View allAll Photos Tagged differences
Reference: DS.JLT-5-3-1.2
This image has been taken from the Joseph L Thompson & Sons Ltd shipbuilders’ collection. The photographs, taken at the Sunderland Based Shipyard were used in the publicity campaign 'The Art of Shipbuilding' published in 1946 to promote the firms of Joseph L. Thompson & Sons Ltd and Sir James Laing & Sons Ltd.
Inspired by the upcoming Grayson Perry exhibition 'The Vanity in small differences' Tyne & Wear Archives have created this set in reaction to some of the themes surrounding Sunderland and its social make up that have been explored by Grayson Perry in his six large scale tapestries.
This set features both Social and Landscape Photography of a nostalgic Sunderland; these consist of both Aerial views of the physical make up of Sunderland's landscape, mixed with social portraits of the working community and industrial scenes traditionally associated with Sunderland's Heritage. Both are relevant to Grayson Perry's upcoming collection of Tapestries exploring the story of class mobility and the influence social class has on our aesthetic taste.
When recently interviewed on the subject Perry states "When I asked club singer Sean Foster-Conley what I should feature in my tapestries to show working-class taste, he said “the mines and shipyards”. “But they no longer exist,” I replied. In a very important way, however, he was right. The heavy industries that shaped the north of England also shaped the emotional lives of the generations of people who lived there. Winding towers and cranes can be torn down in a day, but the bonds, formed through shared hardship working under them, live on."
These images of a community driven by industry, mixed with Aerial
Views of the physical make up of Sunderland during this time reflect on Perry's view of the eternal relevance that Sunderland's social and industrial past has on its present community.
More information on 'The Vanity of Small Differences' can be found here.
(Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk
There are twelve differences between the top and bottom photos of The Topiary Cats. Some harder than others, some very sneaky! www.thetopiarycat.co.uk
What a difference a day makes! Shot from my hotel window Sunday morning, much better than the thunderstorm we had to deal with Saturday morning.
Top row: the 12 mm eyes I bought.
Bottom row: my Byurl's default eyes.
I am sincerely doubting if they even are 14 mm! The size difference is so huge, they could be 16 mm for all I know.
IMG_0382_Luminar_cr
So, what a difference a week makes. Another visit to Sheffield Mills to attempt to get photos of eagles in action. I thought it was going to be another "blowout" as by the time we arrived (0920) the food had been placed and the photographers were assembled. There was very little action - a gull and a raven wandering among the chicken carcasses.
And then about 0950 the action started and I managed to shoot 585 frames - 168 of which were deleted from the camera and an additional 101 deleted once I saw them on my desktop. I one starred 43 and then gave 14 of those two stars - 13 of which are posted here - 5 made it to Instagram.
I read about Charles Babbage's Difference Engine as a child.
To see a working version in the flesh was a great thrill for me.
This was inside a glass case, I put the camera on timer, jammed the lens against the glass and held it as steady as I could - seemed to work.
Please don't use these images on websites, blogs or other media without my explicit permission. ©All rights reserved.
More items from way out west!
Two Western National leaflets from D-day (26 October 1986) - the effective date of bus deregulation under the Transport Act 1985.
Initially I just assumed they were the same picture 'doctored' to show different numbers and destinations. However looking closer I can only assume that the photographer, driver and 'passengers' (probably WN staff) spent a long time in the same location shooting all the options needed. Any idea where?
Did you enter the Bus quiz? ......... buy a 12 journey ticket, answer 3 questions and complete the sentence "I buy 12 Journey Tickets because.........." and you could have won the top prize of an Intasun Holiday for 2 worth £500
The beginning state is set up in the counters for the desired series of computations, prior to the actual cycling through the computations via the crank-handle
Pop quiz #1 We do know this is a 1948 Massey Harris, but something is a wee bit different...
Another trek to Pioneer Acres for their annual showcase weekend, lots of fun as always... www.pioneeracres.ab.ca/
The Magnificient Frigate Bird (Fregata magnificens) and Great Frigate bird (Fregata minor) are similar.
Differences are described at:
eebweb.arizona.edu/courses/galapagos/expert%20topics%2020...(bonine)/Tollefson_Frigatebirds.pdf
Great frigatebirds are
difficult to distinguish from magnificent frigate birds. A table of differences follows:
Great frigatebird Males - Brown band across wings
Magnificent frigatebird Males -No brown bands
Great frigatebird Females - White feathers on chin, throat, and breast
Magnificent frigatebird Females
White on throat and breast only
Great frigatebird -Red eye ring
Magnificent frigatebird- Blue eye ring
Juveniles
(1 yr)
Great frigatebird -White head with some rusty color on it
Magnificent frigatebird -White head
video: www.youtube.com/watch?v=DHcdbIHAQZU
The Magnificent Frigatebird (Fregata magnificens) was sometimes previously known as Man O'War, reflecting its rakish lines, speed, and aerial piracy of other birds.
It is widespread in the tropical Atlantic, breeding colonially in trees in Florida, the Caribbean and Cape Verde Islands. It also breeds along the Pacific coast of the Americas from Mexico to Ecuador including the Galapagos Islands.
It has occurred as a vagrant as far from its normal range as the Isle of Man, Denmark, Spain, England, and British Columbia.
The Magnificent Frigatebird is 100 cm (39 inches) long with a 215 cm (85 inch) wingspan. Males are all black with a scarlet throat pouch which is inflated like a balloon in the breeding season. Although the feathers are black, the scapular feathers produce a purple iridescence when they reflect sunlight. Females are black, but have a white breast and lower neck sides, a brown band on the wings and a blue eye ring. Immature birds have a white head and underparts.
This species is very similar to the other frigatebirds and is similarly sized to all but the Lesser Frigatebird. However, it lacks a white axillary spur, and juveniles show a distinctive diamond-shaped belly patch.
The Magnificent Frigatebird is silent in flight, but makes various rattling sounds at its nest.
This species feeds mainly on fish, and also attacks other seabirds to force them to disgorge their meals. Frigatebirds never land on water, and always take their food items in flight.
It spends days and nights on the wing, with an average ground speed of 10 km/hour, covering 223±208 km before landing. They alternately climb in thermals, to altitudes occasionally as high as 2500 m, and descend to near the sea surface (Chastel et al. 2003). The only other bird known to spend days and nights on the wing is the Common Swift.
