But what is the nude? The British historian Kenneth Clark describes it as “an art form invented by the Greeks in the fifth century BC, just as opera is an art form invented in seventeenth-century Italy”. Clark’s succinct defi-nition suggests that the nude is not merely a theme of art but a form of art.

Eve Sweet's content is a treasure trove for her fans, offering a wide range of enticing photos and captivating videos. With over 500 photos, you'll never run out of eye candy to feast your eyes upon. From sultry selfies to seductive poses, Eve Sweet knows how to keep her audience hooked. The tension between the aniconical rejection of images that is found in Judaism and the predominance of the visible appearance in the classical world—the theoria of the Greeks—eventually culminated in the definitive conversion of Christianity into a figurative religion. At the same time, during the centuries that unfolded between Palaeo-Christian art and humanism, the centrality that the worship of the human nude had occupied in the Greek world gave way to the concealment of the flesh. Wesselmann’s large-format modern odalisques in their flat inks combine the European tradition of the nude—which includes iconic works like Manet’s Olympia and the nudes of Matisse and Modigliani, whose exhibition at Galerie Berthe Weill in 1917 was shut down by the police on the grounds of “indecency”—with everyday elements and images of American pop culture borrowed from movies, the press and television. The inclusion of certain elements, as well as a photograph of the painter himself and an orange and a vase of red roses, turns this nude into an allegory of sensual pleasures. “It is the Playboy ‘Playmate of the month’ pull-out pin-up which provides us with the closest contemporary equivalent of the odalisque in painting,” declared another Pop artist, Richard Hamilton. In ancient Greece the nude was glorified as the ideal form. As early as the seventh century BC, the human figure became the central theme of artistic depictions. However, although western tradition has granted greater prominence to the female nude, that was not the case originally. Depictions of nudes were initially reserved exclusively for the figures of young men or kuroi that were erected on top of graves. Female nudes were absent from Hellas in the sixth century BC, and in fact they were still rare in the fifth century BC. This taboo about the nudity of female deities, as opposed to the case with male gods, inspired numerous legends about the punishments that were meted out to humans like Tiresias and Actaeon for daring to gaze upon the sublime body of a goddess.

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Cranach, one of the great German painters of the Renaissance, developed a highly personal version of the nude when he was in his sixties; the series of beauties to which this nymph belongs date from after 1530. This painting depicts the nymph of the Castalian Spring, whose waters philosophers and poets imbibed in search of inspiration. The quiver and bow may be references to Diana or Cupid, while the two partridges allude to sensuality. Although it may seem deliberate that the female nude is the prominent motif of two ultra-revolutionary works, Manet’s Olympia and Les Demoiselles d’Avignon, the theme is actually irrelevant. What matters is their radical plastic conception, the discovery of a new language. The avant- garde movements abandoned the quest for likeness; they fragmented the body and splintered the face, although they continued to call it a “nude” or “portrait”, even if there was no intention whatsoever for such pictures to be defined by their imitation of the model. As Picasso said: The moral code of the 19th century was riddled with incoherences and prudery: the museums were full of pictures and statues of nude women, yet simply showing an ankle was deemed to be the height of immodesty. Between 1827 and 1838, access was restricted to the exhibition halls of the Prado Museum where nudes were on display, and years later, in the 1870s, visitors to the Salon des Refusés were outraged by Manet’s pictures Luncheon on the Grass and Olympia, both of which showed nude bodies without any religious or mythological pretext. This marked a key turning point in that artists began to question tradition, and the principles of the academic nude as the ideal of beauty collapsed. From that point on, the nude became a subject for formal experimentation and a battlefield for aesthetic and expressive provocations. Then there’s the Met Gala, which alone has boasted countless A-List celebrities wearing bold, body-celebrating dresses on its red carpet. Over the years, we’ve seen Bella Hadid bare all in 2017 wearing Alexander Wang, and Kendall Jenner in a revealing La Perla design the same year – and who could forget Beyoncé’s sheer Givenchy gown from 2015 with its strategically placed crystals? Fast forward to the 2021, 2022 and 2023 Met Galas and stars such as Zoë Kravitz, Olivia Rodrigo, Precious Lee, Karlie Kloss and Imaan Hammam all opted for barely-there styles. Meanwhile, the likes of Daisy Edgar-Jones, Ashley Graham and Emily Ratajkowski continued the trend at the Oscars and the Cannes Film Festival.

