Tensions of the world making you anxious?
Here is much soothing, sculptural sensuality
but also some less comforting, chiseled objectification
Continuing my fascination with sensual statuary in Paris, the greatest concentration of such aesthetically, artistically, and, let’s admit it, amorously pleasing statues in Paris, and thus likely the world, might be found in the Musée D’Orsay. Originally built as a train station for the World’s Fair that birthed the Eiffel Tower, it was turned soon after into a museum of modern art, now showcasing mostly late 19th and early 20th century works.
Once again we find statues with varying degrees of overt and implied sensuality, with nudity that runs the gamut from formal to tender, from subtle to sensational, from exquisite to exploitative (sometimes all at once).
Above, a depiction of Sappho, passively asleep, girly and demure, her breast nearly exposed. Not my idea of Sappho, although I guess she napped sitting on a chair too on occasion…
Above and below, marble centerfolds. The passive (unconscious?) female body displayed for ravishing.
For gender objectification parity here the male body in the same passive surrender to the (male?) gaze:
There is surely something more to be discussed than sleep habits when sculptures of bodies in the most obviously erotically alluring and passive poses also render those figures with their eyes closed.
But I guess having these figures look at the viewer with eyes open might have been a step too far for 19th century society. Whereas the overt physical display coupled with their vulnerability and lack of agency may make these sculptures less innocent in the 21st century than they seemed in the 20th.
And, as before, we will indulge in some “Sensual Classics“:
Sensual Classic #3: Brahms – Symphony # 3 – Poco Allegretto
Sensual Classic #4 – Chopin – Nocturne #1
The sculpture below is called “Nature Reveals Herself to Science”.
Uh huh. Somehow scientific inquiry is not the first thing that come to my mind looking at this sculpture…
Edgar Degas’ “Little Dancer Aged Fourteen”, displayed in a glass case like a scientific specimen, raises all sorts of questions about the depiction of young women.
I prefer to focus on her undaunted self-possession.