{"id":134411,"date":"2019-03-14T13:15:00","date_gmt":"2019-03-14T17:15:00","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=134411"},"modified":"2019-03-14T13:53:25","modified_gmt":"2019-03-14T17:53:25","slug":"nudes","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/03\/14\/nudes\/","title":{"rendered":"Nudes"},"content":{"rendered":"<p><em>Innumerable nudes are scattered across millennia of art history, but none look like Alice Neel\u2019s. With radical frankness, she painted bodies outside the scope of most visual art: those of pregnant women, of children, of a blissfully domestic couple peeing in a bathroom. There\u2019s a touch of the surreal to her demonic reds and sickly greens\u2014and, as often accompanies the surreal, there\u2019s also a touch of the uncomfortably alive. The subjects stare out from the canvas and feel uncannily real. But Neel rejected traditional realism. Of her style, she once said: \u201cI hate equating a person and a room and a chair. Compositionally, a room, a chair, a table, and a person are all the same for me, but a person is human and psychological.\u201d Instead of the omnipresent male gaze, here the gaze is Neel\u2019s, in which nakedness is not explicitly sexual and body parts can assume proportions untethered from the purely representational. A mother\u2019s breasts sling out like red-tipped yams. A penis, thin and long, slithers like an enoki mushroom. A child\u2019s hands clutch and creep like opera gloves filled with hay. <\/em><em>Through April 13, David Zwirner will host \u201c<a href=\"https:\/\/www.davidzwirner.com\/exhibitions\/freedom-0\" target=\"_blank\" rel=\"noopener\">Alice Neel: Freedom<\/a>,\u201d a new exhibition of significant paintings and works on paper from Neel\u2019s six-decade career. Below, we present a selection of the glorious nudes for which she\u2019s known.<\/em><\/p>\n<div id=\"attachment_134439\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/bronx-bacchus.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-134439\" class=\"wp-image-134439 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/bronx-bacchus.jpg\" alt=\"\" width=\"1000\" height=\"865\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/bronx-bacchus.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/bronx-bacchus-300x260.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/bronx-bacchus-768x664.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-134439\" class=\"wp-caption-text\">Alice Neel, <em>Bronx Bacchus<\/em>, 1929. The Estate of Alice Neel. Courtesy The Estate of Alice Neel and David Zwirner. \u00a9 The Estate of Alice Neel.<\/p><\/div>\n<p><!--more--><\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_134440\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/degenerate-madonna.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-134440\" class=\"wp-image-134440 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/degenerate-madonna.jpg\" alt=\"\" width=\"1000\" height=\"1243\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/degenerate-madonna.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/degenerate-madonna-241x300.jpg 241w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/degenerate-madonna-768x955.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/degenerate-madonna-824x1024.jpg 824w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-134440\" class=\"wp-caption-text\">Alice Neel, <em>Degenerate Madonna<\/em>, 1930. The Estate of Alice Neel. Courtesy The Estate of Alice Neel and David Zwirner. \u00a9 The Estate of Alice Neel.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_134437\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/neealdz20show2019_install_v26.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-134437\" class=\"wp-image-134437 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/neealdz20show2019_install_v26.jpg\" alt=\"\" width=\"1000\" height=\"750\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/neealdz20show2019_install_v26.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/neealdz20show2019_install_v26-300x225.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/neealdz20show2019_install_v26-768x576.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-134437\" class=\"wp-caption-text\">Installation view, \u201cAlice Neel: Freedom,\u201d David Zwirner, New York, 2019. Courtesy David Zwirner.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_134438\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/andrew.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-134438\" class=\"wp-image-134438 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/andrew.jpg\" alt=\"\" width=\"1000\" height=\"1189\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/andrew.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/andrew-252x300.jpg 252w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/andrew-768x913.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/andrew-861x1024.jpg 861w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-134438\" class=\"wp-caption-text\">Alice Neel, <em>Andrew<\/em>, 1978. Courtesy The Estate of Alice Neel and David Zwirner. \u00a9 The Estate of Alice Neel.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_134442\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/nadya-nude.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-134442\" class=\"wp-image-134442 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/nadya-nude.jpg\" alt=\"\" width=\"1000\" height=\"791\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/nadya-nude.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/nadya-nude-300x237.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/nadya-nude-768x607.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-134442\" class=\"wp-caption-text\">Alice Neel, <em>Nadya Nude<\/em>, 1933. Courtesy The Estate of Alice Neel and David Zwirner. \u00a9 The Estate of Alice Neel.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_134432\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/neealdz20show2019_install_v21.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-134432\" class=\"wp-image-134432 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/neealdz20show2019_install_v21.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/neealdz20show2019_install_v21.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/neealdz20show2019_install_v21-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/neealdz20show2019_install_v21-768x512.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-134432\" class=\"wp-caption-text\">Installation view, \u201cAlice Neel: Freedom,\u201d David Zwirner, New York, 2019. Courtesy David Zwirner.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_134441\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/joe-gould.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-134441\" class=\"wp-image-134441 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/joe-gould.jpg\" alt=\"\" width=\"1000\" height=\"1196\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/joe-gould.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/joe-gould-251x300.jpg 251w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/joe-gould-768x919.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/joe-gould-856x1024.jpg 856w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-134441\" class=\"wp-caption-text\">Alice Neel, <em>Joe Gould<\/em>, 1933. The Estate of Alice Neel. Courtesy The Estate of Alice Neel and David Zwirner. \u00a9 The Estate of Alice Neel.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_134444\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/untitled-bathroom.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-134444\" class=\"wp-image-134444 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/untitled-bathroom.jpg\" alt=\"\" width=\"1000\" height=\"1320\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/untitled-bathroom.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/untitled-bathroom-227x300.jpg 227w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/untitled-bathroom-768x1014.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/untitled-bathroom-776x1024.jpg 776w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-134444\" class=\"wp-caption-text\">Alice Neel, <em>Untitled (Alice Neel and John Rothschild in the Bathroom)<\/em>, 1935. Courtesy The Estate of Alice Neel and David Zwirner. \u00a9 The Estate of Alice Neel.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_134443\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/pregnant-julie-and-algis.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-134443\" class=\"wp-image-134443 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/pregnant-julie-and-algis.jpg\" alt=\"\" width=\"1000\" height=\"672\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/pregnant-julie-and-algis.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/pregnant-julie-and-algis-300x202.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/03\/pregnant-julie-and-algis-768x516.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-134443\" class=\"wp-caption-text\">Alice Neel, <em>Pregnant Julie and Algis<\/em>, 1967. The Estate of Alice Neel. Courtesy The Estate of Alice Neel and David Zwirner. \u00a9 The Estate of Alice Neel.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>In bucking the male gaze and replacing desire with its kinder cousin, curiosity, Alice Neel\u2019s nudes run counter to millennia of art history.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[1659,1159,19976,7985,1102,18864,2270,1572,50871,21983,8515,67,5872,179,1070,27248,7318,50872,37524],"class_list":["post-134411","post","type-post","status-publish","format-standard","hentry","category-look","tag-alice-neel","tag-art-history","tag-childbirth","tag-david-zwirner","tag-feminism","tag-joe-gould","tag-mother","tag-motherhood","tag-nude","tag-nudes","tag-paint","tag-painting","tag-realism","tag-sex","tag-sexuality","tag-surreal","tag-surrealism","tag-the-nude","tag-visual-art"],"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>Nudes by The Paris Review<\/title>\n<meta name=\"description\" content=\"In bucking the male gaze 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