Exhibition dates: 24th September 2013 – 2nd January 2014
.
The von Gloeden is stunning and some of the paintings are glorious: the muscularity / blood red colour in Falguière by Lutteurs d’Alexandre (1875, below); the beauty of Ángel Zárraga’s Votive Offering (Saint Sebastian) (1912, below); the sheer nakedness and earthiness of the Freud; and the colour, form and (homo)eroticism of The Bath by Paul Cadmus (1951, below), with their pert buttocks and hands washing suggestively.
But there is nothing too outrageous here. Heaven forbid!
After all, this is the male nude as curatorial commodity.
.
Many thankx to the Musée d’Orsay for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.
*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*
.
.
“The high brow peep show is divided thematically into depictions of religion, mythology, athleticism, homosexuality, and shifting notions of manliness. Wandering the Musee’s grand halls you will see rippling Greco-Roman Apollonian gods, Egon Schiele’s finely rendered, debauched self portraits and David LaChapelle’s 90s macho-kitsch celebs. Edward Munch’s hazy, pastel bathers mingle with Lucian Freud’s grossly erotic fleshy animals and reverent depictions of Christ and Saint Sebastian, showing the many ways to interpret a body sans outerwear.”
.
Priscilla Frank. “‘Masculine/Masculine’ Explores Male Nude Throughout Art History And We Couldn’t Be Happier (NSFW),” on the Huffpost Arts and Culture website, 26/09/2013
.
.
.
Jean Delville (1867-1953)
École de Platon (School of Plato)
1898
Oil on canvas
H. 260; W. 605 cm
© RMN (Musée d’Orsay) / Hervé Lewandowski
.
In the late 19th century, Belgium was one of the great centres of European symbolism. Jean Delville’s paintings and writings expressed the most esoteric side of the movement. In the mid-1880s, Delville’s discovery of the symbolist milieu in Paris and the friendships he made there led him to break with the naturalism inherited from his academic training. Thus his friendship with the Sâr Péladan and his regular attendance at the Salon of the Rose+Croix, testified to his belief in an intellectual art which focused on evocation more than description.
School of Plato, a decoration intended for the Sorbonne but never installed there, is a striking work in many respects. Its monumental size and its ambitious message – an interpretation of classical philosophy seen through the prism of the symbolist ideal – set it apart. The manifesto makes no secret of its references, from Raphael to Puvis de Chavannes, but envelops them in the strange charm of a deliberately unreal colour range. The ambiguity emanating from this fin de siècle Mannerism knowingly blurs the borderline between purity and sensuality.
.
.
Jules Elie Delaunay
Ixion Thrown Into the Flames
1876
© RMN-Grand Palais / Gérard Blot
.
.
Camille Félix Bellanger
Abel
1874-75
© Musée d’Orsay
.
.
Eadweard Muybridge
Animal Locomotion
1887
© Musée d’Orsay, dist. RMN / Alexis Brandt
.
.
Kehinde Wiley
Death of Abel Study
2008
© Kehinde Wiley, Courtesy Roberts & Tilton, Culver City, CA & Galerie Daniel Templon, Paris
.
.
Paul Cézanne
Baigneurs (Bathers)
1890
© RMN (Musée d’Orsay) / Hervé Lewandowski
.
.
“While it has been quite natural for the female nude to be regularly exhibited, the male nude has not been accorded the same treatment. It is highly significant that until the show at the Leopold Museum in Vienna in the autumn of 2012, no exhibition had opted to take a fresh approach, over a long historical perspective, to the representation of the male nude. However, male nudity was for a long time, from the 17th to 19th centuries, the basis of traditional Academic art training and a key element in Western creative art. Therefore when presenting the exhibition Masculine / Masculine, the Musée d’Orsay, drawing on the wealth of its own collections (with several hitherto unknown sculptures) and on other French public collections, aims to take an interpretive, playful, sociological and philosophical approach to exploring all aspects and meanings of the male nude in art. Given that the 19th century took its inspiration from 18th century classical art, and that this influence still resonates today, the Musée d’Orsay is extending its traditional historical range in order to draw a continuous arc of creation through two centuries down to the present day. The exhibition will include the whole range of techniques: painting, sculpture, graphic arts and, of course, photography, which will have an equal place in the exhibition.
