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    The nude , as a form of visual art that focuses on the unclothed human figure, is an enduring tradition in Western art. Unclothed figures often also play a part in other types of art, such as history painting , including allegorical and religious art , portraiture , or the decorative arts. From prehistory to the earliest civilizations, nude female figures are generally understood to be symbols of fertility or well-being. Japanese prints are one of the few non-western traditions that can be called nudes, but the activity of communal bathing in Japan is portrayed as just another social activity, without the significance placed upon the lack of clothing that exists in the West. The introductory chapter makes though does not originate the often-quoted distinction between the naked body and the nude.
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    Deconstructing Myths about the Nude in Renaissance Art | Getty Iris

    Elevated on a pedestal, he gazes into the distance, his muscular arm tucked behind his back. Though the statue has received great attention, few are aware of the sources of data used to sculpt it: thousands of Harvard men, carefully measured—nude, for the sake of precision—and photographed. The pink and beige data forms are in the Harvard Archives, available to any researcher. So are the thousands of naked photos, divided between 31 tightly-packed boxes. The photos feature each man from behind, head-on, and in profile. The three images are arranged side-by-side on a thick white note card, each of which is tucked into an envelope.
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    Deconstructing Myths about the Nude in Renaissance Art

    Thomas Kren October 9, 8 min read. Images of the naked human body provoke conflicting feelings: shame, admiration, curiosity, desire, disgust, anger. This is especially true when these images appear in public spaces, whether physical or virtual.
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    What this fashion for classical nudes did bring, however, was new theories of looking at and creating images. Renaissance viewers were puzzled at the popularity of nudes in the ancient world. This idea formed the basis for Italian Renaissance art theory, which posited painting and sculpture as primarily mental activities, rather than manual ones.
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