Nudes

By Jp. A. Calosse

Simply as there's a basic distinction within the use of the phrases "naked" and "nude", the unclothed physique can evoke a sense of enjoyment or disgrace, serving as a logo of contradictory recommendations - attractiveness and indecency. This e-book is dedicated to representations of the nude by means of nice artists from antiquity and the Italian Renaissance to French Impressionism and modern paintings; from Botticelli and Michelangelo to Cézanne, Renoir, Picasso and Botero. This superbly produced publication offers a set that may entice all artwork enthusiasts.

Show description

Quick preview of Nudes PDF

Best Art books

Art Theory: A Very Short Introduction

Concerning the sequence: Oxford's Very brief Introductions bargains concise and unique introductions to a variety of subjects--from Islam to Sociology, Politics to Classics, and Literary concept to historical past. no longer easily a textbook of definitions, every one quantity presents trenchant and provocative--yet consistently balanced and complete--discussions of the primary concerns in a given subject.

Contemporary Art: A Very Short Introduction

Modern artwork hasn't ever been so renowned, yet what's its position this day and who's controlling its destiny? modern paintings is meant to be a realm of freedom the place artists surprise, holiday taboos, flout typically bought rules, and turn among confronting audience with works of serious emotional profundity and jaw-dropping triviality.

Art, Emotion and Ethics

Paintings, Emotion, and Ethics is a scientific research of the relation of paintings to morality, an issue that has been of relevant and ordinary curiosity to the philosophy of artwork due to the fact Plato. Berys Gaut explores a number of the positions which have been taken during this debate, and argues that an paintings is usually aesthetically incorrect insofar because it possesses an ethical disorder that's aesthetically appropriate.

Resisting Abstraction: Robert Delaunay and Vision in the Face of Modernism

Robert Delaunay used to be one of many best artists operating in Paris within the early a long time of the 20 th century, and his work were well known ever on account that as one of the earliest merely summary works. With Resisting Abstraction, the 1st English-language research of Delaunay in additional than thirty years, Gordon Hughes mounts a strong argument that Delaunay was once not just one of many earliest artists to take on abstraction, however the in simple terms artist to provide his abstraction as a reaction to new medical theories of imaginative and prescient.

Additional resources for Nudes

Show sample text content

One hundred forty five, 157 Botero, Fernando . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 Botticelli, Sandro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Boucher, François . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . fifty five, fifty nine Brauner, Victor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Cabanel, Alexandre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ninety seven Caravaggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Cézanne, Paul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ninety nine, 111, one hundred thirty five Corot, Camille . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . seventy nine Courbet, Gustave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . eighty three, eighty five, 89, ninety one, ninety three Cousin, Jean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Coypel, Noël-Nicolas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . fifty seven Cranach the Elder, Lucas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Dalí, Salvador . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221, 223, 225, 231 Degas, Edgar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . one hundred fifteen, 117, 121, a hundred twenty five, 141 Delacroix, Eugène . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . seventy three, seventy five Denis, Maurice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . a hundred and fifty five Donatello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . thirteen Duchamp, Marcel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Dufy, Raoul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Dürer, Albrecht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Ernst, Max . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 Flandrin, Hippolyte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . seventy seven Freud, Lucian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Gauguin, Paul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127, 129, 131, 137 Gentileschi, Artemisia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Giorgione . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Girodet-Trioson, Anne-Louis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . sixty three five MS Nude 4C 09 July 04. qxd 6 7/10/2004 8:38 AM web page 6 MS Nude 4C 09 July 04. qxd 7/10/2004 8:38 AM web page 7 Goya, Francisco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . sixty five Guérin, Pierre Narcisse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . sixty nine, seventy one Ingres, Jean-Auguste-Dominique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . four, sixty seven Kahlo, Frida . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Kirchner, Ernst Ludwig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . one hundred sixty five Klimt, Gustav . . . . . . . . . . .

Download PDF sample

Rated 4.96 of 5 – based on 24 votes