Danger, Beauty, and the Human Form

What art awakens in us, and how it matters

Amedeo Modigliani, Nu Couché (Reclining Nude) 1917

When I posted on Facebook an AI-generated image of a young woman, bare to the waist, it was simply a piece of art to me: expressionist in style, mysterious, tender, and beautiful. I hesitated only because the figure was nude. Soon after it appeared online, a dear Bahá’í friend wrote to say she felt uneasy. The figure, she thought, looked too young, and she worried it might play into unhealthy fantasies. She admitted it was first and foremost a visceral reaction — a gut feeling that told her something wasn’t right. Her heart objected. 

Part of her unease, I realized later after speaking with my wife, was not only about nudity but about youth. To her eye, the figure suggested someone underaged — and in our world, with its painful revelations of exploitation and abuse, that association carries enormous weight. I did not see the figure that way. To me, she appeared simply as a young woman with a slight, undeveloped frame — diminutive breasts, yes, but nothing childlike. Casual, unposed, and not voyeuristic. Yet my friend felt something different: a suggestion of underage vulnerability, and in our cultural moment that alone can feel troubling. The same image, then, lived in two realities at once — one of quiet beauty, the other of potential harm.

That set me thinking. As an artist, I know the human body has always been at the center of art. Michelangelo’s David towers over Florence in his colossal nakedness, admired for centuries as the pinnacle of beauty and strength. At the Academia Gallery, when people stand before the 17-foot-high, perfectly proportioned figure, genitals at eye level, many gasp, their eyes widen, and I daresay pulses quicken. Each time I’ve stood there, I’ve seen eyes widen, smiles flicker, and even laughter rise — the shared astonishment of being so publicly, so unabashedly face-to-face with the naked male form. It is a delight to witness, and it always makes me smile.

Amedeo Modigliani, scandalous in his day, painted nudes with such frankness (including pubic hair) that they shocked Parisian audiences — though today they are celebrated as masterpieces. His 1917 Paris exhibition, which included Nu Couché (Reclining Nude) was even shut down by the police for being too provocative. (Nu Couché sold at auction in 2015 for 170,400,000. dollars.) 

And then came Auguste Rodin, pushing the boundaries even further into raw physicality. His Iris, Messagère des Dieux (c. 1895) stunned viewers with its bold fragmentation — a headless, airborne female torso, legs spread in unapologetic display. To some it was obscene, to others a daring hymn to vitality and raw power. I love the piece because it feels like a direct invitation to unite in the matrix, to celebrate the generative force of Mother Earth herself. Today it is recognized as one of Rodin’s most radical and compelling works, proof that provocation and beauty can be inseparable.

It seems every era has its thresholds of comfort, and what unsettles one may inspire awe in another. It is the same old tension: one person sees beauty, another sees danger.

Muse

What is a muse? Muse in Greek mythology, is one of the nine daughters of Zeus and Mnemosyne, goddess of memory. Muses inspired and presided over the different creative arts. Sometimes artists are well aware that something bigger than themselves has taken over their creativity. In these moments they become like a hollow reed upon which a mysterious wind blows a sublime and fathomless melody. Afterwards, the startled artist steps back and says, Wow! Where did that come from?

As William Blake so eloquently wrote, the muse allows us
To see a World in a Grain of Sand, 
And a Heaven in a Wild Flower, 
Hold Infinity in the palm of your hand 
And Eternity in an hour.


Thomas Edison was a great inventor, but I take issue with his statement, “Genius is one percent inspiration and ninety-nine percent perspiration.” I believe that when Michelangelo, at the age of twenty-four, produced his colossal sculpture, David, he was completely inspired by a force greater than himself that blew through his every fiber, giving him strength. Certainly he was a unique channel and his talents begged for inspiration that attracted Spirit.

One of the greatest minds of all time acknowledges as much. Albert Einstein said: “One of the most beautiful things we can experience is the mysterious. It is the source of all true art and all science. He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed. Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand. 
” And he said, “To know is nothing at all; to imagine is everything.”

Imagination is the ability to dream while awake and in that heavenly state, be surprised by the “sirens songs,” blowing from across eternity. Walt Whitman knew this. The great American poet wrote:

As for me, I know nothing else but miracles,

Whether I walk the streets of Manhattan,

Or dart my sight over the roofs of houses toward the sky,

Or wade with naked feet along the beach just in the edge of the water,

Or stand under the trees in the woods,

Or talk by day with any one I love,

Or sleep in bed at night with any one I love,

Or watch honeybees busy around the hive of a summer forenoon...

Or the wonderfulness of the sundown, 

Or of stars shining so quiet and bright,

Or the exquisite delicate thin curve of the new moon in spring...

What stranger miracles are there?

The greatest artists, writers, inventors, et al. know that to truly be fulfilled is to actually lose oneself and wander in mystery . . . to be guided by strangeness and trust that a wild ride is towards the mystical ocean that is the beginning and end; both.