A scientific study that examined genetic and morphological variation in Magnificent Frigatebirds found both expected, and also highly unexpected results: firstly—as predicted by the flight capacity of the species—the authors found signatures of high gene flow across most of the distribution range. This included evidence of recent gene flow among Pacific and Atlantic localities, likely across the Isthmus of Panama. This geological formation is a strong barrier to movement in most tropical seabirds. However, the same study also found that the Magnificent Frigatebird on the Galapagos Islands is genetically and morphologically distinct. Based on this study, the Galapagos population has not been exchanging any genes with their mainland counterparts for several hundred thousand years.[1]
Given these findings, the Galapagos population of this tropical seabird may be its own genetically distinct species warranting a new conservation status. This small population of genetically unique Magnificent Frigatebirds is a vulnerable population. Any catastrophic event or threats by humans could wipe out the approximate 2,000 Magnificent Frigatebirds that nest on the Galapagos Islands. Magnificent Frigatebirds are currently classified as Least Concern (LC)' by the International Union for Conservation of Nature, but the Proceedings of the Royal Society paper recommends that, because of the genetic uniqueness of those on the Galápagos, this status be revisited.
Mercedes-Benz Citaro (BJ12 YPW) www.flickr.com/photos/138705729@N04/33716083298/in/dateta...
Mercedes-Benz Citaro (BV58 MLN) www.flickr.com/photos/138705729@N04/40627050073/in/dateta...
Hailey Lindberg (21)
Taylor Laugero (20)
At 6-1, Hailey is 8 inches taller than her teammate.
Stanford University
Palo Alto, CA
LOLA Day 20
August 26, 2014
YAYAY I found a coke bottle with my name on it! Well I didn't find it, but it's all mine now! I am one of those people who could take the pepsi challenge and definitely know the difference and prefer coke. I can totally tell, I promise you. Just like I can tell if there is a tiny piece of onion in something I am eating (I DO NOT like onions). So that share a coke slogan got me thinking about sharing. Little E will clutch his favorite train toy (Thomas of course) like his life depends on it, but then out of the blue will walk over to one of his friends and just hand it over to them. Why? I have no idea, but a toddler giving away his most prized train is a pretty big deal. These little people are so amazing. Would you give away a prized possession to someone just because? Would your decision be based on how much it cost you? If you really like it that much? Could you find another one like it? Or would it soley be based on whether or not someone else would really appreciate it? My guess is the former. At least that would be part of my thought process. We put so much value in stuff...............A past Angela would probably even keep this coke bottle. Why? Well because it is special because it has my name on it of course! But Angela 3.0 (not sure if I discussed the versions of my yet, but I am now on 3.0) decided to take a photo of it, enjoy drinking it and then return for refund where applicable.
Oh and I am going to go through with Project333, but I like to start things at the beginning of the month so it will officially start September 1! I have taken two bags of clothes to donation, another bag to my sister and some shoes and such have been boxed up and will likely be donated after Project333 is complete.
Quotes!!!
*Writing means sharing. It's part of the human condition to want to share things - thoughts, ideas, opinions - Paulo Coelho
*“Hey, Ethan."
"Yeah?"
"Remember the Twinkie on the bus? The one I gave you in second grade, the day we met?"
"The one you found on the floor and gave me without telling me? Nice."
He grinned and shot the ball. "It never really fell on the floor. I made that part up.”
― Kami Garcia, Beautiful Chaos
*“If you have a candle, the light won't glow any dimmer if I light yours off of mine.”
― Steven Tyler
Cartoon by A(lexander) S(tuart) Boyd for Punch, 1896.
AS Boyd (1854-1930) is one of the minor but still excellent artists of the 1890s. In his work can be seen the influence of the seminal magazine "The Graphic".
On the left a fine representation of a Hansom cab with its cabby on his seat behind the vehicle.
Students pitch in change to make a difference for the CDA
By Ambria Hammel | May 21, 2009 | The Catholic Sun
The annual Charity and Development Appeal is getting a welcome boost from an unlikely source: students.
Thousands of students across the diocese’s 35 school campusesfound ways to donate a coin or two to help the less fortunate living among them. Since February, many have been dropping their spare change, and sometimes bills, into a chapel-shaped bank with their school’s name and CDA logo on it.
The final total will come before school lets out for the summer.
“I have heard very positive results with the students being an integral part of the CDA and understanding about sharing from their own blessings,” said MaryBeth Mueller, superintendent of Catholic schools.
She added that four schools brought in more than $8,000, largely through fundraising projects.
“I think the students began to understand better the idea of stewardship and how a little can and does make a difference. Whether it is your time, talent or your treasure, every little bit helps,” said Sr. Yolanda Mendoza, IBVM, campus minister at Notre Dame Preparatory in Scottsdale.
Students learned about the CDA from teachers who addressed justice, the economy and other social issues. The chapel-shaped CDA bank — which the Notre Dame staff pushed around on a cart during breaks and lunch — became a way for the students to begin addressing some of those social ills.
School officials were surprised by the students’ cooperation with the CDA. They put a little bit of change in the bank whenever they could.
“We don’t have to do the extraordinary,” Sr. Mendoza said, “we just need to do the ordinary well.”
That’s the same idea that administrators at St. Theresa School tried to show their students: a little bit can add up to a lot when everyone does a little something.
All 575 students spent the Lenten season donating what money they could to the CDA. St. Theresa’s student council presented an updated total every week during opening prayer.
“We always made sure that we told the kids to the exact penny so that they got the idea that every penny counts,” said Sr. Patricia Gehling, SSND, principal.
The school adopted its own “Pennies Make a Difference” theme to show the students that even pennies can greatly impact a large fundraising effort like the $10.2 million CDA. The theme also fits into St. Theresa’s yearlong focus, “We Make a Difference.”
Students at Xavier College Preparatory heard every day about the CDA’s local impact. During daily announcements, the student council talked about the CDA and how it helps students like themselves and seminarians.
The announcements were telecast into every classroom. That meant all the students could see the CDA chapel bank with their school’s name on it beside the announcer. It served as a reminder to donate.
Each morning at Xavier also began with the CDA prayer.
“It really heightened their sense of the CDA in the context of stewardship,” said Sr. Joan Fitzgerald, BVM, Xavier’s principal.
Their new awareness resulted in immediate action.
The students held penny wars and “buck-a-jean” days earlier this year with cash benefiting the CDA. Most of the school participated in the “buck-a-jean” day.
Student leaders also asked their peers to make a personal sacrifice — such as a latte — during March and donate that money instead to the CDA.
For students at St. Peter Mission School in Bapchule, donating any amount of money to the CDA showed a personal sacrifice. But that didn’t stop them from digging into their pockets.
The students held several fundraisers this year including a “no uniform day” if they donated to the CDA and a two-mile benefit walk for the appeal.
