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Representing Women
   Tradition of the Nude
Ways of Seeing
            by John Berger, 1972
Chapter 1
- Relationship between words and pictures
- How do what we know and what we believe affect the way we see art?
- How do our assumptions about art affect the way we see it?
- How does art become “mystified”?
- Who are the legitimate purveyors of the meaning of art?
- How is the value of art determined?
- How has reproduction affected the value of art?

Chapters 2, 3, 4, 5, 6, 7
Look at what we consider to be “great works of art”
(specifically Renaissance paintings)
Ways of Seeing
 Chapter 3 The Naked and The Nude
Based on The Nude by Kenneth Clark
Genesis Tradition

   Read page 47 (Geneisis 3:16)
    Berger points out that our western traditions of representing the
    female body unclothed actually comes from the Genesis
    tradition.

   But when we are born, we are not naked. We are just born.
    Natural state + God’s eyes = nakedness
     ―Naked‖ can only be named in comparison to a clothed state—
    the culturally constructed state in reaction to cultural ideas
    about shame and the body.

   Belief that labor pains (and other female biology such as
    menstruation) are punishment of women for original sin
Genesis 3:16
   And when the woman saw that the tree was good for food, and that
    it was a delight to the eyes, and that the tree was to be desired to
    make one wise, she took of the fruit thereof and did eat; and she
    gave also unto her husband with her, and he did eat.

    And the eyes of them both were opened, and they knew that they
    were naked; and they sewed fig leaves together and made
    themselves aprons. . . . And the Lord God called unto the man and
    said unto him, ―Where are thou?‖ and he said, ―I heard they voice in
    the garden, and I was afraid, because I was naked; and I hid
    myself. . . .

    Unto the woman God said, ―I will greatly multiply thy pain and thy
    conception. In pain thou shalt bring forth children; and thy desire
    shall be to thy husband and he shall rule over thee.‖
The first European nude
paintings were of
Adam and Eve (p. 48-
49), usually in story form.

Left: Fall and Expulsion from
Paradise by Paul de
Limbourg, Early 15th Century
   Then, just the moment of
                                                shame is shown in relationship
                                                to the spectator.

                                                The spectator becomes god-
                                                like, looking at the pair in
                                                judgment.

                                               It is the god-like spectator that
                                                causes shame in the western
                                                tradition of looking.


                                               Nakedness objectified in
                                                representation = nude
Adam and Eve by Mabuse, Early 16th Century (Flemish)
   In the western tradition of
    shamefulness and sin,
    the nude woman is associated
    with sexual promiscuity
    and is an object to be
    controlled/judged by the god-
    like spectator

   Also, through religious culture,
    the unclothed state becomes
    tantalizing, automatically
    sexualized.
   Painters begin to depict
                                  women alone on display,
                                  subservient to the viewer
                                  (who is male) as Adam
                                  and Eve were subservient
                                  to God.

                                 Tradition of mirrors also
                                  used to show vanity.

                                 Hypocritical because the
                                  woman has been created
                                  for the male spectator’s
                                  pleasure.

Vanity by Memling 1435-1494
        Memling                       Vanity
Not all cultures see the body as
            shameful.




      Muwaji and daughter Iganani, of
        the Amazon Suruwaha tribe
Suruwaha tribe
Nudists: Vacation Photos
Body Coverings in societies with
     belief in body shame.
Other societies have traditions of shame and
modesty in relationship to the body as well,
and practice clothing/veiling
Soon shame becomes a kind of display, and women are depicted looking at viewer,
aware that they are being seen. This acknowledgment of shame to the viewer
      Rubens
Is as a sign of submission. Above: Nell Gwynne, Mistress of Charles II (1618-1680)
Ingres 1780-1867   La Grande Odalisque
   Bathsheba
    Taking a Bath

    Another
    subservient
    woman

    He shows her
    in a critical moment




                           Rembrandt 1654
Such displays are distinctly western Christian traditions.
Other Cultures Have Shown Sex Act Between People
Rather Than Putting Women on Display
Erotic Sculptures of Nad-Kalse (16th Century Rural India)
Kama Sutra - Hindu




   A culture of categorization
Japanese erotic art from the Edo
      period (1603–1867)
Europe: 17th & 18th Centuries

    The Original Age of Materialism?
Panini 1764   Picture Gallery of Cardinal Valenti Gonzaga
Gainsborough   Mr. And Mrs. Andrews   approx.1750
Representation of the naked and the nude
Stubbs   Lincolnshire Ox 1790
Heem   Dessert 1640
Jan Davidsz de Heem   Still Life with Oysters and a Peeled Lemon late 1660s or early 1670’s
Holbein   The Ambassadors (1533)
The tradition of female shame and submission extending from Genesis
merges with the tradition of representing ownership in an age of materialism.
      Rubens
Above: Nell Gwynne, Mistress of Charles II (1618-1680)
Rubens
Tintoretto 1518-1594   Susannah and the Elders
Titian   Venus with Mirror 1555
Rubens   Angelica and the Hermit 1630
Rembrant 1606-1669   Danae
Titian   Venus of Urbino 1538
Manet   Olympia 1863
Naked vs. Nude




