Discuss the Homoerotic Nude At the Beginning of the 19th Century Essay Example

the intention of evoking strong emotions. Consequently, artists who embraced this style were considered to be poor influences and were even believed to be bisexual, deliberately aiming to shock their audience. However, it was a merging of these two styles that gave way to the emergence of the 'homoerotic nude' at the start of the 19th Century. Another possible contributing factor to how male nudity was depicted during this time period was the work of Art historian, Johann Joachim Wincklemann. Wincklemann focused on recognizing the 'ideal of mythological nudity' as well as homoeroticism in his examinations of ancient Greek Art.

David's painting, Paris and Helen (1787), deviates from his usual style by embracing a new sensual aesthetic. The artist initially intended for the piece to be exhibited alongside his conventional work, the Death of Socrates, as a dramatic statement at the Salon of 1787. David sought to present an antithesis of moral and ethical meanings by contrasting the powerful and heroic Socrates with the effeminate Paris. Although Paris and Helen was not completed in time for the Salon, the painting portrays Paris in an uncharacteristically nude and idealized manner, highlighting his perfection of beautiful manhood. This non-masculine approach contrasts sharply with Socrates' stoic portrayal, imbuing Paris and Helen with spiritual value.

David believed that art was a means of acquiring knowledge and exploring philosophy, ultimately leading to a deeper comprehension of the human experience. This perspective is reflected in his transition from stoic representations of Paris to an idealized male nude, which suggests the existence of a beautiful soul within a beautiful body. Unlike the sculptural nudes featured in The Death of Socrates, the depiction of Paris

showcases a delicate and graceful style. This change may have been influenced by David's visit to Rome and exposure to classical philosophical ideals regarding beauty. While Girodet aimed to avoid imitating his teacher, David's influence can be seen in the effeminate form of Paris.

Girodet was an artist who stood out for his rebellious and competitive nature. He constantly sought originality in his work by choosing to use Greek mythology rather than Roman, which was favored by neoclassicism as taught by David. More importantly, he defied contemporary structural elements, such as the emphasis on sculptural form, linearity, and masculinity. This led to the creation of a distinctive style that fused neoclassical logic and romantic fantasy. In his attempt to establish new aesthetic awareness, Girodet explored the effeminate, homoerotic, and androgynous aspects of art, which are evident in his masterpiece "The Sleep of Endymion" that was exhibited in 1793.

By portraying the story of a handsome young shepherd who was put to eternal sleep by the moon goddess Selene, Girodet's painting achieved great acclaim and elevated his status to that of his master. He was even bestowed with the title of 'poet of the paint and brush'. What made the painting so beloved was its originality in depicting a subject matter which was traditionally predictable. Selene herself is depicted as moonbeams shining through the foliage, which produced groundbreaking light effects that created a nocturnal mood. Furthermore, unlike the traditional stoic and rigid nudes of the past, Girodet's portrayal of Endymion as an idealized and beautiful elongated figure evokes femininity, making him a symbol of desire.

Despite traditionally depicting a female nude reclining pose, Girodet's Endymion challenges conceptual oppositions

pertaining to sex, age, temporality, life, and death, as suggested by Crow. While the painting has been associated with homoeroticism due to Girodet's ambiguous private life, it is unclear whether the dreamy quality of erotic desire was intentional or whether it is merely a beautiful nude painted for novelty. Nonetheless, Endymion's influence on 19th century art is evident in David's portrayal of idealized males in Leonidas at Thermopylae (1800-1814), which includes naked youths exhibiting affection towards each other and more blatant homoerotic undertones.

In depicting homoeroticism in a neoclassical style, David was not alone. While never as strict as David in his style, Ingres also portrayed a similar homoeroticism and affected figure. Ingres believed the nude was a vehicle for form and often included sensual elements to provoke homoerotic desire. Examples of his work include Oedipus and the Sphinx (1808), The Turkish Bath (1859-1862), and Achilles receiving the Ambassadors of Agamemnon (1801), which won the Grand Prix de Rome. He likely drew inspiration from David's Paris and Helen, which both used subjects from the Illiad. The scene in Achilles receiving the Ambassadors of Agamemnon shows the ambassadors, led by Ulysses, attempting to persuade Achilles to return to battle.

The painting portrays Achilles along with his friend Patroclus on the left, who has abandoned his weaponry for a lyre indicating his love for music and poetry. Their tranquil state is disrupted by Agamemnon's ambassadors, who urge Achilles to return to the battle. This contrast between peace and war is represented in both the composition and depiction of male forms, with Achilles and Patroclus embodying a more delicate and elegant style of male nudity characterized by their graceful

curves, perpetual youthfulness, and swaying poses.

In contrast, within the painting, Ingres portrays two distinct notions of the ideal male nude. The upright ambassadors symbolize heroic masculine characters associated with war, clothed or displaying muscles in rigid stances. On the other hand, Achilles and Patroclus represent the mythological ideal male nude. By showcasing these two types of men, Ingres possibly suggests a revolutionary idea that men could choose between action and leisure. Additionally, Ockman observes that Achilles not only represents sensuality but also homoeroticism due to his implicit relationship with Patroclus.

Although Ockman finds it challenging to interpret the "feminised" physiques of Achilles and Patroclus, it is a task that could lead to conflicting interpretations. It is plausible that Ingres' artwork lacks homoerotic suggestions and only dissociates gender from sexual activity, making his depiction of male nudes even more representative of the Classical era. There are indications that the figures are knowledgeable allusions to statues of exemplified grace from that historical period.

The male nudes depicted in 19th Century French paintings have been deemed as homoerotic, but it can be argued that this is not entirely accurate. The figures of Ulysses and Patroclus, for example, were based on classical Greek statues of ideal beauty. Therefore, it is possible that the effeminate portrayal of male nudes was not meant to express homoeroticism, but rather an appreciation for the Platonic ideal of beauty. This portrayal may have been an attempt to add depth to the paintings. While some artists did alter their depiction of male nudes to be more idealized, labeling these changes as the 'homoerotic nude' is up for debate. It is only with the

benefit of hindsight that we perceive sexual ambiguity in these paintings.

Although the discussion of homoeroticism in ancient art was initiated by Wincklemann, there is no evidence of its presence in contemporary French art. Therefore, it is uncertain whether the artist intended to depict the 'homoerotic nude' or not. However, the ultimate aim of many artists was to create something new and popular to elevate their status, as Girodet did with Endymion. Male nudes that were sensualised were also a welcomed departure from the strict sculptural nudes produced by the Davidian school. It is essential to remember that neoclassicism is an aesthetic that pays homage to classical art and its notion of ideal beauty and perfection in higher realms.

Perhaps the portrayal of the 'homoerotic nude' should be attributed to the Platonic ideals of beauty rather than any insinuations of sexual ambiguity. Artists who incorporated ideal forms into their mythologies were striving for artistic excellence. The representation of the sensual male form over the heroic one was a post-revolutionary trend, possibly indicative of the prevailing political atmosphere.