“I have no fear of making changes, destroying the image, etc., because the painting has a life of its own.” Jackson Pollock

When I was but a twenty-two year old art student, my homework was to do a self-portrait. Every night I stood in front of a mirror and painted. The task was arduous for I stared at myself for hours on end, trying to faithfully represent myself in oil paint on canvas. But something took over so that I became inspired to continue. In the end I produced a painting that went beyond myself and once I stepped outside of the creative reverie and brought my painting to class, I thought did I do that?  Well, I did, but my muse stood next to me, singing her siren songs.

The Most Glorious And Sensual Object

After my blog, titled Eros, appeared last weekend, a member of my religion, Baha’i, wrote me an Email and questioned whether I was adhering to the moral tenants put forth in the religion. The ensuing half-dozen correspondences that went between us proved interesting, so I asked if I could publish them and the response was “sure”. To read them, click here: erotic.

My model had posed nude for an artist drawing group I attend, and that is where we met. She knew ahead of time what I wanted to do artistically but changed her mind about posing nude for photography.

I have pondered if the world of art can exist without an erotic impulse, and I do not think it can. So much of poetry and art arouses the senses. This is what Eros does, and if Eros did not exist, the world would die off because men and women would have no interest in each other physically. Eros is like the worker bee that is attracted to beautiful flowers and while it goes from one flower to next it has sex with them, and ensures their survival.

Art expands our experience of life—what we do with the experience and how we respond is subjective, unless we have been indoctrinated by society and are looking at symbols such as flags of nations. I resist indoctrination, although it is extremely difficult to be free of persuasions born of repeated patterning.
The great American poet, Walt Whitman, caused uproar when his very sensual poems came to the public view and he questioned the puritanical norms of the day.

The bodies of men and women engirth me, and I engirth them, They will not let me off, nor I them, till I go with them, respond to them, love them. Was it doubted if those who corrupt their own live bodies conceal themselves? And if those who defile the living are as bad as they who defile the dead? And if the body does not do as much as the soul? And if the body were not the soul, what is the soul? The expression of the body of man or woman balks account, The male is perfect, and that of the female is perfect.
From I Sing The Body Electric, by Walt Whitman

When Whitman says that those “who corrupt their own live bodies conceal themselves”, he means those who associate shame with their bodies are also concealing part of their souls.

I came across something Pope John Paul II (18 May 1920 – 2 April 2005) said: "The human body can remain nude and uncovered and preserve intact its splendor and its beauty... Nakedness as such is not to be equated with physical shamelessness... Immodesty is present only when nakedness plays a negative role with regard to the value of the person...The human body is not in itself shameful... Shamelessness (just like shame and modesty) is a function of the interior of a person."

When I was in Florence, Italy and entered the Accademia Museum and first set eyes on Michelangelo’s David, it was cathartic. Everything I loved about the human form was before my eyes in all its glory. I kept wondering to myself, how could he have done this? After entirely encircling the sculpture several times and looking at the features from all sides, I began to study the faces of other people while they were looking. The expressions were of awe, wonder, and unabashed delight. And part of the delight was that David stood entirely naked. Heaven forbid that self-righteous bigots ever make this treasure on earth into something shameful, or “against God.” Then we know humanity has fallen into wickedness. In fact, during the middle ages, many nude sculptures and paintings had fig leaves added, and then when years later they were removed, the artworks were damaged.

Really, I cannot imagine taking sensuality away from art and literature. The most glorious and sensual object on earth is the human body. Let’s not burden it with guilt and shame more than it has been already.

Eros

“OK, now take your clothes off.” My model and I had been working together for about twenty-five minutes. I shot about 125 photos of her in my living room as she posed on a couch wearing a slip and holding dolls. I found an ambiguity and psychology that was both innocent and also confrontational.
“Oh Steven, I am not ready . . . I need to think more about whether I want to pose nude.”
“I understand,” I said, “You know that I work with nude models, right?”
“Yes, I looked on your website.”
“If you do not pose, then I will find someone else, because I need to finish with my concept. I want a certain vulnerability that will come with an image of a nude alongside clothed dolls.”
“I know, and I am sorry if I upset your plans.”
"No problem."

I have been told that my nudes are erotic, but never that they are vulgar.
Eroticism is a peculiar human trait that has to do with sexual arousal. It is a dance in nature that we see also in other animals that preen and show off in spectacular ways—all to better attract a mate. The word comes from the Greek word for the god of lust and fertility, Eros. Eroticism is nasty in some prurient thinking, but I prefer to stay with the Greeks who thought Eros to also be the creative urge of ever-flowing nature, the firstborn Light for the coming into being and ordering of all things in the cosmos, an attendant to Aphrodite, harnessing the primordial force of love and directing it into mortals. As an artist, I must have a relationship with eroticism because it gives passion and sensuality that fuels my creativity. See Michelangelo’s slave sculptures or the colossal David.

A nude human, male or female, is one of the most treasured subjects in art. Just look in the art history books, or check out the work of some of the most famous photographers. An artist makes looking at nudes an acceptable, sensuous, and awe inspiring experience. We all wonder what is beneath other peoples clothing because we all know we are naked and pure. Art reveals the truth of our nakedness.

After my model demurred from disrobing, we continued and in the end, the session was fantastic anyway. Eventually, some of the images will find there way into my new work that is a combination of photography and painting.