Click to view on the Unlock Art website
"The nude is a painting of a man or woman who looks at ease and confident. If they look vulnerable or embarrassed then they're naked. Not nude anymore." - So said the 18th century critics to keep artists from being accused of 'ungodly behaviour'. This is from A Short History of Art Undressed, the fifth film in the Tate Unlock Art series, supported by Le Meridien. As with all art prior to the 20th century, it was no coincidence that its subjects fell into a narrow range of categories, and even more restricted was how they were allowed to be presented. This film looks at nudes throughout history and their reasons for being. The rules have changed now, but is the change enough? I talk about this a bit further down in our meeting in London last month with author Frances Borzello.
Before we get into the heavy, I can't not show a little bit of the treats from our wonderful day. I'm always excited to see what our 'greeting' cocktail at Le Meridien Piccadilly will be and how it will tie in with the theme of the film. This time Franz created for us the 'Undress Lady’, a fresh and fruity virgin cocktail made with peach juice puree, lime juice and apple juice, garnished with the physalis fruit as decoration, the leaves opened up to reveal the 'naked' fruit:
We later came back to a really lovely afternoon tea at Le Meridien Piccadilly, and since we're already talking about the goodies I'll get to that right now, and it includes our talk with Frances which leads into our tour of nudes at Tate Modern.
We indulged in all kinds of sweet and savoury delectables and I went back and forth between them before I decided I should stop before I burst. And on our way out we were given a box of three eclairs made for the film - the eclair is the new macaron! - with silhouettes of nudes in chocolate dust on each. I don't have a photo because I was on my way to the train station but I can tell you they were very rich and delicious.
As mentioned, we had a special guest, Frances Borzello, who is the author of the book The Naked Nude (Thames & Hudson, 2012). We were each given a hardback copy to take home which also came in handy for the intriguing discussion we had over our tea with Frances. Frances told us that the book is dedicated to her grandchildren - who aren't allowed to look at it! Frances is such a lovely person, very warm and approachable, and later when she was asking each of us about our blogs it came out that she was once a fashion editor for the Chicago Sun-Times! (I'd mentioned to someone that day that Le Meridien has connected us with so many talented, intelligent and truly delightful people connected to the Unlock Art project either directly or indirectly - author and art historian Linda Bolton, art critic and writer Jessica Lack, director and producer Susan Doyan, artist Olivia Plender, and now Frances - and that I'd just realised that they've all been women. Well I recognised that each was a woman of course! But I mean I eventually clued in that the collective has been all women, razor sharp and contributing good, meaningful things to the world.)
Anyway! Frances spoke about what prompted the book, which began when she was asked to respond to Kenneth Clark’s The Nude of 1956 in which he said the nude was a category - like portrait or landscape - cleaned up for art. Not so much anymore, as some of the more recent works cited in The Naked Nude prove, with no modesty to be found. I'm not showing any here, but you can google Jenny Saville for examples of nudity at its most raw and emotional (she paints with a Bacon-like brush). Frances raised a fascinating point, that being the fact that we don't have a way of looking at such rawness, these direct and provocative expressions of nudes. You realise immediately that she's right and it's an observation that slips by the rest of us because we take our recoiling for granted; it's natural so therefore it's the right response. But is it? There's no code like there was in the past when nudes were used to illustrate religious or mythical stories, and women were idealised as nudes, presented as passive or motherly and never looking directly at you so it was ok. There was a framework entered into and so the viewer was safe, but this began to be challenged, from Manet's Olympia to Picasso's Les Demoiselles d'Avignon, and today we've got strangers' private parts coming at our faces - sometimes not even the ones we expect - and what do we do?! This opens a fascinating discussion; if we can resist the urge to say 'ew' and look away, interesting things can happen. As Frances points out, the artists are asking questions. They don't have the answers, they just want you to consider what's in front of you. She thinks that's a good thing. I think being able to do this has a lot to do with acceptance of ourselves and others, naked. For now, it seems most of us just don't want to know.
Frances Borzello hosting our afternoon tea at Le Meridien Piccadilly
Earlier, when we arrived at Tate Modern we found ourselves on the southwest side and noticed this unusually structured building going up right behind the museum:
It turns out it's going to be an extension of Tate Modern, and this is what it's going to look like:
The day before we visited Tate Modern, it served as a London Fashion Week venue for the Topshop Unique show - a first for both. The video of the collection was running on a screen in one of the common areas, but my focus was on the people in the shot:
And now we start the tour that Linda Bolton created for us - you know her from the previous Unlock Art posts - that takes us through the ways in which nudes were used to tell stories and express ideas and emotions:
The Kiss, Rodin. 1901-1904
"The Greeks sculpted them. So did the Romans. In renaissance Italy the idealised nude was the top subject but made respectable by choosing the subjects from the bible or classical mythology. We’ve got an over life-size idealised nude in Rodin’s Kiss made at the beginning of the 20th century."
The Three Dancers, Picasso. 1925
(continuing on from above) "But around that point vanguard artists were painting the nude in a different way. The jagged forms of Three Dancers convey an explosion of energy. The image is filled with Picasso’s personal recollections of a triangular affair, which resulted in the heart-broken suicide of his friend Carlos Casagemas. Love, sex and death are linked in an ecstatic dance. Her face relates to a mask from Torres Strait, New Guinea, owned by the artist and points to Picasso’s association of ‘primitive’ forms with expressiveness and sexuality. Picasso didn’t ever go completely abstract. Even though this painting is slightly abstract, you can still make out exactly what it is. The painting depicts three girls dancing in what is apparently a hotel room – you can see blue skies and a balcony in the background giving the impression of joy, celebration. The wallpaper symbols reflect Russian text, which translates into a joyful word. The painting also gives the impression of bullet wounds in places, with jagged edges and shapes that are far from beautiful. Perhaps these negative connotations further portray the triangular affair and the heart broken suicide of Picasso’s friend by gun shot."
