Nude portugues women
Despite Klimt's striving for distance, he in fact succeeded in creating a tension between the beholder and the portrayed women that is difficult to characterize, a tension that contributes to the special magnetism that has always distinguished these paintings.The "Portrait of Adele Bloch-Bauer I" undoubtedly represents the culmination of Klimt's occupation with the portraiture of women.
In Ancient Greece, where the mild climate was conducive to being lightly-clothed or nude whenever convenient, and male athletes competed at religious festivals entirely nude, and celebrated the human body, it was perfectly natural for the Greeks to associate the male nude form with triumph, glory, and even moral excellence.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.Representations of gods and goddesses in Babylonian and Ancient Egyptian art are the precursors of the works of Western antiquity.At the height of his creative powers, Klimt incorporated the female figures in his portraits into a system of ornamentation, which had a representational function, and which at the same time created distance between the viewer and the model through the painterly focus on the face and hands.Later this function was assumed by the element of colour, which in a way took on a life of its own in the portraits, underscoring - like the ornamentation that came before it - the two-dimensionality of the pictures.The Greek goddess Aphrodite was a deity whom the Greeks preferred to see clothed.
In the mid-fourth century BC, the sculptor Praxiteles made a nude Aphrodite, called the Knidian, which established a new tradition for the female nude, having idealized proportions based on mathematical ratios as were the nude male statues.
By the 5th century BCE, Greek sculptors' mastery of anatomy resulted in greater naturalness and more varied poses.
An important innovation was contrapposto—the asymmetrical posture of a figure standing with one leg bearing the body's weight and the other relaxed.
At the same time the detailed and finely delineated face of Adele Bloch-Bauer prevents the subject from disappearing into anonymity behind the universality of the picture.
David (1504) "What spirit is so empty and blind, that it cannot recognize the fact that the foot is more noble than the shoe, and skin more beautiful than the garment with which it is clothed?
This is certainly the case for the kouros, a large standing figure of a male nude that was the mainstay of Archaic Greek sculpture.