aits with erotic unde

rtones (or possibly overtones). Schiele often
used himself as a model, and depicts himself in
the throes of despair,
vulnerability, and self-
Assessment. In his nude self portraits, Schiele ex
plores “the power of sexuality issues of
bodily individuality, and
carnal encounter.”
19
What better way
to learn about a new identity in “manhood” than by
tapping into one’s own soul?
In Schiele’s

Nude Self Portrait
from 1910, the artists
depicts himself full frontal, emaciated, and hairy, with no
feet or hands, and his red eye reflected by his nipples,
navel, and dick. The image is
in dramatic contrast to the
calm and collected Neoclassical guys, and even to Rodin’s
Mental sculptures. Schiele
goes in the direct opposite
Course of idealization, and instead abstracts himself to the
Purpose of the grotesque. The artist
is tortured and intense as
he tries to understand his internal self. Egon Schiele
Egon Schiele,
Naked Self-Portrait,
1910.
Black chalk, watercolor on paper, 44 x
30.5 cm, Leopold Museum.
Totally broke away from the European trad
ition of the nude by trying to capture the
truth of his own psychology.
To date, the bare self portrait appears to be an e
fficient way to depict on
e’s private chaos, but
this process is of course by no means the only way
to give measurement to questions, want, or
Social shifts. Throughout the twen
tieth century, artists continued
to use the male bare to give
visual language to
the changing world.
The Changing Guy
During the 1960s, in postwar American society, the
code of maleness continued to change. In
his article
Social Nudism, http://voy-zone.com/first-time-nudist-stories/nudist-photos.html , and the Male N
ude in the Work of William Theo Brown
and Wynn Chamberlain in the 1960s,
David McCarthy describes that
these two artists offered
alternative imagery of the man
State. During the twentieth cen
tury, an increasing culture of
the free body increased the popularity of
social nudism as a utopian notion.
20
Nudist magazines
provided vision of the great fr
eedom and fun that could be ha
d as a fkk. These magazines
depicted folks relaxing, playing sports, and in
teracting with each other
The same as in a regular
magazine, except that the folks were totally naked. The American artist William Theo Brown
(1919-2012) used Scandinavian fkk magazines
as inspiration for his paintings. McCarthy
believes that Brown’s male nudes demonstrat
e a homoeroticism that was considered
inappropriate (if actualized in real life) during
the time that the artist produced the pictures.
21
So,
Brown painted male nudes socializing together in
order to give visual language to his own
homosexual want. Because the bather as a subj
ect has such history in
western artwork, Brown was
able to express his desires in a way
that could be deemed “appropriate.”
In Brown’s painting
Muscatine Diver,
from 1962-1963, the artist depicts two naked man
bathers, both in motion (affected by the magazi
nes). The artist’s intere
st in painting nudes in
the outside expresses his desi
re to reconnect the body to
nature, and maybe get the vi
ewer’s subconscious approval
of the natural desires of homose
xuality. McCarthy describes that
Brown tried to illustrate the lifestyle he believed in.
Similar to the “crisis in masculinity” that both Solomon-
Godeau and Hammer Tugendhat describe, the 1960s postwar
society grappled with the e
volving notion of manhood, and artists
continued to attach images to
their perceptions of themselves,
and others as guys. Thus far, we’ve just looked at images of
Naked men by other men! Certainly, there must be another
perspective on the naked male, besides from that of his own
gender.
The Female Gaze
The notion of the gaze is most often associated with a male gaze
directed towards a female. During granny nude beach , feminist artists
William Theo Brown,
Muscatine
Diver,
1962. Oil on canvas, 152.4
x 101.6 cm, The Oakland
Museum of California.
Embraced “representational strategies to challenge
phallocentrism and the male gaze, illuminate
female sexuality and eroticism, criticism visual markets that restrict women to heterosexual and
Motherly identities, and celebrate modes of
existence that transcend patriarchy and white
supremacy.”
22
Even merely the works discussed in this
paper present how western art and its
history have been dominated by the white man. As
previously discussed, the genre of the female
nude is prevalent, which brings us back to th
e essence of this paper, “What About the Man
Nude?” Now we know that there have been male
nudes in post-Renaissance art, but male artists
Created all of them. So, what about male nudes
created by female artists? Feminist artists
addressed just this issue by creating images of
Nude guys, so that the notion of the gaze might
be shaken up.
Feminist artists such used the male naked to expr