An absorbing, browse-able art study that’s a feast for the eyes and the brain.
Vibrant works of art prove the eternal popularity of nudity in this lavishly illustrated collection of essays.
Gathering his columns from the nudist magazine Naturally, the author explores the social, cultural, and aesthetic significance of nudity in societies around the world as evidenced in the visual arts (pornography not included). It’s a wide-ranging tour, visiting prehistoric cave paintings, the Egyptian fad for spoon handles shaped like naked women, clothing—or, usually, the absence of it—in ancient India, nude figurines from pre-Columbian Mexico, the surprisingly widespread tradition of nude baptism and worship in Christianity, and Lady Godiva’s family tree. LeValley (Seekers of The Naked Truth, 2018, etc.) devotes much space to the Western tradition, from the Greek enthusiasm for nude athletics and nude everything else—he discusses eight styles of naked Aphrodite statues, including “Aphrodite of the Beautiful Buttocks”—to modern and postmodern art. The erudite chapters are thematic, some surveying whole eras and civilizations, others examining particular themes and genres in artistic nudes, like the Christian church’s campaign to clean up racy art by affixing fig leaves and wisps of cloth to offending genitalia or the naked boys at swimming holes that used to decorate middlebrow American magazines. Included are hundreds of vivid, full-color reproductions, from nude icons like the Venus de Milo and Manet’s Dejeuner sur l’Herbe to obscure gems. There’s a pronounced naturist perspective in the author’s commentary, which notes the wholesome moral associations of nudity with innocence, holiness, truth, independence of mind, and revolution. He rhapsodizes that nudity in anti-slavery art reminds “us that a person can throw off his chains like throwing off unwanted clothes, and can burst forth in a more natural and healthy freedom,” and he muses that “a return to simple, honest, athletic nudity” might “lessen some of the corruption” in the modern Olympics. LeValley’s breezy, engaging prose keeps the nudist propagandizing unobtrusive while regaling readers with plenty of intriguing historical lore and sharp-eyed, aesthetic appreciations (Michelangelo’s David “is not David the relieved victor, but David anticipating battle—with the figure’s left side tense and alert, but its right half relaxed and confident”).
An absorbing, browse-able art study that’s a feast for the eyes and the brain.Pub Date: N/A
ISBN: 978-0-9992679-0-5
Page Count: 572
Publisher: Edition One Books
Review Posted Online: March 15, 2019
Kirkus Reviews Issue: April 15, 2019
Review Program: Kirkus Indie
From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)
Pub Date: Nov. 1, 1992
ISBN: 0-374-17563-2
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1992
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.
A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.
In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.Pub Date: April 21, 2020
ISBN: 978-0-300-23222-6
Page Count: 304
Publisher: Yale Univ.
Review Posted Online: Feb. 8, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
bookshelf