“All monies plus extra donations by children, staff and parents became ‘CDA money,’” said Franciscan Sister Martha Mary Carpenter, principal at St. Peter. “CDA is so generous to us that we would like to give back as much as we can.”
They have collected $731 in change and small bills so far.
At press time, the CDA has raised nearly $8.65 million, which goes toward helping thousands of Arizona residents who are served by more than 70 diocesan and community agencies.
More: www.catholicsun.org
ORDERING INFORMATION
Looking for a glossy/matte copy of this photo? Please call 602-354-2132 or send an e-mail for ordering information. Please note the photo's title when ordering. Download the order form here.
Copyright 2006-2009 The Catholic Sun. All rights reserved. This photo and all photos on this Web site credited to The Catholic Sun are provided for personal use only and may not be published, broadcasted, transmitted or sold without the expressed consent of The Catholic Sun.
Preston Bus Station - the long distance coach end which used to be a taxi pick and set down point. In later times it looked absolutely awful and the haunt of drunks and yobs
Here you can see the size difference between my bike and scooter. I forgot to put a shoe on there but rest assured both feet can stand side by side as well as stagger stepped. People even ride them with their kids standing at the front part of the deck and hanging onto the lead tube.
So how does this thing compare to other forms of travel? Dunno, that would require documenting shit. Okay I do have some numbers to compare.
I had read on the internet that people were going about jog pace on their scooters with little exertion. I would say the effort is not that much with some exceptions. The thin tires eat into grass and rolling pretty much comes to halt. Something to keep in mind when ripping down the sidewalk and deciding to take a detour. Bricks, tile aren't so good with all their cracks and seams. Carpet is also a major energy sucker when the janitors and security staff are yelling at you. Aside from the grass it's still beneficial to scoot than walk.
Surprisingly super smooth concrete in the tunnels at work aren't as fast as concrete and asphalt! I don't know what it is but the texture of the road allows the scooter to roll along while the smooth surfaces seem to stick to the tires.
I saw travel times posted by owners that were half and sometimes two thirds less than walking. Again, that depends.
I rode it to a dinner party from the office to a nearby apartment complex. It took 12 minutes with 2/3 the way coasting due to slight to medium downhill portions. According to various inhabitants it takes about half an hour when walking. Checking google maps the distance shows as 1.4 miles or 2.3km. I walk about a km every 10 minutes so I estimate this distance would take about 23-25 minutes. So in this case it took me about half the time with a little bit of kicking 1/3 the way in the flats. On the way back up the hill was a different story and it was pretty tiring. I was full of food and booze so I neglected to time it.
Another test - I don't have cable so I like to walk over to the Fred Meyer every couple of weeks and rent a DVD out of the Redbox (Automated movie dispenser for a buck a day). It takes 18-20 minutes each way as it is down hill there and uphill back. How'd the scooter do? 8 minutes down the hill and 12 minutes up the hill although I walked some of the steeper parts.
The main grocery store that I go to is 1 km away. My path either forms zigzag or big L with the start leg being down hill and the rest fairly level. Going there is a lot of fun as I come down the hill (of course wait for traffic light) cut through this drive through bank area which is like a big race track and then bound out into a lower parking lot. By taking a diagonal I can coast 3/4 of the way. I didn't time it but the walking experience takes 10 minutes. I figure again it's south of the half mark and a lot of fun -yeah I said it twice! I limit my food haul to as much as I can fit in a hand basket (including heaping) as it seems to fit my backpack well. The ride back wasn't too bad aside from the uphill. It gets steep enough that I think it's faster to walk.
Lots more tests to do including at the office. So far I'm just ripping through the parking lots and will have to see the improvement on my 15 minute walk.
A shot of a Med. Gull in flight showing well the differences between this and our Blackheaded Gull. The most obvious being the Med. Gull has a black head rather than dark chocolate brown and white flight primaries instead of black. I take no responsibility or complaints for the naming of our blackheaded gull, I suppose dark chocolate brown headed gull is a bit of a mouth full.
Keeping things simple is the key when it comes to setting investment objectives. Daniel Fisher says that he likes to view gold investments as removing risk from his life. Starting on this note, he guides investors on understanding the essential differences between purchasing gold as opposed to silver. A video released by his company, Physical Gold is the need of the hour. This video was a necessary response to the question that investors often ask - is it better to invest in gold or silver?
There can be several motivations when setting investment objectives. In the video, investors learn that gold can be a better option for those aiming to build wealth, mitigate risks and provide security. Silver investments are more volatile and do not support these objectives. However, if maximising profitability lies at the heart of your investment philosophy, then silver can be a suitable choice. Daniel goes on to talk about the gold-silver ratio, that he believes has the potential to escalate to 100:1 in the not too distant future. Already the ratio is approximately 85:1.
Clearly, if gold rises according to Daniel’s predictions, it is an ideal vehicle for booking short-term profits. But, for those investing with a longer-term exit window, silver has great promise and potential. Spot prices of silver are predicted to rise significantly once industrial demand outstrips already declining supplies of white metal. The profit potential isn’t the only thing when it comes to investing. Preservation of wealth means being tax efficient and creating variety in your portfolio.
Variety of coins and bars was previously unavailable to silver investors. However, with rising demand, mints have started producing coins and bars with different designs, sizes and weights. So, the required levels of divisibility for your portfolio can now be achieved by investing in silver products. On the tax efficiency front, gold had a clear lead over silver with the VAT-free status of all investment-grade gold and CGT exemption on £ 12,000 profit levels. But, this scenario is also changing. In fact, physical gold can provide investors with silver bars, VAT-free. The CGT impact can also be managed by investing in UK legal tender silver coins. There’s a lot to learn about precious metal investing and the Physical Gold video packages this knowledge well.
HUMPHREYS GARRISON — Joining millions of people around the world, about 250 members of the U.S. Army Garrison Humphreys community, along with 100 students and adults from Pyeongtaek City, participated in Make a Difference Day by helping to clean up Deog Dong San City Park, in Pyeongtaek, Oct. 23.
According to Denise Chappell, the Army Community Service volunteer coordinator and project officer for the event, “Make a Difference Day is the most encompassing national day of helping others; a celebration of neighbors helping neighbors.”
The program was created by USA Weekend Magazine 20 years ago and has become an annual event that takes place on the fourth Saturday of October.
This was the third year in a row that the garrison partnered with the local community to participate in the program.
At the park, volunteers from the Bright Society-Goodwill, Cooperation and Service Shinhan High School Chapter, Pyeongtaek City’s Park and Green Belt Management Division and People-to-People International Shinhan High School Chapter, were waiting with gloves and trash bags, ready to get started.
