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Titian, Venus of Urbino , , oil on canvas, Pictures of nude women confront us in art museums, advertisements, movies — seemingly everywhere. Renaissance artist Titian , for example, played a major role in popularizing a type of female nude that has become familiar to us, the centerfold.
A woman is shown naked, with soft, almost boneless, flesh, splayed out across the front of the picture plane, luxurious tresses contrasting with a complete lack of body hair. The centerfold either invites the viewer with a come-hither look or averts her gaze so that the viewer can indulge in the voyeuristic pleasure of seeing without being seen. Male nudes in the Renaissance, by contrast, were muscled, active, confident, athletic.
Michelangelesque male nudes personify masculine power in the world, as exemplified by this bronze sculpture of the Greek hero Hercules and the giant Antaeus, which appears in the exhibition The Renaissance Nude. Antico, Hercules and Antaeus , c. This exhibition asks us to think about the cultural implications and real-world consequences of representing and displaying the unclothed body and offers an opportunity to have much-needed discussions about the complicated, difficult legacy of the European convention of representing the nude.
This post offers four lenses through which twenty-first-century viewers might critically examine the nude in Renaissance art. Just as the first readers of Playboy claimed to read it for the articles, the men promoting Humanism in the Renaissance attempted to intellectualize the genre of the pliant female nude. Well into our era, male art historians such as Erwin Panofsky still encouraged us to see the female nudes of the Renaissance as Humanist meditations on Neoplatonic philosophy, to think of them principally as Ideas that are only incidentally shown enfleshed in smoking-hot bods.
