Nudes , livre ebook

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© Lucian Freud

All rights reserved. No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyrights on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case we would appreciate notification
Foreword

“I wished to suggest by means of a simple nude, a certain long-lost barbaric luxury.”

— Gauguin
TABLE OF CONTENTS



Foreword
Contents
Lucas Cranach the Elder (1472-1553)
Diego Velázquez (1599-1660)
Francisco Goya (1746-1828)
Jean-Auguste-Dominique Ingres (1780-1867)
Gustave Courbet (1819-1877)
Edgar Degas (1834-1917)
Auguste Rodin (1840-1917)
Auguste Renoir (1841-1919)
Gustav Klimt (1862-1918)
Félix Vallotton (1865-1925)
Pablo Picasso (1881-1973)
Amedeo Modigliani (1884-1920)
Egon Schiele (1890-1918)
André Masson (1896-1987)
Index
The Bather of Valpinçon (The Great Bather)
Jean-Auguste-Dominique Ingres, 1808
oil on canvas, 146 x 97.5 cm, Musée du Louvre, Paris
Contents

Bacon, Francis
Bacon, Francis
Balthus
Beckmann, Max
Blanchard, Jacques
Bonnard, Pierre
Bonnard, Pierre
Botero, Fernando
Botticelli, Sandro
Boucher, François
Boucher, François
Brauner, Victor
Cabanel, Alexandre
Caravaggio
Cézanne, Paul
Cézanne, Paul
Cézanne, Paul
Corot, Camille
Courbet, Gustave .
Courbet, Gustave
Courbet, Gustave
Courbet, Gustave
Courbet, Gustave
Cousin, Jean
Coypel, Noël-Nicolas
Cranach the Elder, Lucas .
Dalí, Salvador
Dalí, Salvador
Dalí, Salvador
Dalí, Salvador
Degas, Edgar
Degas, Edgar
Degas, Edgar
Degas, Edgar
Degas, Edgar
Delacroix, Eugène
Delacroix, Eugène
Denis, Maurice
Donatello
Duchamp, Marcel
Dufy, Raoul
Dürer, Albrecht
Ernst, Max
Flandrin, Hippolyte
Freud, Lucian
Gauguin, Paul
Gauguin, Paul
Gauguin, Paul
Gauguin, Paul
Gentileschi, Artemisia
Giorgione
Girodet-Trioson, Anne-Louis
Goya, Francisco
Guérin, Pierre Narcisse
Guérin, Pierre Narcisse
Ingres, Jean-Auguste-Dominique
Ingres, Jean-Auguste-Dominique
Kahlo, Frida
Kirchner, Ernst Ludwig
Klimt, Gustav

Klimt, Gustav
Klimt, Gustav
Klimt, Gustav
Larionov, Mikhail
Léger, Fernand
Lempicka, Tamara de
Magritte, René
Man Ray
Man Ray
Man Ray
Man Ray
Man Ray
Manet, Edouard
Masson, André
Michelangelo
Michelangelo
Millet, Jean-François
Modigliani, Amedeo
Modigliani, Amedeo
Modigliani, Amedeo
Modigliani, Amedeo
Moreau, Gustave
Munch, Edvard
Picabia, Francis
Picasso, Pablo
Picasso, Pablo
Picasso, Pablo
Polykleitos
Poussin, Nicolas
Raysse, Martial
Rembrandt
Renoir, Auguste
Renoir, Auguste
Renoir, Auguste
Renoir, Auguste
Renoir, Auguste
Rodin, Auguste
Rodin, Auguste
Rodin, Auguste
Rubens, Peter Paul
Rubens, Peter Paul
Rubens, Peter Paul
Rubens, Peter Paul
Schiele, Egon
Schiele, Egon
Schiele, Egon
Schiele, Egon
Schiele, Egon
School of Fontainebleau
Tintoretto
Titian
Toulouse-Lautrec, Henri de
Toulouse-Lautrec, Henri de
Toulouse-Lautrec, Henri de
Toulouse-Lautrec, Henri de
Valadon, Suzanne
Vallotton, Félix
Vanloo, Carle
Velázquez, Diego
Wesselmann, Tom
Just as there is a fundamental difference in the use of the words naked and nude, the unclothed body can evoke a feeling of delight or shame, serving as a symbol of contradictory concepts – Beauty and Indecency. This distinction is explored by Kenneth Clark at the beginning of his famous book The Nude . Earlier still, Paul Valéry devoted a special section of his essay on Degas to this subject.

