Followers of almost all major currents constantly turned to this topic. The beauty of the female body attracted representatives of many innovative styles. The 19th century was a period of many revolutionary changes for the fine arts. Later, adherents of classicism and academism unsuccessfully tried to revive the ancient ideals of nudity in art, creating many beautiful paintings. Erotic motifs appeared in each nudity painting of the artists, and the images of the heroines became more sensual. The Rococo style, which replaced the Baroque, slightly changed the canons of the beauty of the female body. Among the many works of this period, a special place is occupied by the work of Pieter Paul Rubens, whose full-bodied heroines still appeal to many art lovers today. Curvaceous forms of heroines, which symbolized vitality and health, became popular. In the Baroque era, the canons of female beauty have undergone great changes. Almost all the outstanding masters of that era addressed the theme of the beauty of the female body in their work: from Raffaello and Leonardo da Vinci to Tiziano and Tintoretto. Renaissance masters created images of ideal heroines in religious, mythological, and historical genres. Artists got the opportunity to return to the ancient canons of art, and the beauty of the female body was again reflected in nudity painting and sculptures. The clergy frightened the believers with a terrible punishment for sins, and all obscene works of art were subject to ruthless destruction. The beauty of the female body has long been a taboo subject for artists. Nudity painting and sculptures were widespread in the culture of ancient peoples until the 5th century AD, but then, with the adoption of Christianity, a radical change in the moral principles of society took place in the Byzantine Empire. The Greeks, and then the Romans, for many centuries created beautiful statues of women, whose beauty is still admired by the audience today. This bold act marked the beginning of a long era of glorifying the beauty of the female body in ancient art. The ancient Greek sculptor Praxiteles (Πραξιτέλης) ventured to break the outdated canons and created the first sculpture depicting a naked woman – a statue of Aphrodite of Cnidus. This tradition was later adopted and observed by ancient Greek masters for many centuries, but then the situation changed. The same type of figures of people in those days was always dressed in clothes, which fully corresponded to the strict canons of morality. In the art of Ancient Egypt, Mesopotamia, and other civilizations, images of a naked female body are practically not found. Most of the figurines have obese forms, and their authors, according to historians, reflected in their works the widespread cult of fertility and motherhood. Sculpture Venus of Willendorf, 25000 BCįrom the point of view of modern man, the idea of the beauty of the female body among the artists of the Stone Age was very unusual. The most famous examples of naked art are small figurines made of ceramics, stone, and animal bones, now commonly called “Venuses of the Paleolithic”. How ideas about the beauty of the female body in art have changed in the history of mankindĮven in prehistoric times, ancient masters created images of the fair sex. Therefore, even today the topic of nudity painting has not lost its relevance for both artists and the general public. The beauty of the female body in art evokes a variety of emotions in viewers: from admiration and reverence to envy and anger, but it leaves no one indifferent. In such times, artists and sculptors were forced to hide the beautiful outlines of the figure under their clothes so that their works corresponded to the moral principles of society. Still, in the history of mankind, there have been periods when the aesthetics of nudity was under the strictest ban. People admired the beauty of the female body in art even in antiquity. The beauty of the female body in art has been praised by artists of different historical eras and styles for many centuries. Leonardo da Vinci, Leda and the Swan, 1504-1506
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