The image celebrates male strength, a
nd his power over women by omitting the
female altogether. Ingres surely didn’t create
this array of idealized
Guys in a vacuum. Why
were artists inspired in the first place to cel
ebrate the idealized guy in favor of girls?

The Romanticized Man
During the eighteenth century, the German artwork
historian and archaeologist Johann Joachim
Winckelmann (1717-1768) released
a publication that encouraged contempor
ary artists to model their
work on the sculptures of Ancient Greece. Classical
Greek sculptures repr
esent an idealized guy,
balanced and free of emotion, so
Neoclassicism was popularized.
Neoclassical paintings, such
as the aforementioned
Achilles Receiving the Ambassadors of Agamemnon
, emphasize the
heroic, balanced, logical, and idealized
Guy by emulating Ancient Greek figures.
During the first half of the nineteenth centur
y, as a push against Neoclassicism, the art and
literary movement called Romanticism came about
. Romanticism rejected the idea of harmony
and the ideal, and instead focuse
d on nature, emotion, fire, and
the internal self. Artists were
Capable to express of self, and
their relationship to
the world like never
before. Needless to say, this movement changed
artists’ relationship with the male nude. Now,
the male nude could embody expression rather than
Signify equilibrium, inte
llect, and perfection.
The French sculptor Auguste R
odin (1840-1917) created male nude
sculptures, which mark the shift away from Neoclassicism. Rodin’s
figures are expressive and “create
powerful evocations of human
desire, despair, and fire.”
His sculpture
Adam: The Development of
, from 1880 represents a new un
derstanding of human emotion
and torment, absent from Neocla
ssical art. Adam points to the
Earth, with a look of sorrow, as if
burdened by his ties to World. His
sinuous musculature reminds us of
his strength, but also of his
Deathrate. Instead of the classi
cal contrapposto pose, common in
Classical Greek sculpture, Adam sl
ouches, and recoils at the weight
of the world. Rodin does not try
to disguise the fight of guy,
and instead emphasizes life’s inevit
able torment. The acceptance of
feeling and unrest probably goes hand
in hand with the rise of the
female nude, and the decline of the Academic male bare, since
women are connected with irra
tionality, emotion, and puzzle.
The Romanticized man nude is no
Uncertainty an exaggerated version the
human condition, but is arguably more
realistic than the idealized
Auguste Rodin,
Adam: The
Creation of Man,
Bronze, 193.7 cm, The
Metropolitan Museum of Art.
Neoclassical male bare. Because wh
ile the intellectual and beautif
ul Neoclassical man fools us
into thinking that we can exist without emoti
on, the twined and expressive Romanticized man
reminds us of the reality of bei
ng alive. Rodin’s sculptures must
give us insight on the artist’s
relationship with the world but the
fact that his sculptur
es are not self-portrai
ts reveals a space
between Rodin and his subjects. The self-portrait,
or better yet, the nude
Selfportrait can provide
excellent insight into an
artist’s inner world.
A Different Form of Man
While Solomon Godeau argues th
at the crisis in masculinity started during the eighteenth
century, Daniela Hammer-Tugendhat writes that this
crisis started in the la
te nineteenth century,
when “we see the conventional c
oncept of the reasonable, autonom
ous male slowly but surely
Thus, the notion of the separate, bala
nced, perfect man was an acceptable
concept until the nineteenth century, until cha
nges started to occur. Hammer Tugendhat believes
that the crisis in masculinity has origins in
the call for women’s rights, the
Enlightenment, the French Revolution, and awesome bran
ches of science, such as the study of sex.
The author goes on to write:
Marx, Darwin, Nietzsche, and Freud all showed,
each in a different way, that man isn’t
a logical, autonomous being, but is rather
sexually and socially
conditioned, and that
since he’s driven by his subconscious and by
his desires, he cannot even be described as
master of his own house. The “denaturing of
man, meaning the removal of the causality
of biology and sexual desire, and the blurri
ng of the dividing line between standard and the
Ill, shattered the hegemonic comprehension of the guy’s role.
Thus, during the nineteenth century the function of
the guy was no longer understood expected to further
cultural and societal shifts. Artists provided imag
ery that provided visual investigation of this
The Austrian artist Egon Schi
ele (1890-1918) was determined by
Gustave Klimt but developed a
Exceptional, crazy, expressionistic style. Schiele was
Decided to create and provocative work,
and often painted nude portr