aits with erotic unde

rtones (or possibly overtones). Schiele regularly
the throes of despair,
Exposure, and self-
Evaluation. In his nude self-portraits, Schiele ex
plores “the power of sexuality questions of
bodily individuality, and
carnal experience.”
What better means
to learn about a awesome individuality in “manhood” than by
In Schiele’s
Naked Self-Portrait
from 1910, the artists
feet or hands, and his red eye mirrored by his nipples,
navel, and penis. The picture is
in to the
Composed and collected Neoclassical men, and even to Rodin’s
emotional sculptures. Schiele
goes in the direct opposite
Course of idealization, and instead abstracts himself to the
point of the grotesque. The artist
is tortured and intense as
he attempts to comprehend his internal self. Egon Schiele
Egon Schiele,
Naked Self Portrait,
Fully broke away from the European trad
ition of the nude by attempting to capture the
truth of his own psychology.
Up to now, the nude self portrait appears to be an e
fficient method to depict on
e’s private chaos, but
to give dimension to questions, desires, or
societal shifts. Throughout the twen
tieth century, artists continued
to use the male bare to give
visual language to
the changing world.
The Changing Man
During the 1960s, in postwar American society, the
code of maleness continued to change. In
his article
ude in the Work of William Theo Brown
David McCarthy describes that
these two artists offered
alternative vision of the male
condition. During the twentieth cen
the free body raised the popularity of
Societal nudism as a utopian concept.
Naturist 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 regular
magazine, except that the folks were totally naked.
(1919-2012) used Scandinavian fkk magazines
as inspiration for his paintings. McCarthy
believes that Brown’s male nudes demonstrat
e a homoeroticism that was considered
Improper (if actualized in real life) during
the time that the artist created the images.
Brown painted male nudes socializing together in
order to give visual language to his own
Gay want. Because the bather as a subj
western art, Brown was
Competent to express his desires in a mode
that could be deemed “proper.”
In Brown’s painting
Muscatine Diver,
from 1962-1963, the artist depicts two nude man
bathers, both in motion (affected by the magazi
nes). The artist’s intere
the outdoors expresses his desi
nature, and possibly gain the vi
ewer’s subconscious acceptance
of the natural desires of homose
xuality. McCarthy clarifies that
Brown tried to illustrate the lifestyle he believed in.
Much like the “crisis in masculinity” that both Solomon-
Godeau and Hammer-Tugendhat describe, the 1960s postwar
volving notion of manhood, and artists
continued to attach imagery to
their perceptions of themselves,
and others as men. Thus far, we’ve just looked at images of
Bare men by other men! Surely, there must be another
perspective on the bare man, furthermore from that of his own
The Female Gaze
The idea of the gaze is frequently related to a male gaze
directed towards a female. During the 1970s, feminist artists
William Theo Brown,
x 101.6 cm, The Oakland
Museum of California.
adopted “representational strategies to challenge
female sexuality and eroticism, criticism visual markets that restrict girls to heterosexual and
Motherly identities, and fete manners of
Even merely the works discussed in this
paper demonstrate how western artwork and its
history have been dominated by the white man. As
previously discussed, of the female
nude is prevalent, which brings us back to th
e essence of this paper, “What About the Male
Bare?” Now we understand that there have been male
nudes in post-Renaissance art, but male artists
Created all of them.
created by female artists? Feminist artists
addressed just this dilemma by creating images of
Nude guys, so the notion of the gaze might
be shaken up.
Feminist artists such used the male naked to expr