In addition to picking up trash, there was also a need to help build a nicer walking trail, which required some of the volunteers to carry stone and shale, which were leveled out by other helpers. This was used to provide better traction for those who walk the trail on a regular basis.
U.S. Army photos by Steven Hoover
For more information on U.S. Army Garrison Humphreys and living and working in Korea visit: USAG-Humphreys' official web site or check out our online videos.
Tribal president Mark Chino, whose father, Wendell Chino, led the opening of the original Inn of the Mountain Gods and casino in 1975, oversaw the grand opening of the new, bigger version of the Mescalero Apache's Inn of the Mountain Gods in March 2005. The Chief Operating Officer at opening of the themed upscale resort with 275 guest rooms and suites was Michael French. A circular driveway at the entrance to the hotel surrounds four 15-foot-tall bronze statues of crown dancers created by Mescalero Apache artist Frederick Peso. The casino and resort operation was expected to have a $35 million annual payroll. Thirty six percent of the resort operation's 1,500 employees are Mescalero Apache. The hotel has a unique setting nestled in the Sacramento Mountains with Huge bay windows providing a view from the lobby of Mescalero Lake and golf course. Denver-based WorthGroup provided architectural and design services and Dallas-based Centex Construction Group was the general contractor.
The resort added the Apache Wind Rider ZipTour at its sister resort Ski Apache in 2014 and Apache Eagle ZipRider over Lake Mescalero at Inn of the Mountain Gods in early 2015. The property completed a $2.4 million room renovation in June of 2015, and in 2016 added Broken Arrow Tap House, a 127-seat 24-hour gastro-pub inspired restaurant.
The Ted Robinson-designed championship golf course originally opened in 1975 and has developed a reputation for providing a high-quality golf experience in a uniquely beautiful mountain setting.
Located in Mescalero, New Mexico, Inn of the Mountain Gods Resort and Casino, is an unincorporated enterprise of the Mescalero Apache Tribe. Its wholly-owned subsidiaries include Casino Apache, Casino Apache Travel Center, Ski Apache and Inn of the Mountain Gods. Mescalero Apache Tribe is a federally recognized, self-governing Indian tribe with approximately 4,100 members. The Reservation was established by presidential order in 1873 and consists of 460,661 acres. The Tribe and the State of New Mexico entered into a ten-year tribal-state compact in 1997 that fully authorizes Class III gaming.
Three years after opening tribal leadership was looking to refinance $200 million in bonds which the resort issued with notes at 12% interest. The $200 million in bonds mature Nov. 15, 2010, when the debt must be paid off. The tribe has not been able to pay down any of the principal on its $200 million bond issue.
On June, 2008, resort management hired Douglas Lentz, former CEO and GM of the Santa Ysabel Resort and Casino in California, as chief operating officer at an annual salary of $275,000. Lentz replaced former CEO Brian Parrish whose resignation was a result of philosophical differences with respect to operations of the resort.
The Inn of the Mountain Gods Resort defaulted on the $200 million bond issue after it failed to make a $12 million interest payment due May 15, 2009.
The Pueblo of Mescalero Apache tribe was the first tribe to default on high-yield debt. The tribe, in a November 2010 exchange, swapped every $1,000 in principal for $300 of an 8.75% senior note due in 2020 and $675 of a pay-inkind notes accruing interest at 1.75% until the other notes are repaid. Analysts said that the bond holders will recover 71% of the net present value of their securities by 2020.
In 2015 The Mescalero Apache Tribe refinanced about $260 million in bond debt. Tribal President Danny Breuninger has said the most recent refinance deal reduced what the hotel owes to $110 million less than it did three years ago. Interest rates are now lower than almost any other Indian casino in the country and it allows greater payments to the Tribe.
Warner Hospitality and its majority owner, William W. Warner, have a management agreement to operate the Inn of the Mountain Gods effective January 2010.
Photo by John Urban.
After a restful weekend, the team was re-energized and looking forward to a full day of patients today. Our first case was a baby, 7 months old, with a significant cleft palate and lip running all the way to his nostril. This little baby was adorable - a love bug. As we talked to him and his mom, he kept laughing and smiling. What a sweetie! His gum line was protruding out of his mouth, almost like a little snout, and if he'd had his teeth in they would have been sticking straight out. As a mother, it must be terribly hard to have such an adorable baby whose face may repel others. We could tell he was such a sweet and loving child.
I am building a small visualization tool to look at the similarities and differences between two articles published in October about head injuries and the NFL:
"Game Brain" by Jeanne Marie Laskas - Oct. 10, 2009
www.gq.com/sports/profiles/200909/nfl-players-brain-demen...
"Offensive Play" by Malcolm Gladwell - Oct. 19, 2009
www.newyorker.com/reporting/2009/10/19/091019fa_fact_glad...
These are some early outputs from the system.
True love will find its way if it is meant to be between two souls!
While it's true that online dating is not for everybody, let me foremostly extend my gratitude and say hurray! to Myladyboydate.com for laying down an avenue for two sincere souls to find their ways to find each other, irrespective of geographical location, time differences, race and social stratum one belongs to.
Admittedly, i had contacted, chatted and talked to several other guys in here with the very limited time and opportunity i have to get online, none of those has truly satiated the qualifications of a partner i have been looking for. It's not that im looking for a perfect guy, it's just that i was seriously looking for a perfect match to complement my strengths and to augment my weaknesses, and to eventually share the "ups" and "downs" of life. Yes, i am that serious. I did encounter lots of guys who were apt to play lusty games with me, but none succeeded. It may sound cliche for some, but it's a reality, it is a fact. I am not here to say they are bad guys, it is their thing, it is their comfort zone, it is their niche. Respect shall prevail. Furthermore, there are those guys who seem to be true and sincere about their desire to establish a meaningful relationship. That has been the case for several months being on MLD until meet John.
We starting to talk and exchange Skype and be friends for a week's and we starting to deal to close our account here. after getting to know each other by August 28, 2016 we be officially couple ???? after talking and building happy relationship For a month's. He decide to visit me and come here.
By Last August 16,2016 Yes he visit ???? and that's the first time we meet each other. It was so happy feeling that you can't explain hehe Then by August 28, 2016 which is our anniversary day too. He propose to me at the MAX Restaurant and asking to marry him. And ofocurse I say YES ???? Finally we are engaged ???? Then he's back to US to start our fiancee visa,but hopefully by next year 2017 he come here to get me. Much earlier much better ???? and we gonna close the distance very soon. I cant wait for that time. He made a promise to me and my family to get back pretty soon for a more meaningful event of our lives. I believe and trust him so.
