Contrapposto is an Italian term that means "counterpoise". It is used in the visual arts to describe a human figure standing with most of its weight on one foot, so that its shoulders and arms twist off-axis from the hips and legs in the axial plane.
Giuseppe Maria Alberto Giorgio de Chirico was an Italian artist and writer born in Greece. In the years before World War I, he founded the scuola metafisica art movement, which profoundly influenced the surrealists. His best-known works often feature Roman arcades, long shadows, mannequins, trains, and illogical perspective. His imagery reflects his affinity for the philosophy of Arthur Schopenhauer and of Friedrich Nietzsche, and for the mythology of his birthplace.
Erotic art is a broad field of the visual arts that includes any artistic work intended to evoke arousal. It usually depicts human nudity or sexual activity, and has included works in various visual mediums, including drawings, engravings, films, paintings, photographs, and sculptures. Some of the earliest known works of art include erotic themes, which have recurred with varying prominence in different societies throughout history. However, it has also been widely considered taboo, with either social norms or laws restricting its creation, distribution, and possession. This is particularly the case when it is deemed pornographic, immoral, or obscene.
A figure painting is a work of fine art in any of the painting media with the primary subject being the human figure, whether clothed or nude. Figure painting may also refer to the activity of creating such a work. The human figure has been one of the constant subjects of art since the first Stone Age cave paintings, and has been reinterpreted in various styles throughout history.
Castration anxiety is an overwhelming fear of damage to, or loss of, the penis—a derivative of Sigmund Freud's theory of the castration complex, one of his earliest psychoanalytic theories. The term refers to the fear of emasculation in both a literal and metaphorical sense.
In Freudian psychoanalysis, the phallic stage is the third stage of psychosexual development, spanning the ages of three to six years, wherein the infant's libido (desire) centers upon their genitalia as the erogenous zone. When children become aware of their bodies, the bodies of other children, and the bodies of their parents, they gratify physical curiosity by undressing and exploring each other and their genitals, the center of the phallic stage, in the course of which they learn the physical differences between the male and female sexes and their associated social roles, experiences which alter the psychologic dynamics of the parent and child relationship. The phallic stage is the third of five Freudian psychosexual development stages: (i) the oral, (ii) the anal, (iii) the phallic, (iv) the latent, and (v) the genital.
In psychoanalysis, psychosexual development is a central element of the sexual drive theory. According to Freud, personality develops through a series of childhood stages in which pleasure seeking energies from the child become focused on certain erogenous areas. An erogenous zone is characterized as an area of the body that is particularly sensitive to stimulation. The five psychosexual stages are the oral, the anal, the phallic, the latent, and the genital. The erogenous zone associated with each stage serves as a source of pleasure. Being unsatisfied at any particular stage can result in fixation. On the other hand, being satisfied can result in a healthy personality. Sigmund Freud proposed that if the child experienced frustration at any of the psychosexual developmental stages, they would experience anxiety that would persist into adulthood as a neurosis, a functional mental disorder.
Barbara Creed is a professor of cinema studies in the School of Culture and Communication at the University of Melbourne. She is the author of six books on gender, feminist film theory, and the horror genre. Creed is a graduate of Monash and La Trobe universities where she completed doctoral research using the framework of psychoanalysis and feminist theory to examine horror films. She is known for her cultural criticism.
The Tomb of the Diver, now in the museum at Paestum, Italy, is a frescoed tomb that dates to around 500 to 475 BCE, and is famous for the mysterious subject matter of the ceiling fresco, a lone diver leaping into a pool of water. The context of the tomb is disputed: there has been scholarly debate about whether the tomb was built by people from the nearby Greek settlement of "Poseidonia", now Paestum, or by an ancient Italic tribe living in the surrounding countryside. The tomb was built with five large stone slabs, each with a fresco attributed to one of two artists. The four walls are decorated with scenes of a symposium which is uncommon for a funerary context.
The nude, as a form of visual art that focuses on the unclothed human figure, is an enduring tradition in Western art. It was a preoccupation of Ancient Greek art, and after a semi-dormant period in the Middle Ages returned to a central position with the Renaissance. Unclothed figures often also play a part in other types of art, such as history painting, including allegorical and religious art, portraiture, or the decorative arts. From prehistory to the earliest civilizations, nude female figures were generally understood to be symbols of fertility or well-being.
The Blacky pictures test was a projective test, employing a series of twelve picture cards, used by psychoanalysts in mid-20th century America and elsewhere, to investigate the extent to which children's personalities were shaped by Freudian psychosexual development.