To convey the specifically masculine nature of the body, the exhibition, in preference to a dull chronological presentation, takes the visitor on a journey through a succession of thematic focuses, including the aesthetic canons inherited from Antiquity, their reinterpretation in the Neo-Classical, Symbolist and contemporary eras where the hero is increasingly glorified, the Realist fascination for truthful representation of the body, nudity as the body’s natural state, the suffering of the body and the expression of pain, and finally its eroticisation. The aim is to establish a genuine dialogue between different eras in order to reveal how certain artists have been prompted to reinterpret earlier works. In the mid 18th century, Winckelmann examined the legacy of the divine proporzioni of the body inherited from Antiquity, which, in spite of radical challenges, still apply today having mysteriously come down through the history of art as the accepted definition of beauty. From Jacques-Louis David to George Platt-Lynes, LaChapelle and Pierre et Gilles, and including Gustave Moreau, a whole series of connections is revealed, based around issues of power, censorship, modesty, the boundaries of public expectation and changes in social mores.
Winckelmann’s glorification of Greek beauty reveals an implicit carnal desire, relating to men as well as women, which certainly comes down through two centuries from the “Barbus” group and from David’s studio, to David Hockney and the film director James Bidgood. This sensibility also permeates the turn of the 19th and 20th centuries as it questions its own identity, as we see in the extraordinary painting École de Platon [School of Plato], inexplicably purchased by the French state in 1912 from the Belgian artist Delville. Similarly, the exhibition will reveal other visual and intellectual relationships through the works of artists as renowned as Georges de La Tour, Pierre Puget, Abilgaard, Paul Flandrin, Bouguereau, Hodler, Schiele, Munch, Picasso, Bacon, Mapplethorpe, Freud and Mueck, while lining up some surprises like the Mexican Angel Zarraga’s Saint Sébastien (Saint Sebastian), De Chirico’s Les Bains mystérieux (Mysterious Baths) and the erotica of Americans Charles Demuth and Paul Cadmus.
This autumn therefore, the Musée d’Orsay will invite the visitor to an exhibition that challenges the continuity of a theme that has always interested artists, through unexpected yet productive confrontations between the various revivals of the nude man in art.”
Press release from the Musée d’Orsay website
.
.
.
Jacques Louis David (1748-1825)
Academy Drawing of a Man, said to be Patroclu
1778
Oil on canvas
H. 122; W. 170 cm
Cherbourg, musée Thomas-Henry
© Cherbourg, musée Thomas-Henry
.
.
Masculine / Masculine
Why had there never been an exhibition dedicated to the male nude until Nackte Männer at the Leopold Museum in Vienna last year? In order to answer this question, the exhibition sets out to compare works of different eras and techniques, around great themes that have shaped the image of the male body for over two centuries.
We must distinguish above all between nudity and the nude: a body simply without clothes, that causes embarrassment with its lack of modesty, is different from the radiant vision of a body restructured and idealised by the artist. Although this distinction can be qualified, it highlights the positive, uninhibited approach to the nude in western art since the Classical Period.
Today, the nude essentially brings to mind a female body, the legacy of a 19th century that established it as an absolute and as the accepted object of male desire. Prior to this, however, the female body was regarded less favourably than its more structured, more muscular male counterpart. Since the Renaissance, the male nude had been accorded more importance: the man as a universal being became a synonym for Mankind, and his body was established as the ideal human form, as was already the case in Greco-Roman art. Examples of this interpretation abound in the Judeo-Christian cultural heritage: Adam existed before Eve, who was no more than his copy and the origin of sin. Most artists being male, they found an “ideal me” in the male nude, a magnified, narcissistic reflection of themselves. And yet, until the middle of the 20th century, the sexual organ was the source of a certain embarrassment, whether shrunken or well hidden beneath strategically placed drapery, thong or scabbard.
.
.
Jean-Baptiste Frédéric Desmarais (1756-1813)
Le Berger Pâris (The Shepherd, Paris)
1787
Oil on canvas
H. 177 ; L. 118 cm
Musée des beaux-arts du Canada, Ottawa
© Photo: MBAC
.
.
The Classic Ideal
From the 17th century, training of the highest standard was organised for the most privileged artists. In sculpture and in history painting, the ultimate aim of this teaching was to master the representation of the male nude: this was central to the creative process, as the preparatory studies had to capture the articulation of the body as closely as possible, whether clothed or not, in the finished composition.
