FROM VENUS OF WILLENDORF TO MILO MOIRE – THE SEMANTIC TRANSFORMATION OF FEMALE NUDES IN VISUAL ARTS

Abstract

This text deals with the modification of the female nudes semantic status within the field of the western tradition of visual arts. We shall focus on the theoretical background of the historical, ideological, and cultural implications of one such transformation. Ever since the Ancient Art, the lust-targeted eroticization and sexualization of female body have been the topic and motive of art shows. Never having been a direct and objective presentation of reality, these art shows reflect the set of the mainstream social and aesthetic ideals and values of the times of creation. Hence, the classical art provided the definition of the socialcultural form of the portrayal of female nude body, which (according to the feminist and poststructuralist approaches) controled it, restrained it, and finally turned it into the sexualized symbol of female subjection. The tradition of male-observer and female-observed reached its peak in 19th century art. At that time, the pioneer critical art reconsiderations of female body presentations, began to happen. Nevertheless, it was only when the Performance Art appeared in the second half of 20th century that the true liberation of (female) bodies from the semiotic cultural burden took place. Those new visual contemplations no longer saw the body as a product of presentation but rather as an active creator of the art process. Within the contemporary Performance Art, the (nude) female body – being both the object and subject of the action – is no longer the propagandist. It has upraised beyond the art semiotics and returned to its organic materiality.