Nude Woman in a Red Armchair, Picasso. 1932
"This work belongs to the remarkable sequence of portraits that Picasso made of Marie-Therese Walter at his country property at Boisgeloup. Marie-Therese is presented as a series of sensuous curves. Even the scrolling arms of the chair have been heightened and exaggerated to echo the rounded forms of her body. The face is a double or metamorphic image, the right side can also be seen as the face of a lover in profile kissing her on the lips. Her hands almost look like dove wings – giving an impression of beauty."
Nude, Green Leaves and Bust, Picasso. 1932
"Another painting of Marie-Therese Walter in another flattering stance – she is presented in this painting as a series of pink curves once more."
Nude Woman with Necklace, Picasso. 1968
"This painting is somewhat different to Picasso’s paintings of Marie-Therese Walter. The subject is Jacqueline Roque, his second wife of which he is thought to have worshipped and resented for her youth and beauty. The painting presents crude connotations such as bodily fluids and flatulence and she is presented almost as the sum of her sexual parts. The green colour could also be seen as beast like – however it could even be suggested that Picasso was simply finding a contrasting colour to the red cushions. Picasso was in his 80s when he painted this picture." I will say that this painting is even more provocative - and not just a little bit gross - in person!
Self Portrait, Christian Schad. 1927
"The nude can become disturbing, take a look at Christan Schad’s take on it. This self-portrait with the female nude is a good example of the new realism. Based in 1920s Berlin Schad looks back to traditional German art – check out his Renaissance-style sheer shirt, but it’s also a distinctly modern work. The nude in the background has a scary and alienated look. Her face is scarred with a brand, inflicted on Neapolitan women by their loves to make them theirs and unattractive to others. It is a startling emblem of the potential violence underlying male possession of the female body. We can also see an industrial scene in the background and a strange singular flower. The juxtaposition of objects present a negative outlook, although the nude itself is attractive and almost idealistic. Perhaps this painting presents a classical nude in the modern day."
Agosta, the Pigeon chested man and Rasha, the Black Dove, Christian Schad. 1929
"This painting shows a deformed white man and a black woman – both ominous figures of this time in Berlin with the rise of the Nazis. These figures present non-idealistic nudes – the complete opposite to the idealistic Greek nudes we have seen. Both of the figures unerringly return our gaze – the figures were accustomed to scrutiny, earning their living as sideshow acts in Berlin funfairs. Unusually, this unsettling portrayal of the objectification of the body, voyeurism and social alienation is focused on the male as well as the female nude."
Family Jules NNN (No Naked Niggahs), Barkley Hendricks, 1974
"This picture shows a relaxed nude where the pose and title are confronting the way representations of African American nudes have been received, feared and censored and directly tackles the widely accepted notion of the hyper-sexualised black body. His response seems to say ‘if this is what you expect, then this is what I am going to give you’. However, the spectacles and pipe give the man an intellectual presence, taking away from the initial thoughts of the picture and confusing it somewhat."
After we discussed this work, we were told that the room it hangs in is offered for event bookings, such as dinners. And that more than a few times requests have been received to cover the painting or even remove it altogether. We all had the same reaction, that if you are going to book a room at Tate Modern, you get it as is - the art lives here after all! (Just to clarify, this request is always denied.)
The Uncertainty of the Poet, Giorgio de Chirico. 1913
"de Chirico’s quiet square evokes the classical world through a dream-like vision. A sculpture of Aphrodite’s torso is placed provocatively alongside a bunch of bananas. In the background a passing train suggests the sense of the contemporary and the immediate. de Chirico’s early works were hugely admired by the Surrealists, who saw them in a dream-like parallel existence."
Metamorphosis of Narcissus, Salvador Dali. 1937 (yes, there are nudes in there, a group of skinny ones in the middleground)
"The surrealists looked at the nude and played with the classical nude of Antiquity viewed through the lens of Freud’s investigations into the human psyche" - in other words, this is when nudes got risqué, and gave more than a little away about what was going in Dali's mind as well!
As I've mentioned previously, the group just loves Linda, and her style has certainly not gone unnoticed so I couldn't resist snapping a photo of her very 'Linda' coat!
A huge thank you to Frances Borzello, Linda Bolton and as always, Le Meridien, for another eye-opening day of insights into art.
‘Unlock Art’ is an exciting series of short films offering an imaginative, witty, and enriching introduction to the world of art. Created by Tate in partnership with Le Méridien, Unlock Artfeatures eight short films that put art under the spotlight, with topics ranging from the history of the nude to humour, Performance to Pop Art, presenting all the need-to-know facts. Bold in approach and rich in content, the film series was conceived to make the arts more accessible to a wider audience. Marc Sands, Director of Media and Audiences Tate, said “Our goal is to promote public understanding and enjoyment of British, modern and contemporary art. This series of films launched will offer an entertaining, thought p rovoking yet witty approach to art. With an exciting roster of presenters, and the imaginative and creative content of the films, we want to connect people who might not have considered some of the subjects before with contemporary art.”
Part of Le Méridien’s ethos is to support emerging artists. It furthers this commitment through its Unlock Art™ Programme, which offers Le Méridien guests complimentary access to forward thinking cultural institutions around the world. These partnerships allow guests to explore a local, inspiring cultural experience, simply by presenting the Unlock Art™ room key. Le Méridien’s Unlock Art™ partner in the UK is TATE Modern and TATE Britain.
Photos © The Swelle Life