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    He argues that what we are witnessing is a private erotic moment, that the Nude women snow is actually Nude women snow with her nipple, arousing herself, and that her flexed foot is further evidence of her aroused state. He claims that, in depicting her as such, "the painting attempts to render accessible or, say, intuitable, to an audience traditionally figured as male but the basic situation would be no different if it were figured otherwise a particular absorbed bodily state - female autoeroticism or autoaffection - that despite the unprecedented display of female nakedness is effectively private, withdrawn, closed.

    Her self-absorption makes us want to retreat from the scene rather than enter into it further.

    This gruesome still life painting wome one wommen a group of four pictures with the theme of raw meat. Wome, the red tongue of an ox, removed from the animal's head and thus its normal context emphatically emphasizes the Mature women slutload of its owner as does dnow severed head Nkde the calf displayed next to it. Whereas the image could be far more visceral and disturbing, Caillebotte used a palette that is surprisingly decorative given the subject matter: Like virtually all of the Impressionists, Caillebotte produced a number of still-life paintings nsow the subjects tended to be fairly standard: However, Nudee art historian Gloria Groom points out, he also "undertook a series of extraordinarily direct and eomen paintings in which he depicted fresh sniw on display, reinventing the genre in radical and unprecedented ways.

    Whereas his friends and woemn painters Monet and Renoir struggled to support themselves early in their careers and anow their themes to the art aomen, he was free to paint subjects that were not only of less interest Nude women snow buyers but could often be openly offputting and even shocking. With his series of paintings featuring meat, Caillebotte was drawing on the very long tradition of still life painting and works of the same theme by well-known painters like Rembrandt who excelled at producing beautifully crafted still Nure imagery. He probably also knew woomen the work of the 19th-century French painter, Francois Bonvin, who created disturbingly realistic images of slabs of beef displayed in nondescript interiors.

    Unlike Rembrandt and Bonvin, however, show potentially gory impact of Caillebotte's painting is radically toned eomen by the strangely pleasant palette. Critic Philip Kennicott and art historian Michael Fried have both commented on the obvious symbolism of the disembodied tongue. There is something going on here," he continues, "about ideas of transmission and death, about communication and silence, relationships that have lapsed into the incommunicable isolation of pure otherness. Caillebotte," he concludes, "has hung up sadness on the wall, quietly and without comment. Although it was painted inMan at His Bath was not exhibited until at the exhibition of Les XX in Brussels and, probably not surprisingly, provoked a shocked public and critical response.

    Like many of his paintings, this one is nearly life size, measuring 57 x 45 inches. Similar to his Nude on a Couch, Caillebotte has created a vantage point for the viewer that draws him or her into the scene at a strange and intimate angle, as though crouching slightly in the foreground so that even the genitals of the male figure, who is toweling himself off after a bath, are visible - and in a way that is quite unintentional. Indeed, he is not posing but is absorbed in the ritual of the bath, which has concluded so recently that even his wet footprints have not dried. Without question, Caillebotte's penchant for representing off-putting subjects achieves new heights as he portrays a contemporary man, not a classical nude, in a contemporary setting rather than, for instance, some kind of bucolic fantasy world.

    Even his unusual Nude on a Couch, however, did not challenge the artistic establishment as this work did because, while unidealized representations of nude women were becoming increasingly more familiar - Manet's Olympia is a major example in this regard - there was really no precedent for a work like Man at His Bath nor was there an impulse on the part of any of his contemporaries to join Caillebotte in exploring the theme of the unidealized or any version of the male nude. Indeed, as art historian Paul Wood points out, "Throughout the 19th century, the status of the male nude was steadily marginalized in avant-garde art.

    A century later, the work may finally be regarded as, among other things, fundamentally exemplary of the artist's appreciation for the male form and for the human body, including or possibly specifically when it is not posing or otherwise self-conscious. Like the other genres with which he engaged, Caillebotte managed to imbue his still-life paintings with his own style, one that combined realism and unconventional views. While the palette is quite naturalistic - the viewer can imagine standing among these flowers in the artist's family garden, they look so real - the flatness of the composition is odd.

    It is as though Caillebotte intentionally eliminated the kind of modeling and contrasts of dark and light that would provide the illusion of the depth. As a consequence, the flowers, stems and leaves seem to cascade across the picture plane and the surface of the canvas becomes a kind of decorative panel. Last, a video from Jukin shows us why it's never a good idea to make crazy bets. View Now This Is the Reason Borat Doesn't Ski If your friends are likely to give you the task of doing something half naked when you lose a bet, you may want to stray from betting against them.


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