aits with erotic unde

rtones (or possibly overtones). Schiele often
Exposure, and self-
Assessment. In his nude self-portraits, Schiele ex
plores “the power of sexuality issues of
Physical individuality, and
carnal experience.”
What better way
to learn about a brand new identity in “manhood” than by
In Schiele’s
Naked Self-Portrait
from 1910, the artists
depicts himself full frontal, emaciated, and hairy, with no
feet or hands, and his red eye reflected by his nipples,
navel, and member. The image is
in striking contrast to the
Serene and accumulated Neoclassical guys, and even to Rodin’s
Mental sculptures. Schiele
goes in the direct reverse
route of idealization, and instead abstracts himself to the
Purpose of the grotesque. The artist
is tortured and extreme as
he tries to comprehend . Egon Schiele
Egon Schiele,
Nude Self-Portrait,
Black chalk, watercolor on paper, 44 x
30.5 cm, Leopold Museum.
completely broke away from the European trad
ition of the nude by attempting to capture the
truth of his own psychology.
So far, the nude self portrait appears to be an e
fficient means to depict on
e’s private chaos, but
this process is of course by no means the only way
to give measurement to questions, want, or
societal shifts. Throughout the twen
to use the male bare to give
visual language to
the shifting world.
The Changing Guy
code of maleness continued to transform. In
his article
Social Nudism, Masculinity, and the Male N
David McCarthy explains that
Both of these artists offered
alternative vision of the male
State. During the twentieth cen
the free body increased the popularity of
social nudism as a utopian concept.
Nudist magazines
provided vision of the great fr
eedom and pleasure that could be ha
d as a naturist. These magazines
depicted individuals relaxing, playing sports, and in
teracting with each other
just like in a routine
magazine, except that the individuals were completely nude.
(1919-2012) used Scandinavian naturist magazines
Improper (if actualized in real life) during
the time the artist produced the images.
Brown painted male nudes interacting together in
order to give visual language to his own
homosexual want.
western art, Brown was
Capable to express his desires in a mode
that could be deemed family naturalist fruit young girl .”
In Brown’s painting
Muscatine Diver,
from 1962-1963, the artist depicts two naked male
bathers, both in motion (affected by the magazi
nes). The artist’s intere
the outdoors expresses his desi
nature, and perhaps gain the vi
ewer’s subconscious approval
of the natural desires of homose
xuality. McCarthy describes that
Brown attempted to illustrate the lifestyle that he believed in.
Similar to the “crisis in masculinity” that both Solomon-
Godeau and Hammer Tugendhat describe, the 1960s postwar
society grappled with the e
volving notion of manhood, and artists
continued to attach images to
their perceptions of themselves,
and others as guys. Thus far, we’ve just looked at images of
Bare men by other guys! Certainly, there must be another
perspective on the nude male, furthermore from that of his own
The Female Gaze
The notion of the gaze is most often associated with a male gaze
directed towards a female. During the 1970s, feminist artists
William Theo Brown,
Museum of California.
adopted “representational strategies to challenge
phallocentrism and the male gaze, illuminate
female sexuality and eroticism, critique visual economies that limit women to heterosexual and
Motherly identities, and fete styles of
Even only the works discussed in this
paper present how western artwork and its
history have been dominated by the white man. As
nude is widespread, which brings us back to th
e essence of this paper, “What About the Man
Naked?” Now we understand that there have been male
Created all of them.
created by female artists? Feminist artists
addressed precisely this problem by creating images of
Nude men, so that the notion of the gaze might
be shaken up.
Feminist artists such used the male naked to expr