From The Art and Popular Culture Encyclopedia
"A nude woman isn’t indecent. It’s the lavishly decked out woman who is."--Diderot and eros
""Do women have to be naked to get into the Met. Museum?" (1989) was an awareness campaign by the American feminist group the Guerrilla Girls; who, after counting all male artists, female artists, male nudes and female nudes at New York's Metropolitan Museum of Art, condemned the limited number of female artists found in that institute."--Sholem Stein
"Very few active, strong, psychologically engaging, heroic female nudes and I know of no female counterparts to The Thinker, the Pollaiuolo engraving, or David. To make this point vivid, try the thought experiment of imagining a work like Ingres’s Turkish Bath with men rather than women, or Pollaiuolo’s Battle with women rather than men. The results, I think you’ll find, will seem so foreign as to border on the absurd."--"What's Wrong with the Female Nude?" (2012) Anne W. Eaton
"The incident [vandalism of the Rokeby Venus] has come to symbolize a particular perception of feminist attitudes towards the female nude; in a sense, it has come to represent a specific stereotypical image of feminism more generally." --The Female Nude: Art, Obscenity, and Sexuality (1992), p.35, Lynda Nead.
The nude has become an enduring genre of representational art, especially painting, sculpture and photography. It depicts people without clothes, usually with stylistic and staging conventions that distinguish the artistic elements (such as innocence, or similar theatrical/artistic elements) of being nude with the more provocative state of being naked. A nude figure is one, such as a goddess or a man in ancient Greece, for whom the lack of clothing is its usual condition, so that there is no sexual suggestiveness presumed. A naked figure is one, such as a contemporary prostitute or a businessman, who usually wears clothing, such that their lack of it in this scene implies sexual activity or suggestiveness. The latter were rare in European art from the Medieval period until the latter half of the 1800s; in the interim, a work featuring an unclothed woman would routinely identify her as "Venus" or another Greco-Roman goddess, to justify her nudity. There can be debate with regard to whether a figure in art is either nude or naked for example in some works of Francis Bacon.
The Greek goddesses were initially sculpted with drapery rather than nude. The first free-standing, life-sized sculpture of an entirely nude woman was the Aphrodite of Cnidus created ca. 360–340 BCE by Praxiteles. The female nude became much more common in the later Hellenistic period.
Rarely seen during the Middle Ages, the female nude reappeared in Italy in the 15th century. Subsequently, eroticism became more emphatic in paintings such as Giorgione's Sleeping Venus (ca. 1510), which situated the reclining nude in an idyllic landscape, and Titian's Danaë series (ca. 1553–1556). These works inspired countless reclining female nudes for centuries afterwards. The annual glut of paintings of idealized nude women in the 19th-century Paris Salon was satirized by Honoré Daumier in This Year, Venuses Again... Always Venuses! (1864).
In the 19th century the Orientalism movement added another reclining female nude to the possible subjects of European paintings, the odalisque, a slave or harem girl. One of the most famous was "The Grande Odalisque" painted by Ingres in 1814.
Venus Caelestis and Venus Naturalis
As per Plato's Symposium there are two kinds of Aphrodites (Latin: Venuses), the Aphrodite Ourania (Latin: Venus Caelestis), literarly the heavenly love goddess, corresponding to a love of body and soul and the Aphrodite Pandemos (Latin: Venus Naturalis), literally, the "Venus of the people," corresponding to physical love.
By the late 5th century BC, philosophers separated Aphrodite into two separate goddesses, not individuated in cult: Aphrodite Ourania (Latin Venus Caelestis), born from the sea foam after Cronus castrated Ouranos, and Aphrodite Pandemos (Latin Venus Naturalis), the common Aphrodite "of all the folk," born from Zeus and Dione. Among the neo-Platonists and eventually their Christian interpreters, Aphrodite Ourania figures as the celestial Aphrodite, representing the love of body and soul, while Aphrodite Pandemos is associated with mere physical love. The representation of Aphrodite Ouranos, with a foot resting on a tortoise, was read later as emblematic of discretion in conjugal love; the image is credited to Phidias, in a chryselephantine sculpture made for Elis, of which we have only a passing remark by Pausanias.
Thus, according to the character Pausanias in Plato's Symposium, Aphrodite is two goddesses, one older the other younger. The older, Urania, is the "heavenly" daughter of Ouranos, and inspires homosexual male (and more specifically, ephebic) love/eros; the younger is named Pandemos, the daughter of Zeus and Dione, and all love for women comes from her. Pandemos is the common Aphrodite. The speech of Pausanias distinguishes two manifestations of Aphrodite, represented by the two stories: Aphrodite Ourania ("heavenly" Aphrodite), and Aphrodite Pandemos ("Common" Aphrodite).
Venus vs. Nini
Giorgione's Venus conjures a mythical being which never really wears any clothes because she lives in a fictional universe, Titian's Venus is your girlfriend, or the model you get intimate with or the call girl who has received you.
Both are female nudes but with regards to the differences enumerated above art critics label the first kind Venus and the second Nini. Idealization vs. homeliness. Remoteness vs. proximity. Hard-to-get vs. available.
Female body shape
Female body shape, i.e. the body shape of a woman, has a bearing on a wide range of human activities, and there are and have been widely different body ideals of it in different cultures over history. The female figure is usually narrower at the waist than at the chest and hips, and usually has one of four basic shapes — banana, pear, apple or hourglass. The chest, waist and hips are called inflection points, and the ratios of their circumferences define these basic shapes. Body shape depends on skeletal structure and the distribution of fat in the body.
Some of these body shapes normally occur only in women, although some endocrine conditions or deliberate use of female hormones, such as by transsexuals, can produce them in male bodies. As with most physical traits, there is a wide range of normal female body shapes.
Nude female/dressed male
The nude female/dressed male motif (as explored first of all in the myth of Pygmalion and Galatea, but also in Cranach's versions of The Judgment of Paris, The Lunch on the Grass  by Edouard Manet, Attempting the Impossible by Magritte and Phryné before the Areopagus  by Jean-Léon Gérôme) is a trope of eroticism.
- This Year, Venuses Again... Always Venuses! (1864) by Honoré Daumier
- La Favorite (1880) by Luis Riccardo Faléro
- The Birth of Venus (1863) Alexandre Cabanel
- Grand bath at Bursa (1885) by Jean-Léon Gérôme
- The Turkish Bath (1862) - Jean Auguste Dominique Ingres
- In the Tepidarium (1881) - Sir Lawrence Alma-Tadema
- Venuses, nymphs and satyrs
- Venus with a mirror (art trope)
- Bathing women in art
- Harem painting
- The Three Graces
- Lady at her toilette