The nude–the unclothed or partially clothed human body–has been featured in European art for millennia. After 1400, with the waning of the Middle Ages, artists depicted nudes as increasingly three-dimensional, vibrant and lifelike to be more immediate and real. Both in Italy and in Northern Europe the refinements to the technique of painting in oils that enabled painters to capture textures–of flesh, of hair, of the sparkle in the eye–with unprecedented truth to nature.
The meaningful depiction of the human form became the highest aspiration for artists and their efforts often resulted in figures of notable sensuality. For Christians, however–who represented most of European society at the time–the nude body could be disturbing, arousing personal desire. Their conflicted responses are mirrored in our own body-obsessed era, filled with imagery of nudity.
The Renaissance Nude at the Getty in LA examines the developments that elevated the nude to a pivotal role in art between 1400 and 1530. Organized thematically, the exhibition juxtaposes works in different media and from different regions of Europe to demonstrate that depictions of the nude expressing a range of formal ideals while also embodying a wide range of body types, physical conditions and meanings.
Tuesday, December 25, 2018
Passion, growth and human experience is slice of heaven in LA. Hollywood is both creative and eccentric, making it naturally receptive to art, design and creative thinking. Staying with my favorite A-listers in tinseltown.
Artistic expressions for humanity, humility and gallantry are the talk of the town in LA, streaming live from the King Tut exhibition–treasures of the Golden Pharaoh. An experience so uniquely refined that’s anything but ordinary.
Friday, October 5, 2018
Rowing uses 86% of the human body's muscles compared with 44% for biking or running making it the most efficient all-body workout. It is no accident that space stations only have rowing machines for astronauts to work out on. Here on Earth, I had a Magical race with my championship 8. As we launch the boat our coxswain Barry Shaw takes charge, "All eight ready, ROW." Within moments the boat is set as a rock slaloming our way up the course in complete confidence for the warm-up and then the lengthy head race. Ah, i love rowing at the limit with some of my dearest and best friends. See you again at the Head of the Charles in Boston. Quads are ready. Let's keep training.
Every athlete who stepped foot into the University of Toronto Hart House and UTRowing Club boathouse understood what those who came before him or her had accomplished. The photographic evidence and hardware are everywhere. All this tradition and history could become a heavy burden, but under exemplary coaching it simply represents what is possible. It was never, "Live up to the tradition." It was always (unspoken), "You can do this." Coaches like Olympian John Houlding and gadfly Paul Peene turned University of Toronto Rowing's previous success into a liberating aspect of their coaching. They freed up guys to focus on simply doing the work rather than worrying about the outcome. The responsibility yet again rested on the athlete, but so did the opportunity. Houlding and Peene both fostered an environment of focusing on the process, not the outcome. It was a process every single one of their athletes, regardless of innate talent, could engage in equally.