In neo-Freudian psychology, the Electra complex, as proposed by Swiss psychiatrist and psychoanalyst Carl Jung in his Theory of Psychoanalysis, is a girl's psychosexual competition with her mother for possession of her father. In the course of her psychosexual development, the complex is the girl's phallic stage; a boy's analogous experience is the Oedipus complex. The Electra complex occurs in the third—phallic stage —of five psychosexual development stages: the oral, the anal, the phallic, the latent, and the genital—in which the source of libido pleasure is in a different erogenous zone of the infant's body.
In classical psychoanalytic theory, the Oedipus complex refers to a son's sexual attitude towards his mother and concomitant hostility toward his father, first formed during the phallic stage of psychosexual development. A daughter's attitude of desire for her father and hostility toward her mother is referred to as the feminine Oedipus complex. The general concept was considered by Sigmund Freud in The Interpretation of Dreams (1899), although the term itself was introduced in his paper A Special Type of Choice of Object made by Men (1910).
Penis envy is a stage in Sigmund Freud's theory of female psychosexual development, in which young girls experience anxiety upon realization that they do not have a penis. Freud considered this realization a defining moment in a series of transitions toward a mature female sexuality. In Freudian theory, the penis envy stage begins the transition from attachment to the mother to competition with the mother for the attention and affection of the father. The young boy's realization that women do not have a penis is thought to result in castration anxiety.
The Swimming Hole is an 1884–85 painting by the American artist Thomas Eakins (1844–1916), Goodrich catalog #190, in the collection of the Amon Carter Museum of American Art in Fort Worth, Texas. Executed in oil on canvas, it depicts six men swimming naked in a lake, and is considered a masterpiece of American painting. According to art historian Doreen Bolger it is "perhaps Eakins' most accomplished rendition of the nude figure", and has been called "the most finely designed of all his outdoor pictures". Since the Renaissance, the human body has been considered both the basis of artists' training and the most challenging subject to depict in art, and the nude was the centerpiece of Eakins' teaching program at the Pennsylvania Academy of the Fine Arts. For Eakins, this picture was an opportunity to display his mastery of the human form.
The Prodigal Son is a painting by the Greek-born Italian artist Giorgio de Chirico. It is painted in tempera on canvas and was completed in 1922 as de Chirico was in transition from the Metaphysical style of his earlier works to the neoclassicism he essayed in the 1920s. The biblical subject matter is interpreted by de Chirico as a stone effigy of a father placing his hand on the shoulder of a mannequin representing the son. The dimensions of the painting are 87 by 59 centimeters. It is housed at Museo del Novecento, Milan, Italy.
Stéphane Graff is a Franco-British, self-taught artist, based in London. His practice focuses on photography and photo-realistic paintings. Having been influenced by the psychoanalytical traditions of Freud and Jung, and scientific methods, Graff, regularly addresses in his work themes of identity, concealment, memory and a secular conception of the sacred. In-depth research led Graff to develop Alter Egos such as the scientist ‘Professore’ and the ethno-botanist Dr Albert Frique. His most extensive bodies of work are the ‘Black Box’ paintings, the ‘Constrictions’ photographic series, and the ‘Mille-Feuille’ paintings, which are made on numerous strips of wood, combining the disciplines of painting and sculpture. Graff has exhibited internationally. Selected exhibitions include: Galleria Mucciaccia, Rome (2018); Almine Rech Gallery, in London (2016); The Musée d’Art Modern et Contemporain in Nice, France (2013); the Ercel Foundation in Turin, Italy (2010); the Operating Room, Amerikan Hastanesi, Istanbul (2010); the Musee de Marrakech, Morocco (2004); and the Museum of Mankind in London (1991). Graff is the son of billionaire diamond tycoon Laurence Graff.
In feminist theory, the male gaze is the act of depicting women and the world in the visual arts and in literature from a masculine, heterosexual perspective that presents and represents women as sexual objects for the pleasure of the heterosexual male viewer. The concept was first articulated by British feminist film theorist Laura Mulvey in her 1975 essay, Visual Pleasure and Narrative Cinema. Mulvey's theory draws on historical precedents, such as the depiction of women in European oil paintings from the Renaissance period, where the female form was often idealized and presented from a voyeuristic male perspective. Art historian John Berger, in his work Ways of Seeing (1972), highlighted how traditional Western art positioned women as subjects of male viewers’ gazes, reinforcing a patriarchal visual narrative.
Epiur is an Etruscan mythological figure that appears on bronze Etruscan engraved mirrors. He is shown as an infant that has the face of a young man. He is also often winged and being held by Hercle or Menrva, who are charged with the protection and care of infants. He is also often shown to be presented to other gods.
Susanna and the Elders is an Old Testament story of a woman falsely accused of adultery after she refuses two men who, after discovering one another in the act of spying on her while she bathes, conspire to blackmail her for sex. Depictions of the story date back to the late 3rd/early 4th centuries and are still being created.