To those ladies who find difficulty in being matched, don't give up. There's always something in store for everyone. Love comes in the most unprecedented time. It takes you by surprise. And when it arrives, take extra care of it, nurture it, treat with much trust and respect so it could surpass obstacles and the test of times. I am not sounding to have a perfect relationship with John. But I am here for good. I chose to love this man for the remaining days of my life. I have decided to walk with him, laugh and cry with him today, tomorrow and beyond infinity.
If your in Long distance relationship John and I make sure you we have time to talk. We have able to share our favorite moments. I know it's top but it's OK long distance relationship is not meant to be easy, it's hard for a reason, that's why having sentimental things like T-shirt, bears and cards can make u feel closer to your love. I can stressed how important it is to communicate right after when wake up and before you go to bed you always want to be the have first and last message for your love. And the most important tip Always have a date to meet if your ready to commit, "make a date" I been if using online only.
I cant think a better feeling better than knowing to see the person you love. those butterflies on your heart that ancientness! save it. And when u see that smile cherish each moment. And when you together be your self don't put your best put forward show all your flaws show your bad habit get on the fight once in a while there's no such thing as perfect relationship only a strong one and the only way to grow stronger is to over come challenges like I said cherish each moment. Be your self and love really. don't hold back.
Some one was told me the good thing comes to those who wait but I believe that dream are really waiting for you and my dream is waiting Me in America and be together with the man I love.
Love is not always about being in some one, love is about discovery you will discover a new part about your self that you never knew. Love will change you but it's up to this if you let your self to change for better or for worst. I know for me I'm always ready for a new adventures and I'm not holding back!
Love know boundaries so keep your heart open and stay strong.
If you are seriously looking for a meaningful relationship, just show your real self, reveal your circumstances, be always honest. Do not pretend to be a perfect partner, as there would be none.
To end this we both say, THANK YOU MLD MS MAKi AND SIR CYRIL, BEST WISHES TO THOSE WHO HAVE FOUND THEIRS AND GOOD LUCK TO THOSE STILL ON SEARCH.
Hugs & kisses
Kheycee and John
Approximately 130 Soldiers, Family Members, Retirees and Civilian volunteers joined about 60 Korean volunteers Saturday morning for the first-ever Make A Difference Day in Korea at Deog Dong San park in Pyeongtaek.
USA Weekend Magazine created Make a Difference Day about 18 years ago as national day of helping others -- a celebration of neighbors helping neighbors, according to their website, www.usaweekend.com/diffday/aboutmadd.html. Make A Difference Day is an annual event that takes place on the fourth Saturday of every October.
The volunteers spent the morning picking up trash, cleaning out storm drains and ditches and performing beautification projects around the park.
Following the work session, volunteers enjoyed lunch and a traditional Korean dance performance by students from Shin Han High School.
U.S. Army photos by Bob McElroy
For more information on U.S. Army Garrison Humphreys and living and working in Korea visit: USAG-Humphreys' official web site or check out our online videos.
I’ve always wondered why society is all crazy about censoring nudity in social media, television, and so on, when we’re surrounded by it in the art world? What’s the difference? Art is different not only due to the esthetic value of the pieces but the intention of the artists when capturing the nude body, and I understand that some nudes we see in mainstream media aren’t precisely art. But what about those that do fit the description? Why do platforms like Instagram censor an artistic photograph of a naked body and not a picture of a random sculpture on the streets? Is there really a difference? My first guess would be that most of these sculptures and statues are protected by the sole fact that they are considered classic art and thus cultural heritages, while a modern photograph is just an artistic expression. This makes me think about why are there so many nude artworks and why we love exhibiting them in public when we clearly can’t overcome those prudish behaviors that censor the body? But more importantly, how nudity in art was conceived and evolved from one historical period to the other and how has it helped set beauty standards that are still ingrained in our collective imagination? If you think about prehistoric art, the first works that come to our mind are the amazing cave paintings that portrayed everyday life at the time. Now, the human figures are portrayed more like shadows, so we can’t really talk about nudity here. However, there are some examples of sculptures, often called Venus figurines, that depict nude female bodies. They’re extremely interesting because, more than highlighting the shape of the female body, they are kind of deformed to emphasize those parts they worshiped as symbols of fertility like the hips, breasts, abdomen, and even the vulva. For people in the prehistoric period, more than praising the female body in terms of erotic pleasure, the idea of beauty was precisely a woman fit to reproduce and bear children. Interestingly, the figurines that have been found are mainly female, which has led historians to believe that they were actually used for ritualistic purposes, as amulets to conceive, or even as sexual accessories. However, almost no male figurines have been found. This clearly evolved as soon as civilizations settled and blossomed. Of course, when we think about nudity in art, the first images that come to our mind are the classic Greek and Roman marble sculptures, right? It was widely believed that the Greeks were more liberal when it came to nudity and that these sculptures were a faithful depiction of their everyday life. There are even texts suggesting that some people would go nude on the streets or with almost no clothes. Now, this hypothesis has been shattered for the past century, and actually historians found that nudity was seen as a way of glorifying the perfection of the human body.As you know, sports played an important role for the Ancient Greeks. They were part of the religious activities to praise and honor the gods. Therefore, athletes were seen as the perfect examples of humans who had been blessed by the gods with their abilities and strength. During competitions, athletes, all male, competed naked so that people and the gods could see those perfect bodies moving and contorting with the physical effort. Moreover, sculptures of athletes were placed near temples and in the stadiums where these competitions took place. These pieces captured athletes practicing the sport they excelled in, but also were used to represent the main gods, since they were the only human link close to them. They represented the best of humanity and were also were embodiments of glory, triumph, and moral excellence. All in all, athletes were some sort of mortal deities people looked up to. As for female nudity, they kept the idea that the female body represented the divine act of procreation. However, unlike our prehistoric ancestors, the Greeks did praise the eroticism of the female shape. Most of the statues of nude women were representations of the goddess Aphrodite, who not only represented love, eroticism, and sexual desire, but also a means to procreation. For that reason, sculptors now paid attention to the shape following mathematical proportions fit to represent the most beautiful female figure of the Olympus. Unlike male nude sculptures that depict men proudly showing their bodies, women were portrayed as if they had been just caught in an intimate moment. It wasn’t well seen for women to deliberately show their body, but at the same time, it gave the viewer a voyeuristic role. Both ideas of nudity, for male and female bodies, were followed by the Romans and other civilizations that came to belong to the empire, but more than showing the human body as diverse as it might be, the works stick to idealized representations of what was considered beautiful