File:Painters, pictures and the people (1918) (14577804547).jpg

Identifier: painterspictures00neuh (find matches)
Title: Painters, pictures and the people
Year: 1918 (1910s)
Authors: Neuhaus, Eugen, 1879-1963
Subjects: Painting Art
Publisher: San Francisco : Philopolis press
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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oduced many nudes of the kind nowuniversally recognized as the American saloonnude. Water will find its level, and the saloonnude, conceived in the saloon spirit, never couldrise to an appeal free from the base atmosphereof its sphere of influence. Most of these picturesare openly sensual, and one cannot but admirethe unalloyed honesty of the efforts of theirpainters in that regard. No other potentialitiesof appeal—and there are some—in these pic-tures have any chance. This type of picture wasscarcely taken half so seriously here as abroad,and the unabashed naivete of the many pseudo-Bouguereaus who produced countless Eves,Venuses, and other alluring ladies is reallyamazing. As far as that noble institution, thesaloon nude, is concerned, we seem to have con-quered the mania, and eventually we will castit into oblivion, together with the temple inwhich it symbolized the physical nature of itsdevotees. But the nudes still continue to ap-pear, or rather imitations of the naked studio
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MORNING PLATE XXVIII From the Oil Painting by Norwood H. MacGILVARI THE NUDE IN ART 165 models which the artist was neither able to for-get, owing to the rarety of the occasion, nor to put into artistic language. Far too many mod-ern nudes impress one as mere literal imitations of a particular model, sometimes to an embar-rassing degree of photographic physical resem-blance. It is so very tempting, owing to the possibili-ties of deception in the painters medium nowa-days, to yield to a desire to imitate. The worker in three dimensions, the sculptor in marble,knows that nobody will take his creation for thereal, but the painter, although he is deprived of the third dimension in his work—in the physicalsense—often allows himself to cater to a cer-tain public taste and produce the near-photo-graphic. It seems to me that as with everythingelse, the best nudes might be painted out of thehead, as Bocklin, the German-Swiss, paintedhis in practically all of his flgural compositions.Such naked,

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