{"id":110299,"date":"2017-04-26T09:10:48","date_gmt":"2017-04-26T13:10:48","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=110299"},"modified":"2017-04-26T11:18:11","modified_gmt":"2017-04-26T15:18:11","slug":"washingtonian-wiener-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/04\/26\/washingtonian-wiener-and-other-news\/","title":{"rendered":"Washingtonian Wiener, and Other News"},"content":{"rendered":"<div id=\"attachment_110300\" style=\"width: 778px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/canovawashington.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110300\" class=\"wp-image-110300 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/canovawashington.jpg\" width=\"768\" height=\"637\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/canovawashington.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/canovawashington-300x249.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-110300\" class=\"wp-caption-text\">Canova\u2019s nude Washington.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>Go on, take a peek at my search history. You\u2019ll see a lot of this: \u201cNude presidents.\u201d \u201cNude dead presidents.\u201d \u201cGeorge Washington naked.\u201d \u201cPresidential peen.\u201d \u201cFree naked U.S. American founding fathers pixxx.\u201d \u201cPortrait of signing of Declaration of Independence where all signers are nude.\u201d It has been a long road for me. I am not often delighted by what\u00a0Google\u00a0brings to me. But now Antonio Canova\u2019s nineteenth-century sculpture of a totally nude George Washington\u2014<em>presidente numero uno<\/em>, a hundred\u00a0percent in the raw, not even any powdered wig\u2014is coming to the Frick. It\u2019s a big deal, a time to rejoice, for, as James Barron writes, we are not accustomed to exposed presidential flesh: \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/04\/23\/nyregion\/george-washington-nude-statue.html?_r=0\" target=\"_blank\">The first president had been dead for seventeen years by the time Canova went to work<\/a>. Canova had done a nude Napoleon as the god Mars\u00a0about 10\u00a0years earlier. But when it came to Washington, clothes made the man\u2014and the statue\u2014because his appearance mattered. \u2018John Marshall, his first serious biographer, even entitled the chapter on Washington\u2019s arrival in the world \u201cThe Birth of Mr. Washington,\u201d \u2019 the historian Joseph J. Ellis\u00a0wrote, \u2018suggesting that he was born fully clothed and ready to assume the presidency.\u2019 Nathaniel Hawthorne seemed to echo Marshall\u2019s notion after posing a provocative question: \u2018Did anybody ever see Washington naked?\u2019 \u2018It is inconceivable,\u2019 Hawthorne wrote. \u2018He had no nakedness, but, I imagine, was born with clothes on and his hair powdered, and made a stately bow on his first appearance in the world.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>When Virginia and Leonard Woolf started the Hogarth Press, it was all fun and games, just like running an indie press should be. But then, as Rafia Zakaria writes, Virginia got bored: \u201c<a href=\"https:\/\/www.theguardian.com\/books\/2017\/apr\/24\/a-publisher-of-ones-own-virginia-and-leonard-woolf-and-the-hogarth-press\" target=\"_blank\">Those first afternoons, when Leonard and Virginia sat covered in ink in the drawing room of Hogarth House, learning by trial and error just how hard it was to set type and center it on the page, were charmed ones<\/a>. The experience was a simulacrum of the creative process: the beloved final product did not always reflect the pains of its production. But the labors of printing always delivered the satisfaction of a real and tangible object \u2026 If Leonard\u2019s involvement was steady, Virginia\u2019s was mercurial, waxing and waning through her depressive and creative spells. As early as March 1924, as they got ready to publish her novel <em>Jacob\u2019s Room<\/em>, she declared in a letter that \u2018publishing one\u2019s own books is very nervous work.\u2019 By October 1933, when Hogarth Press turned sixteen, Virginia declared herself tired of the \u2018drudgery and sweating\u2019 and the \u2018altered travel plans\u2019 that running the publisher required. She demanded that an \u2018intelligent youth\u2019 be found to take over its day-to-day operations.