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Mannelijkheid in de kunst --- Masculinity in art --- Masculinité dans l'art --- Painting, British --- Painting, Victorian --- Peinture britannique --- Peinture victorienne --- Themes, motives --- Thèmes, motifs --- -Painting, Victorian --- -Masculinity in art --- Masculinity (Psychology) in art --- Victorian painting --- Painting, Modern --- British painting --- Paintings, British --- Masculinité dans l'art --- Thèmes, motifs --- Masculinity in art. --- Painting --- anno 1800-1899 --- Great Britain --- Themes, motives. --- Painting [British ] --- Painting [Victorian ]

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Sex role in art --- Art --- -Femininity in art --- Masculinity in art --- 7.01 --- Masculinity (Psychology) in art --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Psychology --- Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- 7.01 Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- Femininity in art

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Arriving in New York City in the first decade of the twentieth century, six painters - Robert Henri, John Sloan, Everett Shinn, Glackens, George Luks, and George Bellows, subsequently known as the Ashcan Circle -f aced a visual culture that depicted the urban man as a diseased body under assault. Ashcan artists countered this narrative, manipulating the bodies of construction workers, tramps, entertainers, and office workers to stand in visual opposition to popular, political, and commercial cultures. They did so by repeatedly positioning white male bodies as having no cleverness, no moral authority, no style, and no particular charisma, crafting with consistency an unspectacular man. This was an attempt, both radical and deeply insidious, to make the white male body stand outside visual systems of knowledge, to resist the disciplining powers of commercial capitalism, and to simply be with no justification or rationale. Ashcan artists reconfigured urban masculinity for national audiences and reimagined the possibility and privilege of the unremarkable white, male body thus shaping dialogues about modernity, gender, and race that shifted visual culture in the United States.

Masculinity in art. --- Ashcan school of art. --- Painting, American --- Art and society --- Art --- Art and sociology --- Society and art --- Sociology and art --- American painting --- Paintings, American --- Ashcan School --- Art, American --- Eight (Group of American artists) --- Masculinity (Psychology) in art --- Themes, motives. --- History --- Social aspects --- Theory of art

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Feminist art criticism. --- Male nude in art. --- Masculinity in art. --- Neoclassicism (Art) --- Themes, motives. --- Abigail Solomon-Godeau --- kunst --- achttiende eeuw --- negentiende eeuw --- schilderkunst --- beeldhouwkunst --- gender studies --- naakt --- mannelijkheid --- lichamelijkheid --- erotiek --- seksualiteit --- neoclassicisme --- homoseksualiteit --- feminisme --- iconografie --- 7.041 --- Themes, motives --- Feminist art criticism --- Male nude in art --- Masculinity in art --- Art, Modern --- Classicism in art --- Revival movements (Art) --- Masculinity (Psychology) in art --- Male nude --- Nude in art --- Art criticism --- Feminist criticism

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Images of suffering male bodies permeate Western culture, from Francis Bacon's paintings and Robert Mapplethorpe's photographs to the battered heroes of action movies. Drawing on perspectives from a range of disciplines-including religious studies, gender and queer studies, psychoanalysis, art history, and film theory-Ecce Homo explores the complex, ambiguous meanings of the enduring figure of the male-body-in-pain. Acknowledging that representations of men confronting violence and pain can reinforce ideas of manly tenacity, Kent L. Brintnall also argues that they reveal the vulnerability of men's bodies and open them up to eroticization. Locating the roots of our cultural fascination with male pain in the crucifixion, he analyzes the way narratives of Christ's death and resurrection both support and subvert cultural fantasies of masculine power and privilege. Through stimulating readings of works by Georges Bataille, Kaja Silverman, and more, Brintnall delineates the redemptive power of representations of male suffering and violence.

Suffering in art. --- Masculinity in art. --- Violence in art. --- Sex in art. --- Redemption in art. --- Sex in the arts --- Sexuality in art --- Masculinity (Psychology) in art --- Philosophical anthropology --- human figures [visual works] --- suffering, masculinity, male bodies, redemption, francis bacon, mapplethorpe, photography, aesthetics, action movies, pain, violence, religious studies, queer theory, gender, film, art history, manliness, erotics, vulnerability, tenacity, manhood, perseverance, crucifixion, resurrection, power, privilege, georges bataille, kaja silverman, sexuality, masochism, nonfiction.