and appealing. All this naturally changed during the Middle Ages, a time reigned by Christianism and its more conservative ways of perceiving the world. If you take a look at the art created at the time, there are almost no nude artworks. Medieval art was more focused on religious subjects that reflected not only stories present on the Bible, but images that could encourage people to lead a morally accepted life, or that would work as morality tales to prevent them from sinning. As you can guess, the few nude artworks were from that category, and the protagonists were basically our first sinful ancestors, Adam and Eve. In these images, they’re often portrayed right at the moment when Eve is tempted by the snake or right when they’re about to be thrown away from paradise. Nudity in that age was used to show how an impious life can condemn you for eternity. This last point was specifically for full nudity, since there were plenty images portraying Madonnas breastfeeding baby Jesus. According to art historian Margaret Miles, the main reason why there were so many paintings with this motif that was used until the early Renaissance was more of a propagandistic resource. Rich families used to hire nurses to feed their babies and naturally, most of them were poor and sometimes “sinful” women. According to Miles, the Church believed that it was the obligation of every Christian mother to nurse their children, and so Virgin Mary became the example to follow. The Renaissance wasn’t just an era of innovations in more scientific terms, but it was also a cultural movement where art played an important role. It was a time of awakening and rediscovery, so the classic art from Ancient times that was banned and conceived as sinful during the Middle Ages was seen now as a rich source of inspiration artists extolled. The moral values that the Church established were still prioritized, so there weren’t many nude artworks depicting normal people. Instead, artists made use of the inexhaustible lore of stories and images from Ancient mythology and traditions. So, besides exploring those rich cultures from the past, artists were well aware of the sexual and erotic connotations of nudity. Through these mythological characters and scenes they sought to highlight the sensuality of both the male and female naked body, (although they focused more on the female figure). Unlike the few naked bodies portrayed during the Middle Ages, where artists emphasized Eve’s belly as symbol of motherhood and the long process of carrying a child, Renaissance’s artists, like their Ancient counterparts, were looking for an idealized image of the body: a beautiful and well-shaped body that could awake everyone’s passions. That enthrallment for ancient motifs continued, and perhaps it still fascinates us. However, it was the Baroque current the one that gave us for the first time a more realistic and less idealized perception of the naked body. Both male and female bodies were often represented, but here the idea was to show the most lavished side. While they attempted to show more realistic bodies, conveying the idea that even certain flaws can be beautiful and alluring, that doesn’t mean the art at the time didn’t care for beauty ideals. We can still see some of these patterns being reinforced in the images that were being made. Yes, Rubens’ graces don’t really have the body of Botticelli’s Venus or Ancient sculptures have, but at the same time, they were seen as models of beauty. It was more of a change on beauty standards than being more inclusive and diverse. By the late eighteenth and the nineteenth century, the themes and motifs of nudity in art changed. For the first time, artists dared to portray common women and their nakedness without having to convey any moral message or disguising them through mythical characters. Artists explored new techniques and subjects in a freer way. There were bolder and more controversial paintings, like Gustave Courbet’s L’origine du monde, or Manet’s Le Déjeuner sur l’herbe. They wanted to show that beauty can be seen in everyday life and even challenged the art academia and the public by painting what no one had painted before, or at least nothing that had been displayed publicly, like prostitutes and their daily life. There were more provocative faces looking directly at the spectator, instead of the blushing woman who had been surprised while being naked. The social perception of nudity changed forever. Finally, let’s talk a bit about modern and contemporary art. There were no boundaries for the modern artist to explore it, and thus it is reflected in the many styles, motifs, and currents of the time. Now, even though we have nude paintings like Picasso’s Les Demoiselles d’Avignon where there’s a completely different approach to the body, we can’t really talk about a disappearance of beauty ideals. Although they evolved to fit different social standards throughout history, they still prevail in our conception of what’s beautiful and attractive and what’s not. This has been a long journey throughout the history of nudity in art, but let’s go back to our initial question. Why do we like seeing nudes in public? The obvious answer for me is that we still have some ingrained ideas of morality and censorship, so when art subverts them and allows us to explore our interest in a more open way, we feel a sort of rebellious pleasure. Still, that doesn’t mean this pleasure doesn’t allow us to understand and enjoy the artistic beauty of these works of art. On the contrary, the esthetic quality makes them even more alluring. Now, another possibility that would require a deeper sociological analysis is our constant need to establish certain beauty standards. We love looking at an idealized image. It doesn’t matter if they’re naked or not, and no matter how free, inclusive, and diverse art has become, we’ll always be enthralled by the ideal beauty of classic art.
culturacolectiva.com/en/art/nudity-in-art-museums-through...
It’s a talk my students know is coming from the whispered rumors that circulate the hallways.
Of course, I’m talking about nudity in art.
You might think middle school—a time rife with the three “G’s” of gossip, giggles, and goofiness—is a terrible time to try and discuss this mature topic. However, I wholeheartedly disagree.
Kids love to be treated like adults. It makes them feel important, capable, and trustworthy. If handled in the right way, this discussion can do just that.
In other words, the success or failure of this discussion lies with us, the educators. So, how can we make sure it goes smoothly?
1. Let your students know you trust them.
Preface the delicate discussion with the fact that this is a conversation for mature students only, students that can be serious and sophisticated. Make it dramatic, pause, and change the volume or tone of your voice… it adds gravitas. Immediately, they will sit at attention, eager to hear what you have to share, showing off their very sophisticated manners. It works every time.
2. Discuss the difference between “naked” and “nude.”
I have the talk with my students before they dive into their annual artist research project. Of course, during their exploration, they will, in most cases, come across some type of nudity in art. Whether it be the slightly-exposed breast in Botticelli’s The Birth of Venus or the enormity of Michelangelo’s marble David bearing down on them, it’s all nudity. The Venus and David are certainly not NAKED.
“Naked” implies a certain element of surprise, an accidental viewing and possibly even embarrassment. You are accidentally caught naked getting out of the shower when your mom tries to enter the bathroom and you weren’t expecting it. (Insert riotous laughter here). You are not posing waiting for her to sculpt you in the nude sans towel.
This example highlights the difference nicely. Nudity is intentional. It has a purpose and it is not usually vulgar. While there certainly are examples to disprove this claim, I intentionally do not provide the students with artists that focus on risqué or indecorous content in their work.
nude statue
3. Explain why artists study nudes and how different people feel about it.
Another thing that helps is to explain that nude models serve as subjects for artists learning to better paint and sculpt the human form. It’s also nice to discuss the idea of nudity in art from a historical and cultural perspective; what is covered and when changes based on culture, religion, and time period.
