According to Solomon-Godeau, the forging of an exclusively masculine public sphere in French politics entailed the consolidation of masculine bonds between ‘putatively equal, sovereign subjects’. In doing so, she makes use of Eve Kosofsky Sedgwick’s writings on homosociality in English literature. Solomon-Godeau relates changes in the appearance of male nudes to these developments. This has long been recognized as a key moment in the construction of modern stereotypes of gender difference and the way in which that difference is represented-for example, in radically contrasting modes of dress for women and for men. The revolutionary and post-revolutionary period witnessed the definitive exclusion of women from the public sphere in France. It is the ephebic type which is most extensively discussed and illustrated in her book. The other, ‘the more or less feminized ephebe’, is a type which she finds in paintings such as the same artist’s depiction of the dying boy hero of the revolutionary wars, Bara (Musée Calvet, Avignon). One is an ‘active and virile warrior type’ exemplified in Jacques-Louis David’s prerevolutionary paintings of scenes from Roman history, notably his ‘Oath of the Horatii’ of 1785, now in the Louvre. She examines evolving codes for the representation of the naked male body, identifying two contrasting types of male nude in French art of this period. Like Crow, Solomon-Godeau adopts an approach which is far from being narrowly art-historical. But it is only recently that the male-centred painting produced by French artists at this time has received much attention from art historians, notably in Thomas Crow’s Emulation: Making Artists for Revolutionary France. French art was a model for art produced else-where in Europe throughout this period, in spite of the disruptive effects of the Revolution and the Napoleonic wars on the international art scene. She deals chiefly with painting in France. In Male Trouble, footnote * Abigail Solomon-Godeau concentrates on the late eighteenth and early nineteenth century, the last era during which the male figure dominated high art production. The automatic privileging of the male over the female nude in art ended in the early nineteenth century, and the rise of the female nude at that time has received considerable attention from art historians. The more secular outlook of the Enlightenment did not change this aspect of the artist’s task, since art was expected to serve the interests of a public sphere modelled on that of ancient Greece and Rome, also defined as male. In representing Man and his deeds, the artist came closest to depicting an otherwise invisible Deity. According to the book of Genesis, God made Man in His own image, not Woman. ![]() Until the eighteenth century, the high status accorded to the nude in art was bound up with the status accorded to Man in the Christian religion. Nowadays, the gender of a ‘nude’ is assumed to be female, unless we are told otherwise. But preconceptions of what such images should look like have changed radically during that period. ![]() Using the Add Bay To, add the remaining bays and drag them into place.The representation of the unadorned human body by artists-the transformation of the naked into the nude-was reckoned among the highest goals of European art from the Renaissance until well into the present century. This is so the bay can be clamped to the beam.Ģ2. Also noe that the Top Elevation is the vert top of the scaffold, which is usually the top of the VerticalĢ1 When the height has been specified, click Apply.Ģ1. Note: You may need to experiment with the Top Elevation until you get the correct height. Edit the Top Elevation of the bay to a height similar to the beam or item you will hang the scaffold off. With the Bay still selected Click Side Settings in the toolbarĢ0. Add all the toeboards by selecting the middle button.ġ6. Click on the Toeboards drop-down for level 0ġ4. Add all guardrails by selecting the middle button.ġ3. Click on the Guardrail drop-down for level 0ġ1. This will add a plank for the bottom level whilst unplanking the top level.ġ0. Select the Bay and in the Bay Level Editor uncheck Planked for Level 1 and check Planked for Level 0. Click the Scaffold tab and drag in a new bay.ĩ. The bays will hang from these two beams.Ĩ. Copy and paste a beam parallel to the original beam. Set the Reference Elevation to specify the height the beam will be.ħ. ![]() Note: If enabled, the Beam options will appear automatically.ĥ. In this guide we will hang multiple scaffold bays off two Beams. ![]() You can hang a scaffold to a beam or off the edge of bridge.
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