In France, pupils studied at the Académie Royale then at the Académie des Beaux-Arts, working from drawings, engravings, sculptures “in the round” and life models. Right up until the late 20th century, these models were exclusively male, for reasons of social morality, but also because the man was considered to have the archetypal human form. In order to be noble and worthy of artistic representation, and to appeal to all, this could not be the body of an ordinary man: the distinctive features of the model had to be tempered in order to elevate the subject.
Above all, the artists of Antiquity and of the Renaissance were considered to have established an ideal synthesis of the human body without being distracted by individual characteristics. For Winckelmann, the German 18th century aesthete, the ideal beauty of Greek statues could only be embodied by the male nude. But although it inspired numerous artists, the “noble simplicity and quiet grandeur” of Winckelmann’s gods was undermined by other interpretations of Classical art: the torment of Laocoon, a work from late Antiquity, can be seen in the work of the Danish painter Abildgaard, while David advocated a much more Roman masculinity. Even when challenged, reinterpreted and renewed by the 20th century avant-garde, the Classical male nude and its rich legacy remains an object of fascination right up to the inter-war years and up to the present day.
.
.
George Hoyningen-Huene (1900-1968)
Horst P. Horst, Photographie
1932
Tirage argentique
H. 19 ; L. 22,7 cm
Hambourg, FC Gundlach
© Droits réservés
.
The Heroic Nude
The concept and the word “hero” itself come from ancient Greece: whether a demigod or simply a mortal transcending his human condition to become an exemplum virtutis, he embodies an ideal. The admiration for Classical art and culture explains the ubiquity of the hero in Academic painting, particularly in subjects given to candidates of the Prix de Rome: great history painting thrived on the exploits of supermen in the most perfect bodies.
This connection between anatomy and heroic virtue, conveying noble and universal values, goes back to the Neo-Platonic concept linking beauty and goodness. The hero’s nudity has been so self-evident that the “heroic nude” has become the subject of a recurrent debate about the representation of great men, past or present, no matter how incongruous the result may appear.
Heroism is not a state, rather a means by which the strength of character of an exceptional being man is revealed: although Hercules’ strength is inseparable from his exploits, it was David’s cunning that overcame the powerful Goliath. In both cases they are endowed with a warrior’s strength, which was particularly valued by a 19th century thirsting for virility and patriotic assertion: more than ever, this was the ideal to be attained. We had to wait for the 20th century crisis of masculinity before we could see the renewal of the status of the increasingly contemporary hero, and the diversification of his physical characteristics. However, whether a star or a designer like Yves Saint-Laurent, or even the young men on the streets of Harlem painted by the American Kehinde Wiley, the evocative power of nudity remains.
.
.
Pierre et Gilles (born respectively in 1950 and 1953)
Vive la France
2006
(models: Serge, Moussa and Robert)
Painted photograph, unique piece
H. 125; W. 101 cm
© Pierre et Gilles
.
.
The Gods of the Stadium
The 20th century witnessed the start of a new way of looking at the human body where the focus was on medical aspects and hygiene, and this had a considerable impact on the concept of the artistic nude. Numerous physical education movements and gymnasia appeared. People were captivated by the figure of the “sportsman” and, as in the work of the painter Eugene Jansson, came to admire and covet the virile power of his body in action. This concept is realised in culturalism, the narcissistic admiration of a body that has become an object to be fashioned like an artwork in its own right. Modern man with his athletic morphology has become a new potential ideal: he embodies a beauty that invites comparison with Greco-Roman art.
Linked with the affirmation of national identity, the athlete has come to personify the brute force of the nation and an ability to defend the country in times of war. During the 1930s in the United States, the image of the athlete evolved in a distinctive way, highlighting the ordinary man as a mixture of physical strength and bravery. Totalitarian regimes, however, perverted the cult of the athlete in order to promote their own ideology: Germany linked it in a demiurgic way with the made-up concept of the “Aryan” race, while Mussolini’s government erected marble idols on the Stadio dei Marmi.
.
.
Jean-Bernard Duseigneur (1808-1866)
Orlando Furioso
1867
Cast in bronze
H. 130; W. 146; D. 90 cm
Paris, Musée du Louvre
© Musée du Louvre, Dist. RMN-Grand Palais / Thierry Ollivier
.
.
