假裸体:人体丝袜和摄影在最后关头

IF 0.3 2区 艺术学 0 ART History of Photography Pub Date : 2021-04-03 DOI:10.1080/03087298.2022.2050049
Mary Bergstein
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引用次数: 0

摘要

西方艺术中女性裸体的视觉文化,经过几十年的关注,已经拥有相当数量的批评学术谱系。女性身体的摄影图像在这一遗产中占有重要地位,但迄今为止,仍有一些研究领域很少得到研究。在这篇文章中,我将美国社交名媛克拉拉·沃德在20世纪之交为大众消费而拍摄的一组由商业摄影师拍摄的小而古怪的照片视为对人造裸体的案例研究,即模特被半透明的长筒袜包裹在摄影棚的照片,在女性身体的表现中保护和理想化女性身体。如果裸体在理想情况下是一种绝对的状态,那么它的各种伪装在文化上是复杂的。这些迷人的照片中构建的伪裸体是现代技术的发明,商业纺织品生产和摄影的进步使其成为可能,因为stockinet紧身袜提供了一种土黄色的白色虚构,通过单色渲染进一步增强,然后通过橱柜印刷品和明信片广泛分发。1900年左右,这些文物在视觉文化中进一步神秘化了女性的身体,为现代创造了一个幻想中的女性。
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Faux Nudes: Body Stockings and Photography at the fin de siècle
The visual culture of the female nude in Western art, after decades of attention, possesses a considerable genealogy of critical scholarship. The photographic imagery of women’s bodies occupies a significant place in this legacy, yet there are areas of inquiry that have to date remained little examined. In this article I consider a small and eccentric group of images, made by commercial photographers for popular consumption, posed by the American socialite Clara Ward around the turn of the twentieth century, as a case study of faux nudes – studio photographs in which models were encased in semitransparent body stockings, thus generalising, protecting and idealising the female body in its representation. If nudity is – ideally – an absolute state, it is nevertheless culturally complex in its various guises. The faux nudity constructed in these glamorous photographs was an invention of modern technology made possible by advances in commercial textile production as well as photography, as the stockinet body stocking provided a fiction of marmoreal whiteness further enhanced by being rendered in monochrome, and then widely distributed through cabinet prints and postcards. Around 1900 such artefacts further mystified the woman’s body in visual culture, producing a fantasy woman for modern times.
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
期刊介绍: History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.
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