Olympia's Boyz, 2001, digital C print, 134 x 168 inches, © Renée Cox,
Courtesy of Robert Miller Gallery, New York
Guerrilla Girls
Brainstorm:
   Nude            Naked
Naked vs. Nude
   Nude                         Naked
   On display                   To be one’s self
   Awareness of being           To be in a process of
    viewed as an act of           becoming
    subservience in the          Perhaps only 100
    Christian tradition
   To not be seen as one’s
    self but as an object
   Hundreds of thousands
Rubens   Helene of Fourment
―Men look at women. Women watch
       themselves being looked at.‖
   Read page 46:
   ―A woman must constantly watch herself. She is
    She is almost continually accompanied by her
    own image of herself. Whilst she is walking
    across a room or whilst she is weeping at the
    death of her father, she can scarcely avoid
    envisaging herself walking or weeping. From
    earliest childhood she has been taught and
    persuaded to survey herself continually.
    And so she comes to consider the surveyor and
    the surveyed within her as the two constituent
    yet always distinct elements of her identity as a
    woman. She has to survey everything she is and
    everything she does because how she appears
    to men, is of crucial importance for what is
    normally thought of as the success of her life.
Is it true?
         Dressing room example

         Do men do this too?
          Queer Eye for the Straight Guy?

         Have you ever seen women
          who have given up the
          surveillance on themselves?
          How do they act?

         So, to what extent is ―feminine
          behavior‖ a performance to
          fulfill what we believe are the
          expectations we must meet in
          order to be perceived as
          attractive?
Berger’s Conclusions
   What we see and how we see depend on our socialization.

   What we are socialized to see depends on who is in power.

   Berger’s Conclusion in Chapter 3 about ―The Male Gaze‖:
    ―But the essential way of seeing women, the essential use to which
    their images are put, has not changed. Women are depicted in a
    quite different way from men—not because the feminine is different
    from the masculine--because the idea spectator is always assumed
    to be male. . . .‖ (actually, the specatator is assumed to be white
    heterosexual male in traditional images of women)

   But now there are not only theories about this male gaze, but also a
    female gaze, lesbian gaze, homosexual male gaze, etc., within
    specific subcultures.

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Representation of the naked and the nude

