He now became a nude and beardless youth, the type of the young athlete.
There is a sheet at the Louvre of much earlier date than the first idea or commission for this particular picture, containing some nude sketches for the arrangement of the subject; another later and farther advanced, but still probably anterior to the practical commission, at Venice, and a MS. sheet of great interest at the Victoria and Albert Museum, on which the painter has noted in writing the dramatic motives appropriate to the several disciples.
The evidences of this travel (which are really incontestable, though a small minority of critics still decline to admit them) consist of (1) some fine drawings, three of them dated 1494 and others undated, but plainly of the same time, in which Diirer has copied, or rather boldly translated into his own Gothic and German style, two famous engravings by Mantegna, a number of the "Tarocchi" prints of single figures which pass erroneously under that master's name, and one by yet another minor master of the North-Italian school; with another drawing dated 1495 and plainly copied from a lost original by Antonio Pollaiuolo, and yet another of an infant Christ copied in 1495 from Lorenzo di Credi, from whom also Diirer took a motive for the composition of one of his earliest Madonnas; (2) several landscape drawings done in the passes of Tirol and the Trentino, which technically will not fit in with any other period of his work, and furnish a clear record of his having crossed the Alps about this date; (3) two or three drawings of the costumes of Venetian courtesans, which he could not have made anywhere but in Venice itself, and one of which is used in his great woodcut Apocalypse series of 1498 (4) a general preoccupation which he shows for some years from this date with the problems of the female nude, treated in a manner for which Italy only could have set him the example; and (5) the clear implication contained in a letter written from Venice in 1506 that he had been there already eleven years before; when things, he says, pleased him much which at the time of writing please him no more.
No doubt Xander appreciated the half-nude woman on his iPad, but Jessi didn't.
It is reasonable, therefore, to conclude that ornament is a stimulus to sexual selection, and this conclusion is enforced by the fact that among many comparatively nude peoples clothing is assumed at certain dances which have as their confessed object the excitation of the passions of the opposite sex.
That the stimulus is real is seen in the fact that among nude races flagrant immorality is far less common than among the more clothed; the contrast between the Polynesians and Melanesians, living as neighbours under similar conditions, is striking evidence on this point.
Ran and still run about naked, the industrious work man upon the Egyptian monuments is often nude, and the worshipper would even appear before his deity in a state of absolute innocence.
The old Babylonian hero Gilgamesh and the Egyptian Bes (perhaps of foreign extraction) are nude, and so in general are the figurines of the Ishtar-Astarte type.
The skirts were held in place by a thick rolled belt, and the upper part of the body remained quite nude in the earliest times; but from the middle Minoan period onward we often find an important addition in the shape of a low-cut bodice, which sometimes has sleeves, either tight-fitting or puffed, and ultimately develops into a laced corsage.
Associating the nude solely with the performance of menial tasks, he deemed it worse than a solecism to transfer such subjects to his canvas, and thus a wide field of- motive was closed to him.
Amongst the finest of his classical pictures were - "Syracusan Bride leading Wild Beasts in Procession to the Temple of Diana" (1866), "Venus disrobing for the Bath" (1867), "Electra at the Tomb of Agamemnon," and "Helios and Rhodos" (1869), "Hercules wrestling with Death for the Body of Alcestis" (1871), "Clytemnestra" (1874), "The Daphnephoria" (1876), "Nausicaa" (1878), "An Idyll" (1881), two lovers under a spreading oak listening to the piping of a shepherd and gazing on the rich plain below; "Phryne" (1882), a nude figure standing in the sun; "Cymon and Iphigenia" (1884), "Captive Andromache" (1888), now in the Manchester Art Gallery; with the "Last Watch of Hero" (1887), "The Bath of Psyche" (1890), now in the Chantrey Bequest collection; "The Garden of the Hesperides" (1892), "Perseus and Andromeda" and "The Return of Persephone," now in the Leeds Gallery (1891); and "Clytie," his last work (1896).
With these, as a work produced without any literary suggestion, though very different in feeling, may be associated the "Eastern Slinger scaring Birds in the Harvest-time: Moon-rise" (1875), a nude figure standing on a raised platform in a field of wheat.
Another statue, "The Sluggard," of equal merit, was exhibited in 1886; and a charming statuette of a nude figure of a girl looking over her shoulder at a frog, called "Needless Alarms," was completed in the same year, and presented by the artist to Sir John Millais in acknowledgment of the gift by the latter of his picture, "Shelling Peas."
