Od golote Ingresove odaliske do nagote na podobi s plakata Guerrilla Girls
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| Title | Od golote Ingresove odaliske do nagote na podobi s plakata Guerrilla Girls |
| Authors | |
| Abstract | This article is based on sex difference in ways of seeing, perceiving, and representing nudity and the theme of the nude. A sex difference is seen in different representations of female and male nudes on the one hand, and on the other hand in the different ways men and women view the naked body. Until the twentieth century, male figures were represented less often than female images. Female nudes have been the main subject in the tradition of western painting. This reflects the sexual dichotomy between viewing, more connected with the male side, and the body, more connected with the female side. Sex differences are highlighted through a comparison of Ingre’s famous nineteenth-century painting Grande Odalisque and one of the most popular feminist posters of the twentieth century: Do Women Have to be Naked to Get into the Met. Museum? by the activist artistic group Guerrilla Girls. The question is how the nakedness of the female nude in the poster by Guerrilla Girls differs from the nudity of Ingre’s Odalisque, to which the women artists referred. The Guerrilla Girls work indicates how it is possible to oppose the established binary structures of men as subjects in the roles of artists, spectators, collectors, and owners of artworks on the one hand, and women as objects in the roles of passive and nude models on the other. |
| Publisher | Znanstvena založba Filozofske fakulte / Ljubljana University Press, Faculty of Arts |
| Date | 1970-01-01 |
| Source | Ars & Humanitas: Revija za umetnost in humanistiko Vol 2, No 2 (2008) |
| Rights | @ Univerza v Ljubljani, Filozofska fakulteta |