For example, in 1857, the Grand Duke of Tuscany quite generously gifted Queen Victoria with a cast of David by Michelangelo only to find she was shocked by the nudity. She immediately turned the statue over to a museum and ordered that a “proportionally accurate fig leaf” be created and hung over the offending area to protect the modesty of women visitors. Recently in Rome, statues displaying nudity were covered with large white panels when the President of Iran visited (see image below). Many Italian art lovers took to social media to express their outrage.
image courtesy of cnn.com
image courtesy of cnn.com
4. Have students censor their own art to see how it feels.
To hammer home your point, lead students through the quick exercise below.
Group students into partners.
Have each partner choose a piece of art they feel proud of. Then, have them switch pieces.
Using small scraps of black construction paper, have students censor parts of each other’s work.
Ask students how they feel. Is their piece whole, or has it been changed by their neighbor’s action? Many students will express feeling outraged.
It becomes clear that censoring even small parts of an artwork changes the piece without the artist’s consent. What the artist chooses to depict is what they want the viewer to see.
5. Let students know it’s OK not to feel comfortable with nudity.
Of course, I do not insist students be comfortable with the nudity. I make it very clear that is their prerogative. If a student wishes to avoid it in their presentations, they can. I simply insist they acknowledge the difference between naked and nude. It’s an important distinction.
Worried about parent reactions?
While I’ve never once fielded a phone call or had a parent concerned after this discussion, I can imagine some teachers might be apprehensive. Consider this: what middle school student has not watched any number of pop-stars writhe around with little to no clothing on during primetime television, to speak nothing of what children have access to on the web? We are not condoning bad or lewd behavior. We are sharing masterpieces of art that enlighten and enrich our world.
This is about art that fills museums, which have no “R” ratings. This is for everyone. Learning how to discern the difference between artistic nudity and crass nakedness is a critical step towards ensuring that aware children become cultured adults.
Do you (or would you) address this issue in your classroom? What hints do you have to ensure it goes well?
Do you agree or disagree with the idea that omission or censoring is an affront to an artist and their work?
theartofeducation.edu/2016/04/april-naked-vs-nude-discuss...
The allegations against Chuck Close raise new questions about how to work with nudity. Here's a guide for artists and models.
Sarah Cascone, January 30, 2018
Michael Grimaldi (standing, right) draws Iggy Pop in the Life Class by Jeremy Deller st the Brooklyn Museum, February 21, 2016. Photo courtesy of Elena Olivo and the Brooklyn Museum.
Michael Grimaldi (standing, right) draws Iggy Pop in the "Life Class" by Jeremy Deller at the Brooklyn Museum, 2016. Photo courtesy of Elena Olivo and the Brooklyn Museum.
Last month, several women came forward with complaints that artist Chuck Close sexually harassed them while they were modeling in his studio. The allegations, published in the Huffington Post and Hyperallergic, tended to follow a common pattern: A woman was invited to pose for the artist, asked to undress, and then endured lewd sexual remarks from Close. The women tended to leave feeling exploited and disrespected, they said.
From time immemorial, the nude body has played a vital function in art across cultures and eras. But in the 21st century, we have come to expect a certain level of professionalism to safeguard both models and artists in what can be a sensitive interaction.
Regardless of one’s opinions about Close, the controversy offers a teaching opportunity: What is and is not acceptable behavior when it comes to working with nude models?
artnet News spoke with two nude models and the director of the drawing department at the New York Academy of Art, which relies heavily on figure drawing in its curricula, and provides handbooks outlining protocols to its roster of around 68 models. From these interviews we compiled a list of guidelines for both the artist and model.
Michael Grimaldi teaching figure drawing. Courtesy of the New York Academy of Art.
Michael Grimaldi teaching figure drawing. Courtesy of the New York Academy of Art.
Do: Communicate up front whether or not the model will pose nude.
Some of the women who complained about Close said that they went to his studio with the belief that he would paint their face for a large-scale portrait. They were not expecting to be asked to take off their clothes, they said.
“Most of the time the artist and the subject discuss ideas about what the concept of the final product will look like, including the wardrobe or lack thereof,” said Natalie White, an artist and model, who has posed nude for George Condo, Peter Beard, Marc Quinn, Spencer Tunick, and Close himself.
“If the model isn’t well known for taking their clothes off it should definitely be discussed ahead of time. And if the artist feels that the subject should take their clothes off in the middle of the session, they should schedule the unclothed session for a later day to give the model a chance to think about it,” said White, but pointed out that there may be exceptions with models who frequently pose nude. Otherwise, a model may change her mind afterward, meaning “you’ve just wasted time and resources on something you may not be able to use, or left the model feeling bad about what they have just done.”
The British actors’ union has laid this issue out in its code of conduct, which states that “any nudity/semi nudity will be personally approved by the model before the shoot takes place.”
Photo courtesy of Natalie White.
Don’t: Touch the models.
That is the most important rule, said White. “Don’t move their arm to a different angle, don’t touch their face to change the angle in which it’s tilted,” she says. “If you want a nude model to alter their pose it should be described with words, or the photographer or artist can show them by [demonstrating with their own body].”
Michael Grimaldi, faculty chair and director of New York Academy of Art’s drawing program, agreed—but offered a few limited exceptions. “The only instances where [touching] may occur is during the marking of a long pose and, in my experience, during lectures focusing on anatomical structures. For instance, using calipers to measure a distance directly on the model or using resistance to activate a muscle action. Whatever the circumstance, any potential physical contact is brought up beforehand, always with consent, boundaries respected, and exclusively work-based and professional.”
George Condo, Toy Face with Ponytail (2014). Artist and model Natalie White posed nude for this painting. Courtesy of the artist/Skarstedt Gallery.
George Condo, Toy Face with Ponytail (2014), a painting for which Natalie White posed nude. Courtesy of the artist/Skarstedt Gallery.
Do: Put the model’s comfort before the artist’s interests.
Carla Rodriguez, a former intern at New York’s 20×24 Studio, an instant photography studio that worked regularly with Close on his large-format Polaroid portraits, was invited to pose for the artist in 2009. She told Hyperallergic that she was surprised when Close allegedly asked her to undress beneath a spotlight in the darkened studio, rather than in a dressing room. “Having been a figure model, I’m used to being able to undress privately. It’s mostly inappropriate to take your clothes off in the middle of the classroom,” she said.
Like the artist, a model is a working professional and should be treated as such. “This includes making sure that the model stand, drapery, and props are clean and in place; that the model’s changing room is secure and clean; that the temperature is comfortable and additional space heaters are in place in consideration that the model will be nude and in a relatively static pose, potentially for an extended period of time,” said Grimaldi.