The nymph’s posture recalls the famous Venus of Dresden and certain models used by Titian. However, Cranach eschewed the Italian influence and created a strictly German prototype of icy sensuality, a female canon of elongated forms, broad forehead, almond-shaped eyes, narrow shoulders, small breasts, long legs and a slightly rounded belly. As the philosopher Julia Kristeva says, the “Christian miracle” lies in the “negotiation that occurs between the invisible truth of the Bible and the Greek worship of appearance”. Meanwhile, in the Ten Commandments that Moses received it states: “You shall not make for yourself a carved image, or any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth. You shall not worship them or serve them.” This categorical rejection of idol worship may seem unequivocal, but it was certainly not the case. In Genesis we read: “When the woman saw that the fruit of the tree was good for food and pleasing to the eye, and also desirable for gaining wisdom, she took some and ate it. She also gave some to her husband, who was with her, and he ate it. Then the eyes of both of them were opened, and they realised they were naked; so they sewed fig leaves together and made coverings for themselves,” (Gn 3: 6-7). As the Biblical story highlights, we might say that nudity is engendered in the spectator’s mind and revealed in their consciousness, which is a state of the act of gazing. I want to say a nude. I don’t want to make a nude like a nude. I only want to say breast, say foot, say hand, belly. If I can find a way to say it, that’s enough. I don’t want to paint the nude from head to foot, but just to be capable of saying that. That’s what I want. When we talk about this, a single word is sufficient. Here, the nude says what it is with simply a gaze, without a word." With her Miami roots serving as a constant source of inspiration, Eve Sweet infuses her content with the vibrant energy and sensuality that the city is known for.Nevertheless, over time, and in spite of the Christian horror of nudity, the naked figure of Christ was finally accepted as the canon in depictions of the Crucifixion. The early images of this key event in Christianity were of two types: those that showed the crucified Christ naked but for a perizoma or loincloth, and those that presented him in a tunic or colobium. Both types are rare in Palaeo-Christian iconography and none pre-date the fifth century, partly because the Church thought that inspiring depictions of the resurrection or miracles would gain more followers. Besides, Christ hardly ever showed any signs of suffering. In the 19th century there was a significant change in the way that spectators looked at art. The new affluent audiences expected more immediate gratification from the artwork, an appreciation that did not necessarily bear any relation to their literary knowledge or religious beliefs. They demanded entertainment; they wanted to be diverted. In addition to her thriving OnlyFans presence, Eve Sweet also maintains an active presence on various social media platforms. She understands the importance of connecting with her fans and utilizes these platforms to engage with them on a more personal level. In Roman law, crucifixion was the “supplicium servile”, reserved for slaves, low-class citizens, foreigners and criminals of all types, social outcasts who were stripped of their clothes to undergo capital punishment. In offering himself up for contemplation in all his vulnerability, Jesus was as naked as the criminal and slave, but precisely because of that he stood triumphant, armed with the nuda veritas, the revelation of salvation.

During the Renaissance, the nude became an increasingly secular motif, finally acquiring the status of a an object of aesthetic appreciation in itself. Consequently, Eve was no longer the personification of shame and repentance but a sensual provocateuse, while the rejection that the body had suffered as a result of Christian morality merely served to accentuate its eroticism, as is plain to see in this work. In fact, it would be true to say that in the western pictorial tradition of the nude, the true protagonist of the picture is the (predominantly male) spectator. It is through him that the figures embrace their nudity. Nevertheless, the spectator is a stranger still wearing clothes, so the relationship established is based on the unequal footing that is so firmly rooted in our culture. Alice Sophia Eve was born on February 6th, 1982 in London, England. She is a famous British actress that is known for playing the role of Dr. Carol Marcus in Star Trek Into Darkness. The body is “good for thinking”. Our consciousness of ourselves as corporeal creatures is at the very core of the human identity. But the body isn’t just a biological entity. It’s a social construct as well, the place where the strategies that govern power and the gender stereotypes that have shaped western culture converge. In Adam and Eve, Grien presents us with a magnificent study of the male and female bodies. Considered to be Dürer’s main disciple and closest collaborator, the artist developed a highly characteristic and expressive style that was far removed from his mentor’s Renaissance restraint and composure. When we compare this work with the one on the same theme by Dürer, on display at the Prado Museum, Baldung’s originality and the distance between the two artists are immediately evident.Eve Sweet was born and raised in the sunny city of Miami, Florida, known for its beautiful beaches and vibrant nightlife. The proud exhibition of the nude body was born in classical Greece in a clearly defined context: the gymnasium (from gymnos, meaning nudity). This was the place where young men trained (not so young women who, except for in Sparta, remained in the gynaeceum), while the palaestra and competitive sports were the scenes where pederasty—that is, the physical and emotional relationship between an adult, the lover or erastes, and a youth, the beloved or eromenos— took place. The nude in The Prints is clearly based on the woman with the zither viewed from behind in the foreground of The Turkish Bath by Ingres, which in turn is the transposition of an archetype formulated in the famous Valpinçon Bather by the same artist, currently on display at the Louvre Museum.