It’s tough being a Hero
As he moves outside the established order, the mythological hero risks the anger of the gods and the jealousy of men. Although his passions, his moral shortcomings and occasionally his frailties stem from his human condition, he is happy to possess the perfect form of the gods: thus the artist and the spectator find expression of a perfect self. The great dramatic destinies thus give character to the compositions, and enable them to interpret a whole range of emotions from determination to despair, from hostility to eternal rest.
Although it is a platitude to say that feelings are expressed most accurately in the face – from the theorised and institutional drawings of Charles Le Brun to the “tête d’expression” competition at the Ecole des Beaux-Arts – one must not underestimate the key role of the body and the anatomy as vehicles for expressing emotion: certain formal choices even led to generally accepted conventions.
Mythology and the Homeric epic abound with stories of the ill-fated destinies and destructive passions of heroes, whose nudity is justified by its origins in ancient Greece: Joseph-Désiré Court displays the broken body of the ill-fated Hippolytus, a premonition of the transposition in the ancient world of Mort pour la patrie [Dying for The Fatherland] of Lecomte du Nouÿ.
.
Nude Veritas
The Realist aesthetic, which came to the fore in western art during the 19th century, had a dramatic effect on the representation of male nudity. The human body, represented as nature intended, was no longer seen from the decorous distance that characterised the idealised image of the nude, a goal to be achieved through Academic drawing exercises. In this context, where revealing the body was an affront to modesty – in the male-dominated society of the 19th century, the unclothed male appeared even more obscene and shocking than the unclothed female – the male nude gradually became less common as female figures proliferated.
This reversal did not mean, however, that naked men disappeared altogether: scientific study of the male nude, aided by new techniques such as the decomposition of movement through a series of photographs taken in rapid succession – chronophotography – brought advances in the study of anatomy and transformed the teaching of art students. From then on, it was less a case, for the most avant-garde artists, of striving to reproduce a canon of beauty inherited from the past, than of representing a body that retained the harmony of the model’s true characteristics.
The evocative power of the nude inspired artists like the Austrian Schiele to produce nude self portraits that revealed the existential torments of the artist. Invested at times with a Christ-like dimension, these depictions, moving beyond realism into introspection, continued to be produced right up to the 21st century, especially in photography.
.
.
William Bouguereau (1825-1905)
Equality before Death
1848
Oil on Canvas
H. 141; W. 269 cm
Paris, Musée d’Orsay
© Musée d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt
.
.
Without compromise
The fascination for reality established in artistic circles in the mid 19th century prompted a thorough renewal of religious painting. Although resorting to the classical idealisation of the body seemed to be consistent with religious dogma, artists like Bonnat breathed fresh life into the genre by depicting the harsh truth of the physical condition of biblical figures.
This principle was already at work in Egalité devant la mort [Equality before Death], by Bouguereau, who, in his early work, in the final days of Romanticism, exploited the power of the image of an ordinary corpse. Rodin, far from enhancing the appearance of the novelist that he was invited to celebrate, sought to render Balzac’s corpulent physique with implacable accuracy, without diminishing his grandeur in any way.
The question is thus raised of art’s relationship to reality, a question Ron Mueck tackles in his work. And the strange effect brought about by a change of scale gives an intensity to the dead body of his father that echoes the dead figure in Bouguereau’s painting.
.
.
Frédéric Bazille (1841-1870)
Fisherman with a Net
1868
Oil on canvas
H. 134; W. 83 cm
Zurich, Rau Foundation for the Third World
© Lylho / Leemage
.
.
Hippolyte Flandrin (1809-1864)
Nude Youth Sitting by the Sea, Study
1836
Oil on canvas
H. 98; W. 124 cm
Paris, Musée du Louvre
© Musée du Louvre, Dist. RMN-Grand Palais / Angèle Dequier
.
.
Wilhelm von Gloeden (1856-1931)
Cain, Taormine, Sicile
1911
© Westlicht, Musée de la Photographie, Vienna
.
.
In Nature
Including the naked body in a landscape was not a new challenge for 19th century artists. In many aspects, this was recurrent in large-scale history painting, and a demanding artistic exercise by which a painter’s technical mastery was judged. It was about making the relationship between the naked body and its setting as accurate as possible in terms of proportion, depth and light. Although Bazille’s Pêcheur à l’épervier [Fisherman with a Net] is one of the most successful attempts – in a contemporary context – at depicting a naked man in an atmospheric light that the Impressionists later took for their own, he nevertheless observed the principles of academic construction.
