#male nudes

A fine photograph taken in Tunisia by Rudolf Lehnert in the early part of the 20th Century. Whilst much of his work concentrates on portraiture or displays a documentary style as he captures scenes of local life, historic architecture, and traditional dress, this particular image stands out as singularly and perhaps deliberately erotic - the long look into one another’s eyes could be taken for something far from innocent and platonic.

Though it is tiny (and regrettably I have been unable to locate a larger copy), this photograph is well worthy of inclusion, as it depicts a pair who proved exceedingly popular the first time they featured here! Once again they do an admirable job of holding their pose, neccessary stillness without losing the muscular tension and strength applied.

For this photograph by Wilhelm von Gloeden (and the kind words of appreciation which accompanied it), I extend my gratitude to Bob - who has been enjoying this collection for some time and was pleased to at last share a picture which so perfectly suits taking its place here. 

Enjoying the secluded riverside on a glorious afternoon, cool water and dappled shade, a pleasure today as it has always been; this Plüschow photograph captures the atmosphere perfectly!

Thomas Eakins making an appearance in his own photograph (the clothed figure on the left), with an unknown model, and J. Laurie Wallace, 1883. Wallace can be seen in another shot on this same wooden platform.

Part of a set of photographs taken in the final years of the 19th century by the French army, studies of male anatomy and motion to help soldiers and officers better understand the human body and the physical tasks it must perform in such an occupation.

A wonderful addition to the regrettably small selection of stereoscopic 19th century nudes. We have seen this very pair of models before, with their artfully edited white pencilled drapery (this time they appear to be sharing a single piece of the fictional fabric wound around both waists!)

Another photograph by Thomas Eakins in 1883, showing two of his art students boxing while four more spectate - they have shifted positions between this and the first shot posted.

Two muscular men strike a powerful and physically demanding pose for the camera of Lous Jean-Baptiste Igout, c1870. We have seen this pair before, in a similar scene.

Basking lazily in the Mediterranean sun, two handsome young men photographed by Vincenzo Galdi. I believe that’s a lobster pot, perhaps these models were fishermen earning a little extra income by posing for photographs (or maybe Galdi just chose to place a prop there)

Is it just my imagination, or does the tanned young fellow on the right seem to be staring directly at a certain part of his companion? That’s no detached gaze into the middle distance, dear boy - whether it’s admiration or jealousy I cannot tell but that’s definitely where his attentions are focused!

Unlike many of von Gloeden’s nudes posed together, where any faintly suggestive sexual undertones are subtly discreet and mostly in the eye of the beholder, this stunning photograph stands out as undoubtedly & gloriously homoerotic. A passionate, intimate embrace, one’s lips to the other’s cheek - is it a softly whispered sweet nothing, or a chaste kiss we can’t quite see?

Another photograph from Thomas Eakins’ painting studio in Pennsylvania, c1884 - akin to this image posted last month.

A second stunning photograph from Rudolf Lehnert, a more revealing continuation of an open-air yet intimate scene begun here. Though we may wish to peer more closely at the models themselves, the overall composition is expertly done, a fine tableau!

In these dreary grey days of winter not yet stirring into spring, let us look upon an idyllic scene of summer, think of the glorious Mediterranean sun on bare skin, the smell of herbs on a welcome breeze, hum of a thousand unseen insects in the air. Perhaps they can hear the sea, maybe the beach begins below their feet, close enough to the lapping waves that there’s a tang of windblown salt when they lick their lips.
These pictures allow us to imagine ourselves, for a moment not only in another time but another place; to think how it must have been to pose for these pictures, which still delight viewers over a century on.

Though his pictures are not so explicit or provocative as Galdi who was to follow him into the photographic industry, Plüschow nevertheless incorporated a lot of homoeroticism into his work, aiming to provide something meaninful and beautiful to those gentlemen who preferred gentlemen - we see subtle looks of longing, and hands draped in lingering caress, which could be taken as simple platonic affection to those with a more innocent outlook.
It is worth noting the slight mishap along the left side of the taller fellow here - although exposure times were decreasing rapidly and by the 1890s poses did not have to be held for the intensely uncomfortable and impractical length of time many imagine, the images were still not created quite instantaneously, and we can see the double outline caused by a slight movement while the shutter was open.

sugarmeows:

Nude Studies (albumen, 1875–80) – Louis Jean Baptiste Igout (French, 1837–81)

Printed by Calavas Freres Editeurs; 68, Rue de Lafayette, Paris.

I’m surprised to find that none of these individual images are repeats from previous sheets, though the models are definitely men we have seen before in numerous other poses in these artists’ reference pages.

An additional sheet of artists’ reference nudes from photographer Louis Jean-Baptiste Igout and publisher A. Calavas, some we have seen before mixed with some we have not. My favourite is the extremely graceful pose, centre-right, on the third row.

A moment of theatrical drama for two von Gloeden models here, enacting some thrilling and tragic scene from myth or legend for the camera.

A trio of muscular men, arms interlinked, the image made all the more striking by that contrast between a dark background and the slightly over-exposed brightness of their skin.

A postcard from the 1910s, published by the firm Galifi, and featuring a photograph by Wilhelm von Gloeden taken in the 1890s. The model on the right is Pascquale Stracuzzi, I regret I cannot recognise his companion from behind!