Doryphorus (Spear Carrier)
c. 440 BC
marble copy after a Greek original by Polykleitos
Museo Archeologico Nazionale, Naples

It is that whi ch provides grounds for separat – ing depictions of the nude body as a special genre. Deriving from the Ancient World ’ s cult of the beautiful body and celebrated by the artists of the Renaissance, the nude became an inseparable element of works belonging to various genres. Here there is a whole range of gradations – from the sanctified nude of Christ in His Passion to the extremely free nakedness of nymphs, satyrs and other mythological figures.

Barberini Faun
c. 200 BC
marble copy after a Hellenic original
h. 215 cm
Glyptotek, Munich

This indicates that for a long time the nude was required to be placed in a subject-genre context, outside of which it was perceived as something shameful. The evolution of European painting provides a good demonstration of how the bounds of the possible were expanded and the degree of aesthetic risk in this region decreased. If the word nude might sound odd when used in reference to the noble bareness of Poussin ’ s characters, it is entirely acceptable for Boucher ’ s unclothed figures.

David
Donatello, c. 1430
bronze, h. 185 cm
Museo Nazionale del Bargello, Florence

The relative autonomy in the depictions of the bare body, which can be taken as a sign of the formation of a specific genre, is a fairly late phenomenon. Théodore Géricault ’ s Study of a Male Model , for example (Pushkin Museum) is of particular value. It is indubitab ly a prepara tory work, a study of the naked body, and its ancillary character is evident, but a view in retrospective changes the meaning and value of depiction, since today we see this model as one of the future characters in the drama acted out on the Raft of the Medusa .

The Birth of Venus
Sandro Botticelli, 1484-1486
tempera on canvas, 180 x 280 cm
Galleria degli Uffizi, Florence

The hand of the twenty-year-old Géricault possesses the power of a genius. The energetic chiaroscuro moulding endows the painting with sculptural qualities, but a superb sense of rhythm harmonizes the illusion of volume with flatness. An expressive contrast to Géricault ’ s study is provided by Thomas Couture ’ s Little Bather (Th e Hermitage Museum). The motiva tion for the nu de is of no fundamental signifi cance (the painting has also been called Girl in a Garden ), since the girl incarnates sinless beauty and naïveté.

David
Michelangelo, 1501-1504
marble, h. 410 cm
Galleria dell’Accademia, Florence

Eloquent testimony to the maturity of the genre comes with Renoir ’ s magnificent Nude in the Pushkin Museum collection. It seems that all the merits of French taste in painting are reflected in this image of a gloriously flourishing nude. With the elusive combination of natural stance and pose, Renoir achieved just as subtle an effect as with the richness of his palette. The artist ’ s brush revels in the delights of the nude with that immediacy, which is possible only in the spontaneous relations between painter and model.

Self-Portrait
Albrecht Dürer, c. 1503
Bibliothèque Nationale, Paris

At the same time, Nude signals the fact that the model is already the sovereign heroine of the painting. In this context it is worth recalling that, according to his own words, Degas was representing honest women, who when naked were only engaged in their own affairs. It ’ s as if they were seen through the keyhole. Degas ’ s mod els are indeed entirely indepen dent. His image of nudity is self-sufficient in terms of subject and aesthetics.

Ignudi
Michelangelo, c. 1508
ceiling of the Sistine Chapel
Vatican Museums, Rome

His celebrated series of nudes – bathing, washing, drying themselves – represent a whole world of intimate feminine daily existence. Yet for all the life-like naturalness of his motifs, the expression “daily existence” does not prove entirely correct, as the bodily motions of his nude women find their source of inspiration in the ancient Venus. Was that not what prompted Renoir to compare one of them with a fragment of the Parthenon?

Sleeping Venus
Giorgione, c. 1508-1510
oil on canvas, 108.5 x 175