  • 1. Representing Women Tradition of the Nude
  • 2. Ways of Seeing by John Berger, 1972 Chapter 1 - Relationship between words and pictures - How do what we know and what we believe affect the way we see art? - How do our assumptions about art affect the way we see it? - How does art become “mystified”? - Who are the legitimate purveyors of the meaning of art? - How is the value of art determined? - How has reproduction affected the value of art? Chapters 2, 3, 4, 5, 6, 7 Look at what we consider to be “great works of art” (specifically Renaissance paintings)
  • 3. Ways of Seeing Chapter 3 The Naked and The Nude Based on The Nude by Kenneth Clark
  • 4. Genesis Tradition  Read page 47 (Geneisis 3:16) Berger points out that our western traditions of representing the female body unclothed actually comes from the Genesis tradition.  But when we are born, we are not naked. We are just born. Natural state + God’s eyes = nakedness ―Naked‖ can only be named in comparison to a clothed state— the culturally constructed state in reaction to cultural ideas about shame and the body.  Belief that labor pains (and other female biology such as menstruation) are punishment of women for original sin
  • 5. Genesis 3:16  And when the woman saw that the tree was good for food, and that it was a delight to the eyes, and that the tree was to be desired to make one wise, she took of the fruit thereof and did eat; and she gave also unto her husband with her, and he did eat. And the eyes of them both were opened, and they knew that they were naked; and they sewed fig leaves together and made themselves aprons. . . . And the Lord God called unto the man and said unto him, ―Where are thou?‖ and he said, ―I heard they voice in the garden, and I was afraid, because I was naked; and I hid myself. . . . Unto the woman God said, ―I will greatly multiply thy pain and thy conception. In pain thou shalt bring forth children; and thy desire shall be to thy husband and he shall rule over thee.‖
  • 6. The first European nude paintings were of Adam and Eve (p. 48- 49), usually in story form. Left: Fall and Expulsion from Paradise by Paul de Limbourg, Early 15th Century
  • 7. Then, just the moment of shame is shown in relationship to the spectator. The spectator becomes god- like, looking at the pair in judgment.  It is the god-like spectator that causes shame in the western tradition of looking.  Nakedness objectified in representation = nude Adam and Eve by Mabuse, Early 16th Century (Flemish)
  • 8. In the western tradition of shamefulness and sin, the nude woman is associated with sexual promiscuity and is an object to be controlled/judged by the god- like spectator  Also, through religious culture, the unclothed state becomes tantalizing, automatically sexualized.
  • 9. Painters begin to depict women alone on display, subservient to the viewer (who is male) as Adam and Eve were subservient to God.  Tradition of mirrors also used to show vanity.  Hypocritical because the woman has been created for the male spectator’s pleasure. Vanity by Memling 1435-1494 Memling Vanity
  • 10. Not all cultures see the body as shameful. Muwaji and daughter Iganani, of the Amazon Suruwaha tribe
  • 13. Body Coverings in societies with belief in body shame.
  • 14. Other societies have traditions of shame and modesty in relationship to the body as well, and practice clothing/veiling
  • 15. Soon shame becomes a kind of display, and women are depicted looking at viewer, aware that they are being seen. This acknowledgment of shame to the viewer Rubens Is as a sign of submission. Above: Nell Gwynne, Mistress of Charles II (1618-1680)
  • 16. Ingres 1780-1867 La Grande Odalisque
  • 17. Bathsheba Taking a Bath Another subservient woman He shows her in a critical moment Rembrandt 1654
  • 18. Such displays are distinctly western Christian traditions. Other Cultures Have Shown Sex Act Between People Rather Than Putting Women on Display Erotic Sculptures of Nad-Kalse (16th Century Rural India)
  • 19. Kama Sutra - Hindu  A culture of categorization
  • 20. Japanese erotic art from the Edo period (1603–1867)
  • 21. Europe: 17th & 18th Centuries The Original Age of Materialism?
  • 22. Panini 1764 Picture Gallery of Cardinal Valenti Gonzaga
  • 23. Gainsborough Mr. And Mrs. Andrews approx.1750
  • 25. Stubbs Lincolnshire Ox 1790
  • 26. Heem Dessert 1640
  • 27. Jan Davidsz de Heem Still Life with Oysters and a Peeled Lemon late 1660s or early 1670’s
  • 28. Holbein The Ambassadors (1533)
  • 29. The tradition of female shame and submission extending from Genesis merges with the tradition of representing ownership in an age of materialism. Rubens Above: Nell Gwynne, Mistress of Charles II (1618-1680)
  • 31. Tintoretto 1518-1594 Susannah and the Elders
  • 32. Titian Venus with Mirror 1555
  • 33. Rubens Angelica and the Hermit 1630
  • 35. Titian Venus of Urbino 1538
  • 36. Manet Olympia 1863
  • 37. Naked vs. Nude Olympia's Boyz, 2001, digital C print, 134 x 168 inches, © Renée Cox, Courtesy of Robert Miller Gallery, New York
  • 39. Brainstorm:  Nude  Naked
  • 40. Naked vs. Nude  Nude  Naked  On display  To be one’s self  Awareness of being  To be in a process of viewed as an act of becoming subservience in the  Perhaps only 100 Christian tradition  To not be seen as one’s self but as an object  Hundreds of thousands
  • 41. Rubens Helene of Fourment
  • 42. ―Men look at women. Women watch themselves being looked at.‖  Read page 46:  ―A woman must constantly watch herself. She is She is almost continually accompanied by her own image of herself. Whilst she is walking across a room or whilst she is weeping at the death of her father, she can scarcely avoid envisaging herself walking or weeping. From earliest childhood she has been taught and persuaded to survey herself continually. And so she comes to consider the surveyor and the surveyed within her as the two constituent yet always distinct elements of her identity as a woman. She has to survey everything she is and everything she does because how she appears to men, is of crucial importance for what is normally thought of as the success of her life.
  • 43. Is it true?  Dressing room example  Do men do this too? Queer Eye for the Straight Guy?  Have you ever seen women who have given up the surveillance on themselves? How do they act?  So, to what extent is ―feminine behavior‖ a performance to fulfill what we believe are the expectations we must meet in order to be perceived as attractive?
  • 44. Berger’s Conclusions  What we see and how we see depend on our socialization.  What we are socialized to see depends on who is in power.  Berger’s Conclusion in Chapter 3 about ―The Male Gaze‖: ―But the essential way of seeing women, the essential use to which their images are put, has not changed. Women are depicted in a quite different way from men—not because the feminine is different from the masculine--because the idea spectator is always assumed to be male. . . .‖ (actually, the specatator is assumed to be white heterosexual male in traditional images of women)  But now there are not only theories about this male gaze, but also a female gaze, lesbian gaze, homosexual male gaze, etc., within specific subcultures.