“If a nude subject is uncomfortable in any way, whether it’s the temperature being too cold or they want assistants out of the room, they should say so immediately,” said White. “You need to be direct about how you feel. If you are uncomfortable it will come out in the images, and for that reason the artist should want you to be comfortable because they understand that too.”
Kurt McVey modeling for the Artful Bachelorette. Photo courtesy of Kristy May/the Artful Bachelorette.
Kurt McVey modeling for the Artful Bachelorette. Photo courtesy of Kristy May/the Artful Bachelorette.
Don’t: Ignore red flags.
“I can’t stress enough, if you are uncomfortable in any way it’s really important for you to say it out loud,” said White. “Good people don’t want you to feel uncomfortable in a work environment, so if they don’t react well to you telling them you feel uncomfortable then they aren’t a good person and you probably are not in a good work environment.”
“Red flags for a model might be requests from students, requests to be photographed, inappropriate language, poses that might threaten their physical or mental comfort,” Grimaldi said. “That does not necessarily mean a sexual pose—it could even mean a pose that the model says would be physically difficult to execute and hold the pose for the necessary time.”
Do: Decide what environment is most comfortable for you.
Some situations may be strictly silent, such as at the academy, where “students do not initiate conversation with the model,” Grimaldi said. But model Kurt McVey finds such buttoned-up atmospheres stifling.
That’s why he got involved with the Artful Bachelorette, which hosts nude figure drawing classes for brides-to-be and their friends. He was struck by the amount of laughter in the room, which he found to be “a counterbalance to the often pretentious New York art world,” McVey told artnet News.
“They encourage engagement with the model and the people in the class,” he said. “As the model, I’m providing a space for what I like to call consensual objectification!”
He finds the experience of modeling in this environment to be “continually cathartic and therapeutic for me as an individual—and incredibly liberating for the women.”
A party with nude figure drawing hosted by the Artful Bachelorette. Photo courtesy of the Artful Bachelorette.
A party with nude figure drawing hosted by the Artful Bachelorette. Photo courtesy of the Artful Bachelorette.
Don’t: Bring your cell phone.
Posing nude for a drawing or painting is a completely different beast than posing for a photograph—and permission for one does not imply permission for the other.
“Because cell phones have the capability of taking photographs (along with the instant ability to post images on social media), students are notified that cell phone use under any circumstance is strictly forbidden in the classroom,” said Grimaldi. “The models are also encouraged that should they see a cell phone, they have every right to terminate the pose.”
Follow Artnet News on Facebook:
news.artnet.com/art-world/guide-to-nude-modeling-1196627
Images of the naked human body provoke conflicting feelings: shame, admiration, curiosity, desire, disgust, anger. This is especially true when these images appear in public spaces, whether physical or virtual. Nudity on European beaches, for example, is falling in popularity because of shame linked to social media. Facebook has drawn ire for removing images of naked bodies by celebrated artists such as Peter Paul Rubens and Pablo Picasso. And here in Los Angeles, art museums are not allowed to display nude images on street banners and billboards because they may offend, but perhaps also because they divert drivers’ eyes from the road. This is why you will see only a discreet detail on the street banners for The Renaissance Nude, an exhibition opening at the Getty Center on October 30.
None of these conflicted responses to the human body, however, is especially new. Ever since the Renaissance of the 1400s and 1500s, the nude—the unclothed human form—has been one of the defining features of art in Europe. Yet artists’ and viewers’ attitudes toward the nude were as varied and complex centuries ago as they are today.
The exhibition The Renaissance Nude (October 30, 2018–January 27, 2019), for which I served as lead curator, explores precisely this theme. It traces the gradual emergence of the naturalistic nude to artistic prominence over the course of more than a century and explores the many ways nudes appeared in art, how and where they were displayed, and how people reacted to them. Along the way, the exhibition and accompanying book explode some long-held myths about the nude in the European art tradition, revealing parallels between Renaissance Europe and our own cultural moment.
Myth #1: Renaissance Europeans Were Comfortable with Nude Bodies in Art
The rise of the nude in art in the Renaissance was driven by a revival of interest in Greek and Roman art, which is centered on the body, and by a rise in the closer study of nature. In Italy during the later 1400s, drawing of undressed models became common practice for artists. Within a few decades, this new practice spread to northern Europe as well. In fact, the dominant role of observing and sketching from the nude in an artist’s training has lasted into our own era.
But the use of the nude in art, particularly religious art, was controversial during the Renaissance. Images of beautiful bodies can be highly sensual, which made some observers uncomfortable—then as much as now.
The classical revival resulted in new types of Christian imagery, such as in the depictions of Christ and Christian martyr-saints as partially or fully undressed heroes. In the exhibition you can see this transformation between two paintings of Christ as the Man of Sorrows, one by the Italian artist Michele Giambono (shown below), and another by his compatriot Marco Zoppo, which shows Christ as a much more muscular, heroic figure.
Myth #2: Renaissance Nudes Always Reflected the Highest Ideals of Humankind
Graceful, classically inspired representations of the unclothed human body became the ideal for artists from the Renaissance onward, first in Italy and France during the 1400s and soon thereafter in the rest of Europe.
As a result, intellectuals devised elaborate justifications for the representation of the sensual nude. A Greek humanist of the time living in Italy did so by admitting that it is sinful to admire a woman for her physical allure, but that depictions of the human body undressed can and should be appreciated as a reflection of the intelligence and abilities of the artist. In the Renaissance, achievement in representing the body became the standard for measuring artistic genius.
The humanist’s argument, intended for an elevated circle of cultivated, largely male patrons and collectors, may seem a bit disingenuous today. Scholars have argued that some men of that era commissioned major artists to paint images of erotic subjects such as the Loves of the Gods as metaphorical tributes to their own sexual prowess. Painted for Federico II Gonzaga, Duke of Mantua, Correggio’s Danaë, with its exquisitely rendered and ethereal representation of female beauty, is a good example This painting was enjoyed then for its erotic appeal, and is still by some viewers today. Others find it challenging to reconcile the painting’s exceptional artistry with its objectification of the female body.
Myth #4: Renaissance Artists Were Only Interested in Ideal Bodies
Expressions of the flawless body were an important manifestation of the nude in the Renaissance. But artists also depicted nude figures in a range of human conditions, both physical and spiritual. Images of the sick, the anxious, and the aged are an important part of the story of the Renaissance nude.
Christian figures and stories were the most widespread subject in Renaissance art, serving to decorate churches, private chapels, and homes. And these religious figures often look very different from the ideal body.
brewminate.com/deconstructing-myths-about-the-nude-in-ren...