Academy, it’s
Clear that artists began
to grow aweary of the Salon-favorable male nude story.
Solomon-Godeau goes on to indicate that while
the male nudes shown at the Academy tended
to be part of stories, their nudity representati
ve of heroism and the perfect guy, the female nude
became increasingly detached from story and developed into its own genre.
For instance,
consider Ingres’ (1780-1867) paintings
Achilles Receiving the Ambassadors of Agamemnon
(1801) and
Grande Odalisque
(1814). In
, the bare males are embedded in a narrative.
Although their nudity might appear unnecessary to our
contemporary eyes, the figures are still part
of a story. In
Grande Odalisque
, the naked female occupies the vast
majority of the picture plane,
and rather than making her part of
narrative, Ingres paints her as
Story. So, the female
nude seems to have become so relevant that na
rrative is deemed unnecessary. While male figures
need a reason to be naked, bare girls require no explanation. As the female nude gained
popularity as a matter, the male bare as part
of narrative art didn’t simply vanish. What
happened to the naked guy in western artwork is wh
at Solomon-Godeau refers to as “man problem”
and “a crisis in representation.”
To put it differently, images of
men, specifically male nudes,
Experienced a change.
The Feminine Guy
The period where the female nude
steadily began to replace the male nude
was about the thirty-year period
between the French Revolution and the
July Monarchy. Solomon Godeau asserts
that the revolution, and counter revolution
caused a cultural transformation, which
Changed sex ideologies. This “post-
Ground-breaking crisis in masculinity” is
represented in a multitude of images from
Well known artists of
the eighteenth and
nineteenth century.
Before the female
nude seemingly overpowered the male
Bare as a genre in western art, a more
“feminine” male nude enjoyed a heyday. I
use the term feminine to describe the
typical connotations
of femininity, though
not the term feminine is not as useful in
this day and age. The lack of a better
Replacement for the word “feminine” is
Let us return to Ingres’ painting,
receiving the Ambassadors of Agamemnon
as an example of nineteenth century
Vision that harkens back to the Greco-
Roman ideal of man. Actually, Solomon-
Jean Auguste Dominique Ingres,
Achilles Receiving the
Ambassadors of Agamemnon,
Oil on canvas, 113 x
146 cm, Ecole nationale superieure des beaux- blonde beach .
Jean Auguste Dominique Ingres,
The Grande Odalisque,
1814. Oil on canvas, 91 x 182 cm, Musee du Louvre.
Godeau refers to such a interaction as
homosociality, which can be differentiated from
homosexuality because the “relations between
men are doubly charged, both along the perpendicular
axis of hierarchy and the horiz
ontal one of peer connections.”
So, the interactions between the men
are recognized by changed
distributions of electricity, a
nd additionally by a sense of male
community. The only girl in the painting is practically hidden in a dark room on the left, but
the female postures of both naked guys on the le
Foot part of the painting, together with their glossy
white skin and flushed cheeks replace the need fo
r reclining woman. The muscular man to the far
right of
Rules the other men both in physique an
d stature. Ingres re
veals an assortment of
masculine appeal, for instance, feminine mascul
ine, making the female out-of-date in the
Instance of