Clothed male, naked female  

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Image:The Luncheon on the Grass by Manet.jpg
The Luncheon on the Grass (Le déjeuner sur l'herbe) is an oil on canvas painting by Édouard Manet. Painted in the early 1860s, the juxtaposition of a female nude with fully dressed men sparked controversy when the work was first exhibited at the Salon des Refusés. See Venus in the 19th century

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Clothed male, naked (or nude) female (on the internet sometimes abbreviated to CMNF) is a genre of erotica featuring one or more nude women and one or more clothed men. Such a scenario is described as a sexual fantasy by some men and some women. A common but not essential feature of such fantasy scenarios is that the woman's one-sided nudity portrays the woman's sense of vulnerability and humiliation in relation to the clothed man.

One-sided female nudity can occur when a woman disrobes for the sexual pleasure of a man or other men, such as in a BDSM, sexual roleplay or other sexual activity, as an indication of sexual submission. Some women disrobe for men as a form of entertainment, such as during a striptease. One-sided female nudity in public is usually regarded as exhibitionism, streaking or flashing. The posing of a female art model in an art class can also involve one-sided female nudity but is less overtly sexualized.

The opposite to CMNF is clothed female, naked male (CFNM).



One-sided female nudity may involve sexual and nonsexual erotic scenarios. Sexual scenarios may involve male domination, female submission, exhibitionism and erotic entertainment. CMNF is also considered by some to be a form of sexual objectification of women. Feminist scholars argue that the one-sided female nudity is a form of objectification of women by reducing a woman's worth or role in society to that of an instrument for the sexual pleasure that she can produce in the mind of another. Pro-feminist cultural critics such as Robert Jensen and Sut Jhally accuse mass media and advertising of promoting the sexualization and objectification of women to help promote goods and services.

One-sided female nudity may also arise in nonsexual situations, such as figure drawing in an art class or a nude photo shoot. In several East African villages, by tradition women and girls do not wear clothing; clothing is considered to be part of the male role.

As a theme in art

One-sided female nudity has also been depicted in art, particularly in the Orientalist paintings of the 19th-century. A typical scene would often contain depictions of white slavery in which one or several nude females would be displayed before an audience of men as part of a slave auction. The archetypal example of this type of scene is Jean-Léon Gérôme's The Slave Market, in which a nude female slave is examined by a potential buyer. Another example is Gérôme's Phryné devant l'Areopage (Phryne before the Areopagus, 1861) which was based on the trial of Phryne before the Areopagus in ancient Greece. The odalisque (harem scene) was also a popular subject for depicting one-sided female nudity, although the clothed figures in the scene were not always male.

Outside of the Orientalist style, a less popular scenario for one-sided female nudity in 19th-century art was the knight-errant, in which the stereotype of the damsel in distress was used to explore the erotic subtext of the powerful knight coming to the rescue of a helpless female. The best known example of this is John Everett Millais' painting Knight Errant, in which a nude woman has been tied to a tree and a knight is shown cutting her loose. The painting initially created controversy when it was first displayed, because the nude female was shown facing her rescuer, a posture which was considered too sexually suggestive for European audiences. Millais repainted the figure so that she was looking away from her rescuer.

Édouard Manet's Le déjeuner sur l'herbe ("The Luncheon on the Grass"), in which a nude woman is depicted having lunch with two fully clothed men, is another famous painting whose themes were controversial when it was first displayed in 1863. The Pastoral Concert (c. 1510) attributed to Giorgione or his pupil Titian has been cited as an inspiration for Manet's painting.

In literature

One-sided female nudity has been a subject in literature, appearing in both fiction and non-fiction stories.

Entertainment columnist Earl Wilson details several experiences involving one-sided female nudity in his book Show Business Laid Bare. In the chapter titled "Cheri Caffaro: A Strange Interlewd," Wilson writes about his experience interviewing actress Cheri Caffaro while she was nude and he was fully dressed.

Erotic entertainment

Gatherings of men and women interested in viewing one-sided female nudity do occur, although the initialism CMNF is not always used to describe such activities. Beyond niche websites, CMNF continues to enjoy mainstream popularity at bachelor parties, strip clubs and erotic conventions, where the majority of viewers are male and the performers are female.

Professional situations

At times, one-sided female nudity may be encountered as part of a professional engagement, such as a female art model posing in an art class or a nude photo shoot. It may also arise on a film set, where the only nude person being filmed may be a woman.

One-sided female nudity has also been used in music videos, such as Black Velveteen by Lenny Kravitz and Thank U by Alanis Morissette.

See also


La Femme entre les deux âges[1] (ca. 1575) is an anonymous painting of the School of Fontainebleau .

Phryné before the Areopagus [4] by Jean-Léon Gérôme) is a trope of eroticism.

Unless indicated otherwise, the text in this article is either based on Wikipedia article "Clothed male, naked female" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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