Masculine nudity in nature took another meaning as society was transformed through technical advances and urbanisation. Man was now seeking a communion with nature, that could reconcile him with the excesses and the sense of dislocation created by the modern world, while still conforming to the theories of good health advocating physical exercise and fresh air.
.
In pain
In allowing themselves to deviate from the classical norms, artists opened up new possibilities for a more expressive representation of a body in the throes of torment or pain. The decline of the Academic nude and of classical restraint explains this predilection for ordeals: Ixion’s for example, condemned by Zeus to be bound to an eternally spinning wheel of fire.
The writhing body can also express torment of a more psychological nature. The pain experienced by the male body naturally relates to the issues of power between men and women in contemporary society: the naked body can be demeaning and, in certain circumstances, likely to call into question virility and male domination. In this respect, Louise Bourgeois’ choice of a male figure for her Arch of Hysteria was not a random one.
The martyr can, nevertheless, inspire compositions other than the tortured body: the death of Abel, killed by his brother Cain in the Book of Genesis, seems, on the contrary, to have inspired the pose of a totally relaxed body at the point of death. This abandon, however, conveyed a certain ambivalence that artists were determined to exploit: the body, often magnified and in state of morbid ecstasy, was in fact there for the spectator to relish. In these cases, suffering was merely a device to justify fetishising the body once again. In contrast with this seductive treatment, photographers engaged in experiments to divide the body into individual parts, in an aesthetic or even playful approach.
.
.
François-Xavier Fabre (1766-1837)
The Dying Saint Sebastian
1789
Oil on canvas
H. 196; W. 147 cm
Montpellier, Musée Fabre de Montpellier Agglomération
© Musée Fabre de Montpellier Agglomération – cliché Frédéric Jaulmes
.
.
Ángel Zárraga
Votive Offering (Saint Sebastian)
1912
Oil on canvas
© Museo Nacional de Arte, Mexico
.
.
The Glorious body
Judeo-Christian culture has undeniably influenced the representation of the naked man since the beginning of modern art. However, the Catholic concept of the body has been at variance with nudity since Paleochristian times: the body is merely the corporeal envelope from which the soul is freed on death. Influenced by theologians advocating the union of the sensory and the spiritual, nudity gradually became accepted for important figures such as Christ and Saint Sebastian. Their martyred bodies, transcended by suffering endured through faith, paradoxically allowed the human soul to come close to God.
For the Catholic church, the vulnerability of Christ’s body, subjected to suffering and bearing the stigmata, is evidence of his humanity, while his divinity is revealed in his inspired expression and his idealised body, a legacy of the underlying classical models. The figure of Saint Sebastian is especially complex: this popular saint, the epitome of the martyr who survives his first ordeal, embodies the victory of life over death. This life force is no doubt related to his youthful beauty and his naked body, both of which made their appearance in the 17th century. This being the case, his representation gradually moves away from Catholic dogma, and acquires an unprecedented freedom and life of its own: his sensuality is more and more obvious, whereas his suffering is at times impossible to detect. In this quest for sensual pleasure, and until the 20th century, the only taboo was to reveal the penis.
.
.
Paul Cadmus (1904-1999)
The Bath
1951
Tempera on card
H. 36.4; W. 41.4 cm
New York, Whitney Museum of American Art
Anonymous gift
© Whitney Museum of American Art, NY – Art
© Jon F. Anderson, Estate of Paul Cadmus / ADAGP, Paris 2013
.
.
Alexendre Alexandrovitch Deineka (Russian, 1899-1969)
La douche. Après la bataille (Shower, After the Battle)
1937-42
Oil on canvas
.
