User:Jahsonic/AHE/Renaissance/Gratuitous nudity
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| One more term needs to be added to the 'erotic vocabulary of Renaissance Everyman'. In both print and painting we see that eroticism is being practiced for the sake of eroticism, without allegorical meaning: gratuitous nudity, nudity for the sake of nudity. In contemporary film theory, the term 'gratuitous nudity' is often contrasted to 'functional nudity'. The earliest painting in this category is arguably the ''Venus of Urbino'', since it omits the references to mythology or the bible. There are two other striking paintings that show women with bare torso. The woman in the first painting is almost completely bare, apart from a transparent veil she has pulled up under her breasts, and supposedly was a sweetheart and/or model of Raphael. The work is called ''[[La Fornarina]]'' (image) called, which means the baker's daughter. The second work is ''[[Portrait of Woman Revealing her Breasts]]'' by [[Tintoretto]] [image] and it depicts a woman who is unbuttoning her garment for us and deliberately drawing it aside, showing her left breast. We even see her right nipple half flattened against the opened dress. Unlike the ''Venus of Urbino'', this woman looks away from us, what gives the canvas an air of strange excitement. | One more term needs to be added to the 'erotic vocabulary of Renaissance Everyman'. In both print and painting we see that eroticism is being practiced for the sake of eroticism, without allegorical meaning: gratuitous nudity, nudity for the sake of nudity. In contemporary film theory, the term 'gratuitous nudity' is often contrasted to 'functional nudity'. The earliest painting in this category is arguably the ''Venus of Urbino'', since it omits the references to mythology or the bible. There are two other striking paintings that show women with bare torso. The woman in the first painting is almost completely bare, apart from a transparent veil she has pulled up under her breasts, and supposedly was a sweetheart and/or model of Raphael. The work is called ''[[La Fornarina]]'' (image) called, which means the baker's daughter. The second work is ''[[Portrait of Woman Revealing her Breasts]]'' by [[Tintoretto]] [image] and it depicts a woman who is unbuttoning her garment for us and deliberately drawing it aside, showing her left breast. We even see her right nipple half flattened against the opened dress. Unlike the ''Venus of Urbino'', this woman looks away from us, what gives the canvas an air of strange excitement. | ||
| - | A perverse-looking painting is an amorous trio of an anonymous artist from an original by [[Titian]] ([[Amorous Scene (after Titian)|image]]) in the [[Casa Buonarroti]]. The painting shows a woman flanked by two men. The man to the left dominates the picture and look us straight in the eye, his left arm rests on the shoulder of the woman, his right hand slides under her dress to grasp her breast. The man in the upper right focuses his rarefied glance over the shoulder of the woman to the left of the canvas. The hand on her shoulder, his hand would be. The impossibility of this work to interpret the move only erotic luster. | + | A perverse-looking painting is an amorous trio of an anonymous artist from an original by [[Titian]] ([[Amorous Scene (after Titian)|image]]) in the [[Casa Buonarroti]]. The painting shows a woman flanked by two men. The man to the left dominates the picture and look us straight in the eye, his left arm rests on the shoulder of the woman, his right hand slides under her dress to grasp her breast. The man in the upper right directs his vacant gaze over the shoulder of the woman to the left side of the canvas. The hand on her shoulder might just as well be his hand. The impossibility to interpret this work adds to its erotic [[luster]]. |
| - | ==Original== | + | |
| - | In het tweede werk, Portret van een vrouw die haar borsten ontbloot van Tintoretto [beeld], heeft de vrouw een kleed aan dat ze voor ons ontknoopt heeft en dat ze opzettelijk opzij trekt om haar linkerborst te tonen, haar rechtertepel zien we half platgedrukt tegen het geopende kleed zitten. Anders dan bij de Venus van Urbino kijkt de tweede vrouw van ons weg, wat het beeld vreemd genoeg eens zo opwindend maakt. | + | |
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| - | Een pervers aandoend schilderij is een amoureus trio van een anonieme kunstenaar naar een origineel van Titiaan [beeld] in het Casa Buonarroti. Het schilderij toont een vrouw geflankeerd door twee mannen. De linkerman domineert het beeld en kijkt ons recht in de ogen, zijn linkerarm rust op de schouder van de vrouw, zijn rechterhand glijdt onder haar kleed om haar borst te vatten. De man in de rechterbovenhoek richt zijn ijle blik over de schouder van de vrouw naar de linkerkant van het doek. De hand op haar schouder zou ook zijn hand kunnen zijn. De onmogelijkheid dit werk te interpreteren zet het alleen maar erotische luister bij. | + | |
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| {{JWG}} | {{JWG}} | ||
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Machine translation
One more term needs to be added to the 'erotic vocabulary of Renaissance Everyman'. In both print and painting we see that eroticism is being practiced for the sake of eroticism, without allegorical meaning: gratuitous nudity, nudity for the sake of nudity. In contemporary film theory, the term 'gratuitous nudity' is often contrasted to 'functional nudity'. The earliest painting in this category is arguably the Venus of Urbino, since it omits the references to mythology or the bible. There are two other striking paintings that show women with bare torso. The woman in the first painting is almost completely bare, apart from a transparent veil she has pulled up under her breasts, and supposedly was a sweetheart and/or model of Raphael. The work is called La Fornarina (image) called, which means the baker's daughter. The second work is Portrait of Woman Revealing her Breasts by Tintoretto [image] and it depicts a woman who is unbuttoning her garment for us and deliberately drawing it aside, showing her left breast. We even see her right nipple half flattened against the opened dress. Unlike the Venus of Urbino, this woman looks away from us, what gives the canvas an air of strange excitement.
A perverse-looking painting is an amorous trio of an anonymous artist from an original by Titian (image) in the Casa Buonarroti. The painting shows a woman flanked by two men. The man to the left dominates the picture and look us straight in the eye, his left arm rests on the shoulder of the woman, his right hand slides under her dress to grasp her breast. The man in the upper right directs his vacant gaze over the shoulder of the woman to the left side of the canvas. The hand on her shoulder might just as well be his hand. The impossibility to interpret this work adds to its erotic luster.
