” To be naked is to be oneself.To be nude is to be seen naked by others and yet not recognized for oneself. A naked body has to be seen as an object in order to become a nude. (The sight of it as an object stimulates the use of it as an object.) Nakedness reveals itself. Nudity is placed on display. To be naked is to be without disguise. To be on display is to have the surface of one’s own skin, the hairs of one’s own body, turned into a disguise which, in that situation, can never be discarded. The nude is condemned to never being naked. Nudity is a form of dress. In the average European oil painting of the nude the principal protagonist is never painted. He is the spectator in front of the picture and be is presumed to be a man. Everything is addressed to him. Everything must appear to be the result of his being there, it is for him that the figures have assumed their nudity. But he, by definition, is a stranger – with his clothes still on. Consider the Allegory of Time and Love by Bronzino.
The complicated symbolism which lies behind this painting need not concern us now because it does not affect its sexual appeal – at the first degree. Before it is anything else, this is a painting of sexual provocation.
The painting was sent as a present from the Grand Duke of Florence to the King of France, The boy kneeling on the cushion and kissing the woman is Cupid. She is Venus. But the way her body is arranged has nothing to do with their kissing. Her body is arranged in the way it is, to display it to the man looking at the picture. This picture is made to appeal to his sexuality. It has nothing to do with her sexuality. (Here and in the European tradition generally, the convention of not painting the hair on a woman’s body helps towards the same end. Hair is associated with~sexual power, with passion. The woman’s sexual passion needs to be minimized so that the spectator may feel that he has the monopoly of such passion.) Women are there to feed an appetite, not to have any of their own. Compare the expressions of these two women:
One the model for a famous painting by Ingres and the other a model for a photograph in a girlie magazine. Is not the expression remarkably similar in each case? It is the expression of a woman responding with calculated charm to the man whom she imagines looking at her – although she doesn’t know him. She is offering up her femininity as the surveyed. ” -John Berger, Ways of Seeing