“This male homoeroticism maintains close ties with the revolutionary project to destroy the family and traditional marriage and the construction of new types of social relations based on collective values above all, with the idea that the bonds of friendship and camaraderie between men (homosociality, “male bonding”) are equally or more important than heterosexual bonding. It is mainly in the period from the Revolution to the 1930s the values of friendship and camaraderie seem particularly highlighted the detriment of the bonds of love, very devalued as “petty-bourgeois”, but even more later, with the Stalinist project of “restoration” of the family, it can be assumed that the emotional and romantic in the heterosexual couple have never been a pervasive and rewarding cultural representation of magnitude of that which may be known in the West. [11] The researcher Lilya Kaganovsky, analyzing the Soviet visual culture (especially cult films of the 1930s and 1940s), speaks of “heterosexual panic” in response to the concept of “homosexual panic” coined by Eve K. Segdwick: according Kaganovsky, Soviet cultural works largely reflects the idea that the relations of friendship, especially homosocial, particularly between men, is a moral value than heterosexual relationships. [12] In such a cosmology, heterosexual relationships could be perceived from within oneself and risk jeopardizing the homosocial relationships of camaraderie and friendship, and the same social and national cohesion, thought to be based on collective values that conflicts with the value of exclusivity in the couple, “cozy comforts of home” [13].”
Mona. “Représenter le corps socialiste : l’exemple du peintre A. Deïneka (1899-1969),” on the Genre, politique et sexualités website, 16th April 2012 (translation by Google translate)
.
.
Boris Ignatovitch
Douche (Shower)
1932
Silver gelatin photograph
.
.
The Temptation of the male
An acknowledged desire for the male body, and the liberalisation of social conventions gave rise to some daring works from the mid 20th century onwards. In the United States, in spite of its puritan outlook since the Second World War, Paul Cadmus did not balk at depicting a pick up scene between men in a most unlikely Finistère. While the physical attraction of the body remained confined for a long time to the secrecy of private interiors, it was increasingly evident in public, in exclusively masculine social situations like communal showers or in the guise of a reconstructed Platonic Antiquity.
Eroticism is even presented quite crudely by Cocteau, whose influence on the young Warhol is undeniable. Beauty and seduction part company when the ideal transmitted by references to the past takes root in idiosyncratic practices and contemporary culture, as Hockney has expressed so accurately in his painting.
.
.
Anne-Louis Girodet (1767-1824)
The Sleep of Endymion
1791
Oil on canvas
H. 90; W. 117.5 cm
Montargis, Musée Girodet
© Cliché J. Faujour/musée Girodet, Montargis
.
.
Pierre et Gilles (born respectively in 1950 and 1953)
Mercury
2001
© Pierre et Gilles
.
.
The Object of desire
For many years, the male body in art had been the subject of “objectification”. The unrestrained admiration for the perfection of the Greco-Roman nudes, a purely intellectual reconstruction of a body that had become the canon of beauty, meant that no interpretation of the nude was considered improper, even Winckelmann’s, with its powerful erotic charge.
Although Academic circles naturally encouraged the nude in great history paintings, certain subjects retained elements of sensuality and ambiguity. At the turn of the 19th century, discussion of the characteristics of the two sexes and their respective boundaries aroused interest in the bisexual amours of Jupiter and Apollo, while the formula of the young hero dying in the arms of his male lover was met with particular interest.
Girodet’s Endymion is depicted as an ephebe, his body caressed sensuously by the rays of the moon goddess, inspiring numerous homoerotic interpretations. With the Symbolists, as with Gustave Moreau, the difference between the sexes results in the downfall of a vulnerable man overcome by an inexorable and destructive force that is seen as feminine. However, at the other extreme, and in a less dramatic way, Hodler depicts the awakening of adolescent love between a self-obsessed young man and a girl who is captivated by his charm.
The sensuality and acknowledged eroticisation considered to be appropriate to the female body during the 19th century struck a serious blow against the traditional virility of the male nude: this blow was not fatal however, as the male nude was still very visible in the 20th century. Sexual liberation expressed, loud and clear, a feeling of voluptuousness and, often with few reservations, endowed the male body with a sexual charge. The model was usually identified, an assertive sign as a statement of the individuality: with Pierre and Gilles, where mythology and the contemporary portrait become one.
Text from the Musée d’Orsay website
.
.
Antonin Mercié
David
1872
Bronze
© Musée d’Orsay, Paris
.
.
David LaChapelle
Eminem – About to Blow
1999
Chromogenic Print
.
.
Giorgio de Chirico (1883-1966)
Les bains mystérieux (Mysterious Baths)
c. 1934-36
Tempera on card
39 x 31 cm
© Musei Civici Fiorentini – Raccolta Alberto Della Ragione
.
.
Egon Schiele
Self-Portrait, Kneeling
1910
© Leopold Museum / Manfred Thumberger
.
.
