enhancing their feelings of masc

http://wnude.com/topic/wet-and-nude-topic-about-beach-teen-hot-at.php , looking at naked guys 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 men eith
er rejected the pictures, or stressed their
indifference (maybe to distance
themselves from homosexuality)
. Eck discovered that it was only
Considerably more difficult for both sexes to talk about pictures of the male nude.
It’s no wonder that the
nude man is more obscure than the female nude
! We just do not know what to make with
him. But almost definitely our discomfort with
the male naked, and the noticeable lack of nicely
Understood male nudes in post-Renaissa
nce Western art is intertwine
d, and likely 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 decline in male nudes within the western
art historical perspec
tive can be understood by

the increase in vision of the female nude
during the nineteenth
century Salons. In
Trouble: A Crisis in Representation,
Abigail Solomon-Godeau describes that the male nude came
to represent the outdate
d ideals of the Academy.
The arrival of modernism arguably happened
during the nineteenth century, and given that
modernism represents the anti-Academy, it’s
Clear that artists started
to grow aweary of the Salon-favorable man nude story.
Solomon Godeau goes on to imply that while
the male nudes shown at the Academy tended
to be part of stories, their nudity representati
ve of heroism and the perfect man, the female nude
became increasingly detached from narrative and developed into its own genre.
For example,
consider Ingres’ (1780-1867) paintings
Achilles Receiving the Ambassadors of Agamemnon
(1801) and
Grande Odalisque
(1814). In
, the nude males are embedded in a story.
Although their nudity might seem unnecessary to our
contemporary eyes, the figures are still part
of a storyline. In
Grande Odalisque
, the bare female occupies the vast
majority of the picture plane,
and rather than making her part of
Story, Ingres paints her as
Story. So, the female
nude seems to have become so important that na
rrative is deemed unnecessary. While male bodies
need a reason to be naked, nude girls require no explanation. As the female nude gained
popularity as a subject, the male nude as part
of narrative art didn’t simply vanish. What
happened to the naked man in western artwork is wh
at Solomon-Godeau refers to as “man problem”
and “a crisis in representation.”
In other words, images of
men, specifically male nudes,
Experienced a change.
The Feminine Man
The interval w here 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 argues
that the revolution, and counter revolution
caused a cultural transformation, which
Changed gender ideologies. This “post-
Radical crisis in masculinity” is
represented in a ton of pictures from
well-known artists of
the eighteenth and
nineteenth century.
Before the female
nude apparently overpowered the male
nude as a genre in western art, a more
“Female” 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 era. The lack of a better
substitute for the word “feminine” is
Let us return to Ingres’ painting,
receiving the Ambassadors of Agamemnon
as an example of nineteenth century
imagery 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-arts.
Jean Auguste Dominique Ingres,
The Grande Odalisque,
1814. Oil on canvas, 91 x 182 cm, Musee du Louvre.
Godeau refers to this type of interaction as
homosociality, which can be recognized from
homosexuality because the “connections between
men are doubly charged, both along the perpendicular
axis of hierarchy and the horiz
ontal one of peer relations.”
So, the interactions between the guys
are differentiated by varied
distributions of electricity, a
nd additionally by a sense of male
community. The only girl in the painting is practically concealed in a dark room on the left, but
the feminine stances of the two nude men on the le
Feet 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 guys both in physique an
d height. Ingres re
veals a number of
Manly allure, for instance, female mascul
ine, making the female obsolete in the
case of