The naked body (first part)

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Whatever the mode of expression, time and place where it manifests itself, the art has resorted always the human body to translate the most complete, your conception of beauty. 
 This cult creates the graphic representation or pictorial of women and men, and this probably explains the meaning of the oldest statues and bas-reliefs that show images of women in which artists sought the Stone Age fertility symbol that also represents strength, ensured the continuation of the species. 



Paleolithic representations of women to symbolize deities, but certainly for those Venus primitive societies represented the ideal of beauty, one that over time has had plenty of ideas depending on races, traditions or religious cults. 
 curious is that the beauty in the earthly creatures has generally been held under the aspect of the female body (though it is undeniable that in sculpture and painting Greek exaltation of the human body was fair to both sexes ).

The nude is an art form to a subject of art.




There is a belief that the human body is itself an object that stops our eyes with pleasure, without however, be interesting to see (who have attended art schools) that are not exactly the ideal model of perfection and although students in a laborious attempt to capture on canvas his conception of "beauty", the autonomy of the work be imposed becoming an object within the universe of images. This will have transcended the subject or starting point, rather reflecting the author's temperament, with the spectrum of conscious or unconscious of it. Hence his wealth ... The body is not in itself a topic that direct transcription can become art, then the artist usually seek empathy with the world around him and from there, will launch its platform of seeking a kind of lamp of Diogenes the model is more consistent with their notions of harmony, balance and beauty. Despite the effort, the result of the works can never fully satisfy the eyes of all observers and even less to those who have a rigid, conventional and not very open to the perception or the reinterpretation of "reality". 
 Easy is forget that human beings are living organisms towns of imperfections. Hence the absurdity of requiring otherwise in a work created by man. 
 The body as the core is rich in associations, and when it becomes art, it is reflected accurately. 



When the proxy fails completely an aesthetic impact "ornamental", the creative experience can be much more enriching and vast, not only for the artist but to the observer, because the bodies are all ourselves and they want to perpetuate. 
 The naked body also provides memories of harmony , vitality, ecstasy, brutality, humility or pain, and as result, when we see brilliant results in a work, it seems that the nude possessed a universal and eternal value, in short, manages to move us touching the innermost fibers of the very being complete . 
 The criticism has been fluctuating between two basic interpretations of the representation of the nude human over time: The concept of the mundane and the mystical, both antagonistic and constant. The third option is that proposed the ideal of beauty as the mixture of the usual medium. Concept leading to the poet, painter, engraver, and mystic English, William Blake, to retort saying 
 "All forms are perfect in the mind of the poet, but these are not abstract or consist of nature if not in the imagination" . 
 The imaginative activity encompasses the possibility of projecting anticipated future, the construction of utopias and the release of the narrow horizon of the present, linking the same way to develop them independently and constructive spirit. 



If we assume that beauty itself is "rare" and if it a toy mechanical formed by middle parts that could be assembled at will, then do not regard as this. 
 would therefore be worth examining whether the ideal of artistic representations is still a kind of myth and if the forms completed by the artists can be understood only as the end of a long process of growth.


Text: Toni Guerra -Galería Exagono-


photos: Edward Weston




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