Henri-Camille-Danger
Fléau! (Scourge!)
1901
© Musée d’Orsay, Paris
.
.
Koloman Moser
Le Printemps (Spring)
c. 1900
.
.
Antoine Bourdelle (1861-1929)
Grand Guerrier avec Jambe
1893-1902
Bronze
.
.
George Platt Lynes
Le Somnambule (The Sleepwalker)
1935
© Christoph Irrgang, Hamburg
.
.
Lutteurs d’Alexandre
Falguière
1875
© Musée d’Orsay, Paris
.
.
Lucian Freud
Naked Man on Bed
1989
Oil on canvas
.
.
Lucian Freud
David and Eli
2004
Oil on canvas
.
.
Masculin / Masculin – La video on YouTube
.
.
Musée d’Orsay
62, rue de Lille
75343 Paris Cedex 07
France
Opening hours:
9.30am – 6pm
9.30am – 9.45pm on Thursdays
Closed on Mondays
Musée d’Orsay website
LIKE ART BLART ON FACEBOOK
Back to top
Filed under: American, american photographers, beauty, black and white photography, colour photography, digital photography, documentary photography, drawing, English artist, exhibition, existence, Francis Bacon, gallery website, intimacy, light, memory, painting, photographic series, photography, portrait, printmaking, psychological, reality, sculpture, space, time, Uncategorized, works on paper Tagged: Academy Drawing of a Man, After the Battle, Alexandrovitch Deineka, Alexendre Alexandrovitch Deineka, anatomy and heroic virtue, Animal Locomotion, Anne-Louis Girodet, Anne-Louis Girodet The Sleep of Endymion, Antiquity, Antoine Bourdelle, Antoine Bourdelle Grand Guerrier avec Jambe, Antonin Mercié, Antonin Mercié David, Ángel Zárraga, Ángel Zárraga Saint Sebastian, Ángel Zárraga Votive Offering, Ángel Zárraga Votive Offering (Saint Sebastian), École de Platon, Barbus group, beauty, Boris Ignatovitch, Boris Ignatovitch Douche, Boris Ignatovitch Shower, Cain Taormine Sicile, Camille Félix Bellanger, Camille Félix Bellanger Abel, censorship, chronophotography, David and Eli, David LaChapelle, David LaChapelle Eminem - About to Blow, Death of Abel Study, decomposition of movement, Deineka La douche Après la bataille, Deineka Shower After the Battle, Desire, desire and the male body, Desmarais Le Berger Paris, Desmarais The Shepherd Paris, divine proportions, divine proporzioni, divine proporzioni of the body, Eadweard Muybridge, Eadweard Muybridge Animal Locomotion, Egon Schiele, Egon Schiele Self-Portrait Kneeling, Eminem - About to Blow, Equality before Death, eroticism of the male body, exemplum virtutis, Falguière, Finistère, Fisherman with a Net, François-Xavier Fabre, François-Xavier Fabre The Dying Saint Sebastian, Frédéric Bazille, Frédéric Bazille Fisherman with a Net, George Hoyningen-Huene, George Hoyningen-Huene Horst P. Horst, George Platt Lynes, George Platt Lynes Le Somnambule, George Platt Lynes The Sleepwalker, Giorgio de Chirico, Giorgio de Chirico Les bains mystérieux, Giorgio de Chirico Mysterious Baths, Grand Guerrier avec Jambe, graphic arts, Greco-Roman Apollonian gods, Gustave Moreau, Henri-Camille-Danger, Henri-Camille-Danger Fléau!, Henri-Camille-Danger Scourge!, hero, heroic nude, heroic virtue, Hippolyte Flandrin, Hippolyte Flandrin Nude Youth Sitting by the Sea, homosexuality and the male body, homosocial bonding, homosociality, Horst P. Horst, It's tough being a Hero, Ixion Thrown Into the Flames, Jacques Louis David, Jacques Louis David Academy Drawing of a Man, Jean Delville, Jean Delville École de Platon, Jean Delville School of Plato, Jean-Baptiste Frédéric Desmarais, Jean-Bernard Duseigneur, Jean-Bernard Duseigneur Orlando Furioso, Jules Elie Delaunay, Jules Elie Delaunay Ixion Thrown Into the Flames, Kehinde Wiley, Kehinde Wiley Death of Abel Study, Koloman Moser L