It is an athlete's style, all bone and sinew, nude, without superfluous flesh or ornament.
A statue of a female nude figure found at Nineveh bears an inscription showing it to have been in the palace of Assur-bel-kala (1080 B.C.), who is therefore supposed to have resided in Nineveh.
Under Napoleon, of whom in 1806 he made a nude statue now at Dijon, Houdon received little employment; he was, however, commissioned to execute the colossal reliefs intended for the decoration of the column of the "Grand Army" at Boulogne (which ultimately found a different destination); he also produced a statue of Cicero for the senate, and various busts, amongst which may be cited those of Marshal Ney, of Josephine and of Napoleon himself, by whom Houdon was rewarded with the legion of honour.
He attempted no subjects at all commensurate with those of his great woodcuts, but contented himself for the most part with Madonnas, single figures of scripture or of the saints, some nude mythologies of a kind wholly new in northern art and founded upon the impressions received in Italy, and groups, sometimes bordering on the satirical, of humble folk and peasants.
In the first three or four years of the 16th century, we find Diirer in his graverwork still contending with the problems of the nude, but now with added power, though by methods which in different subjects contrast curiously with one another.
The nude parts, such as face and hands, were of ivory, while the armour and drapery were of beaten gold.
Besides numerous fragments of nude and draped figures belonging to pedimental statues, a well-preserved and very beautiful head of a female divinity, probably Hera, as well as a draped female torso of excellent workmanship, both belonging to the pediments, have been discovered.
Of the metopes also a great number of fragments have been found, together with two almost complete metopes, the one containing the torso of a nude warrior in perfect preservation, as well as ten wellpreserved heads.
At Delphi a virgin superintended a similar oracle; and in the sacred grove of Apollo at Epirus a nude virgin-attendant brought See also B.
In height; it was begun in 1848, but the work was abandoned in 1855-1877, but was completed in 1884 at a cost of $1,300,000.2 Among statues of Washington are the half-nude seated figure (1843) by Greenough in the Smithsonian Institution, and an equestrian statue (1860) of Washington at the Battle of Princeton by Clark Mills in Washington Circle.
V.) a nude and roughly executed colossal figure of the god.
Yet in England the representation of the nude in art meets with no reproach, though considered improper by the Japanese.
The prevalent opinion, however, was that sovereignty was compatible with rights such as were possessed by the Reich over the princes of Germany; that there might be fiefs held in full sovereignty; and that vassal states, when subject only to "nude vassalage," were sovereign.
Of works certainly executed by him during his years of travel there are extant, besides the Basel wood-block, only a much-injured portrait of himself, very finely dressed and in the first bloom of his admirable manly beauty, dated 1493 and originally painted on vellum but since transferred to canvas (this is the portrait of the Felix Goldschmid collection); a miniature painting on vellum at Vienna (a small figure of the Child-Christ); and some half a dozen drawings, of which the most important are the characteristic pen portrait of himself at Erlangen, with a Holy Family on the reverse much in the manner of Schongauer; another Holy Family in nearly the same style at Berlin; a study from the female nude in the Bonnat collection; a man and woman on horseback in Berlin; a man on horseback, and an executioner about to behead a young man, at the British Museum, &c. These drawings all show Diirer intent above all things on the sternly accurate delineation of ungeneralized individual forms by means of strongly accented outline and shadings curved, somewhat like the shadings of Martin Schongauer's engravings, so as to follow their modellings and roundness.
Any one of these works will show how great an influence Millet's previous practice in the nude had upon his style.
Formerly the fakirs were always nude and smeared with ashes; but now they are compelled to wear some pretence of clothing.
The second group represents, first, the birth of Mithras; then the god nude, cutting fruit and leaves from a fig-tree in which is the bust of a deity, and before which one of the winds is blowing upon Mithras; the god discharging an arrow against a rock from which springs a fountain whose water a figure is kneeling to receive in his palms; the bull in a small boat, near which again occurs the figure of the animal under a roof about to be set on fire by two figures; the bull in flight, with Mithras in pursuit; Mithras bearing the bull on his shoulders; Helios kneeling before Mithras; Helios and Mithras clasping hands over an altar; Mithras with drawn bow on a running horse; Mithras and Helios banqueting; Mithras and Helios mounting the chariot of the latter and rising in full course over the ocean.