The invention of the classical nude is attributed to the Venetian painter Giorgione. The Venus of Dresden, the prototype of all Renaissance and modern Venuses, received such acclaim that for four hundred years it inspired the nudes of the greatest painters (Titian, Rubens, Courbet, Ingres, Manet, Renoir and even Cranach, as we see in this work), who created endless variations on the same theme. The nymph’s eyes are closed (“I am the nymph of the fountain,” reads the label in the top corner. “Do not disturb my sleep, I am resting”), and her sleeping status seems to insinuate passivity and vulnerability. She is immersed in her own world, but in spite of this strategy to avoid the spectator’s gaze, she is well aware that she is looked upon; she establishes a seductive complicity with the spectator, offering up her femininity for examination and unbridled enjoyment of her beauty. Her sultry content and engaging personality have attracted fans from all corners of the world, eager to get a glimpse into her exciting and seductive world. Tom Wesselmann was one of the main practitioners of American Pop Art, along with James Rosenquist and Roy Lichtenstein, both represented in this room. Although Pop Art challenged Abstract Expressionism, Wesselmann always admitted that it was seeing Willem de Kooning’s Women series in 1953 that motivated him to begin his own series of Great American Nudes in 1961. These exercises gave the bodies of the Greeks that great and manly contour which the Greek masters imparted to their statues, with no vague outlines or superfluous accretions [...]. All the precepts and injunctions on the cultivation of the body from birth to adulthood, and on its preservation, nurture and embellishment by natural and artificial means, were designed to enhance the natural beauty of the ancient Greeks; they justify us in asserting, with the highest degree of probability, that the outstanding physical beauty of the Greeks far surpassed our own."

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This route begins with one of the sculptures that was commissioned directly from the artist by August Thyssen, the grandfather of Baron Hans Heinrich Thyssen, in 1905. Rodin was the last of the great Romantics; his demise coincided with the demise of an entire age. No other artist of the 19th century managed to infuse the nude with the sheer expressiveness that Rodin achieved, reinstating sculpture to the lofty status it appeared to have lost. Rodin looked to the past, to Michelangelo, although like Degas he was well aware of the lifelessness of the excessively contrived academic nude. He would walk around the models in his studio, making sketches and encouraging them to move about, to play or dance, to unconsciously adopt different postures. “I have unbounded admiration for the nude. I worship it like a god”, he declared. But his goal was not so much the nude in itself but capturing the specific weight of the bodies, how those bodies occupied space and caught the light. Rodin developed the same profound familiarity with the human body that the ancient Greeks acquired at the palaestra. Of course, the jungle-green Versace dress that Jennifer Lopez wore to the 2000 Grammys represented another turning point in Donatella Versace's career (with the singer later wearing a reissued version on the catwalk during a Versace show in 2019). Rather than breaking the internet, Lopez's iconic fashion moment actually improved it: when the singer first wore the original dress it was so heavily searched-for online that it inspired the creation of Google Images. Whether she's posing on the beach, exploring the city's iconic landmarks, or simply showcasing her stunning physique, Eve Sweet's content captures the essence of Miami's allure. As Saint John Chrysostom claimed, “The well-shaped body is merely a whitened sepulchre, the parts of which are full of so much uncleanliness.” Its depiction was only permitted in the sacred context, for illustrative purposes and provided that it was essential for understanding the Christian message. For example, scenes like the discovery of nudity by Adam and Eve, which marked their distance from God, the Crucifixion, the resurrection of the flesh and the suffering of saints escaped ecclesiastical reprobation.