Naked Eve Figurine/Standing with Snake Bronzed Sculpture

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Dalí’s aim was precisely to make “hand- painted dream photographs” based on Freudian theories. In this work he returned to his “paranoiac critical method” inspired by psychoanalysis, which defended the view that images had multiple meanings open to several interpretations, to depict the body of Gala, his muse, immersed in a deep sleep from which she is about to be woken by the buzzing of the bee and the prod of the bayonet. In addition to her thriving OnlyFans presence, Eve Sweet also maintains an active presence on various social media platforms. She understands the importance of connecting with her fans and utilizes these platforms to engage with them on a more personal level. I want to say a nude. I don’t want to make a nude like a nude. I only want to say breast, say foot, say hand, belly. If I can find a way to say it, that’s enough. I don’t want to paint the nude from head to foot, but just to be capable of saying that. That’s what I want. When we talk about this, a single word is sufficient. Here, the nude says what it is with simply a gaze, without a word." The nymph’s posture recalls the famous Venus of Dresden and certain models used by Titian. However, Cranach eschewed the Italian influence and created a strictly German prototype of icy sensuality, a female canon of elongated forms, broad forehead, almond-shaped eyes, narrow shoulders, small breasts, long legs and a slightly rounded belly. Medieval theology made a distinction between several types of nudity: the nuditas naturalis of the newborn, the image of purity not yet contaminated by sin, like Adam and Eve in the Garden of Eden before the fall; nuditas temporalis, an involuntary situation caused, for example, by poverty; nuditas criminalis, provoked by the sexual appetite that entails condemnation of the soul, as found in those of a dissolute nature; nuditas virtualis, a nudity born of the decision to lead a life of renunciation, as exemplified by John the Baptist; and finally, nuda veritas, or the nudity of Christ on the cross.

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In Adam and Eve, Grien presents us with a magnificent study of the male and female bodies. Considered to be Dürer’s main disciple and closest collaborator, the artist developed a highly characteristic and expressive style that was far removed from his mentor’s Renaissance restraint and composure. When we compare this work with the one on the same theme by Dürer, on display at the Prado Museum, Baldung’s originality and the distance between the two artists are immediately evident. While Gemano-Austrian art was transfigured by a painful awakening, French artistic production was dominated, at least up to a point, by a desire to reinstate the nude in the history of a genre which, while certainly not without its problems, called for the reformulation of its limits. This redefinition of the gaze, a type of visual plenitude, is what characterises the Fauves. “What I dream of is an art of balance, of purity and serenity, devoid of troubling or depressing subject-matter [...] a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue,” said Matisse, the author of sensual works like Luxury, Calm and Pleasures (1904), Joy of Life (1905) and The Dance (1909). The Prints is undoubtedly one of the most complex works produced by Manguin. The two figures represent the same model: Jeanne, the artist’s wife, dressed and naked, facing one another. Since they are the same woman, the scene could be interpreted as the resolution of the conflict between model and wife, studio and home, or even artistic creation and daily life.

Nevertheless, over time, and in spite of the Christian horror of nudity, the naked figure of Christ was finally accepted as the canon in depictions of the Crucifixion. The early images of this key event in Christianity were of two types: those that showed the crucified Christ naked but for a perizoma or loincloth, and those that presented him in a tunic or colobium. Both types are rare in Palaeo-Christian iconography and none pre-date the fifth century, partly because the Church thought that inspiring depictions of the resurrection or miracles would gain more followers. Besides, Christ hardly ever showed any signs of suffering.

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Alice Sophia Eve was born on February 6th, 1982 in London, England. She is a famous British actress that is known for playing the role of Dr. Carol Marcus in Star Trek Into Darkness. The nudes created by Masaccio and Donatello at the dawn of the Renaissance would become some of the most significant works in the history of art. The human figure recovered its centrality, as the measure of all things and a favourite subject of philosophical speculation and artistic representation. Later on, the Mannerist period witnessed the triumph of the body in itself, while in the Quattrocento the certainties of humanism, which upheld nudity as the most complete expression of perfection, gradually gave way to a multiple vision. Non-naturalistic torsions of the body abounded and there was a progressive eroticisation of the subject, which became more sensual (as visitors may have seen in Bronzino’s Saint Sebastian in the previous room). A similar level of sophistication is found in the creations of Cranach and Baldung Grien, both of whom contributed to the triumph of the Mannerist nude in northern Europe.

This Blue Nude was the Russian artist’s response to the paintings he saw at Schukin’s home, and indeed the collector introduced him to new directions for his art. His principal source of inspiration were the young Polynesian girls in the paintings of Gauguin who, like so many other artists, viewed extra-European cultures as places still untainted by the corrupting influence of civilisation and bourgeois morality. The extraordinary glorification of the nude that took place during the Renaissance continued until the Council of Trent (1545-1563). A few years later a seminal text was published: the Discourse on Sacred and Profane Images (1582) by Cardinal Gabriele Paleotti, well-known for his zeal. His work set out the iconographical rules and principles that artists of the Counter-Reformation were to follow, in keeping with the new demands of worship: Whether she's posing on the beach, exploring the city's iconic landmarks, or simply showcasing her stunning physique, Eve Sweet's content captures the essence of Miami's allure. The nymph’s figure exudes a certain “Gothicism” in which stylisation takes precedence over anatomical accuracy. To appreciate the extent to which Cranach managed to imbue the Gothic body with a new style, it is interesting to compare this work with another one in the next room: Adam and Eve by Gossaert, an artist who went to great pains to create a synthesis between the Italian nude and the influence of Dürer’s work on his painting.

Numerous painters and sculptors attempted to offer a new formal and symbolic interpretation of the figure of Eve (see, for example, Baranov-Rossiné work in Room N), but Gauguin is credited as the first one to reinvent her because rather than presenting her as a counterpoint to the figure of Adam, he often painted her alone or accompanied only by the snake.