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>I\u2019ve seen zero Fast and Furious movies. Mark Krotov has seen all eight of them, and is prepared to defend them (some of them, at least) as art: \u201c<a href=\"https:\/\/nplusonemag.com\/online-only\/film-review\/rise-of-the-machines\/\" target=\"_blank\">Every film franchise is a testament to growth and conquest<\/a>. In the case of the Marvel movies, that growth is exponential and expanding: movies beget more movies, more spinoffs, more series that emerge from spinoffs. What sets the Fast and the Furious series apart from franchises like this\u2014at least for now\u2014is its habit of folding all that hot-media-property energy back into itself, making the movies all the more strange and intense. Whereas Star Wars and Harry Potter build out more worlds, more histories, to populate with new and random protagonists, The Fast and the Furious is loyal to its core, producing something closer to America\u2019s most beloved miniseries about cars and the increasingly superheroic men and women who love them.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Anthony Lane on Jean-Pierre Melville, the French filmmaker whose movies capture the oppression of World War II: \u201c<a href=\"http:\/\/www.newyorker.com\/magazine\/2017\/05\/01\/jean-pierre-melvilles-cinema-of-resistance\" target=\"_blank\">Melville later described his experiences of the Second World War as awful, horrible, and marvelous, and discovered a surprising nostalgia for the period, as if its intensity were a legacy on which he could continue to draw<\/a>. A movie director, he said, should be \u2018constantly open, constantly traumatizable,\u2019 and he made three films on the trauma of Occupied France: <em>Le Silence de la Mer<\/em> (1949), <em>L\u00e9on Morin, Priest<\/em>, and <em>Army of Shadows<\/em>. Yet that is not the end of the affair. Although most of his works are tales of private crime, internecine rather than international, and set in postwar France, there is almost no corner of them that is not illuminated by what he saw and heard when his country was ruled by oppression, and when ordinary people were forced to decide what, or whom, they would obey\u2014and, in some instances, to keep their decision a secret. In the roll call of cinema, and with good cause, Melville is the laureate of mistrust.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Jonathan Guyer and Surti Singh on surrealism in Egypt: \u201c \u2018<a href=\"https:\/\/lareviewofbooks.org\/article\/the-double-game-of-egyptian-surrealism-how-to-curate-a-revolutionary-movement\/\" target=\"_blank\">We find absurd, and deserving of total disdain, the religious, racist, and nationalist prejudices that make up the tyranny of certain individuals who, drunk on their own temporary omniscience, seek to subjugate the destiny of the work of art<\/a>.\u2019 So wrote thirty-seven Egypt-based artists and writers in their 1938 manifesto\u00a0<em>Long Live Degenerate Art<\/em>, expressing solidarity with their counterparts in Europe suffering under fascism. This was the beginning of the Art and Liberty Group, an avant-garde movement also known as Egypt\u2019s Surrealists \u2026 The Art and Liberty Group forged connections with Surrealists and Trotskyists abroad while shaping their own identity. Working in tandem with their European peers, they also grappled with the circumstances of an increasingly militarized Egyptian capital, where trends in art and publishing remained conservative. They responded to the fault lines of interwar Cairo and were of a piece with them.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: a sculpture of naked George Washington, the origins of Virginia Woolf\u2019s Hogarth Press, and more.<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[28542,10484,1773,28545,28543,4655,3055,28544,17079,81,8006,9081,964,7318,969],"class_list":["post-110299","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-antonio-canova","tag-cars","tag-egypt","tag-egyptian-art","tag-fast-and-furious","tag-george-washington","tag-hogarth-press","tag-john-pierre-melville","tag-leonard-woolf","tag-movies","tag-nudity","tag-presidents","tag-sculpture","tag-surrealism","tag-virginia-woolf"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>This Nude George Washington Was Too Hot for the Nineteenth Century<\/title>\n<meta name=\"description\" content=\"In 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