Jean Fautrier made nudes where the figure is deformed, made from totally different color textures, on paper supports, treated with plaster and glue, on which he applies a raw substance, made with inks and powders, on which he attracts or scratches, till he achieves the desired image. Informalist artists have experienced first hand the horrors of struggle, so their work is imbued with pessimism, with a significant despair that interprets into aggressive works, where the human determine is mutilated, deformed, crushed, highlighting the fragility and vulnerability of the human being, as seen in the work of artists like Dubuffet, who crushes the figures, opening them up like an ox; Fautrier, who disfigures the human form, reducing it to a formless nudity; or Antonio Saura, who creates monsters in black and white, even of beauties like Brigitte Bardot. A few of his works, comparable to Lying Figure (1938) and Reclining Figure (1951), are vaguely paying homage to Parthenon figures similar to Ilyissus and Dionysus, however schematized into elongated, flowing varieties with meandering lines that evoke the erosion of the sea on a rock. Although it was primarily based on figuration, this did not mean that it was real looking, but that it could possibly be deformed or schematized to the artist’s taste.
It emerged in Great Britain and the United States as a motion to reject summary expressionism, encompassing a sequence of authors who returned to figuration, with a marked component of common inspiration, taking photographs from the world of advertising, pictures, comics and mass media. These authors seek to destroy the idea of Beauty, Nude, Harmony, all those ideals that tutorial artwork handled with capital letters. On this atmosphere, the nude was a much more frequent theme than in all the previous art practiced in the peninsula, and plenty of Spanish artists competed in international competitions with nude works. His first nudes have a tutorial tone, still idealized, like his Sleeping Nude (1950), but little by little they become more expressive, with free brushstrokes and a more intense chromatism, as in MNaked cam girl videos laughing (1963), which is considered one of his daughters. In Still Life (1963) a nude lady seems with a concave ashtray-image of the female sex-and a cigarette-phallic image-in a somewhat kitsch atmosphere, with pure colours.
Initially of the century, the Spanish artistic scene was still dominated by academicism, coexisting to a lesser extent with impressionism and modernism (especially in Catalonia), which was replaced in the 1910s by noucentisme, a classicist motion of Mediterranean inspiration. Rape (1934) is a face where the face is changed by a naked torso, the eyes being the breasts and the mouth the pubis. Other works of his are: Dangerous Liaisons (1926), The Forest (1926), Polar Light (1927), The gigantic days (1928), Collective Invention (1934), Bathing between Light and Darkness (1935), Flowers of the Devil (1946), Sea of Flames (1946), Olympia (1947), The liberty of the Spirit (1948), The Dress of the Night (1954), and so on.. Other surrealists who practiced the nude had been: Max Ernst, who used to work in collage because of his Dadaist training, and who showed an incredible interest in irrationality and artwork made by the insane: The great Lover (1926), Young Nudes (1926), Attirement of the Bride (1940); and André Masson, interested in the computerized method (Free xxx adult Porn affiliation of ideas), with a gesturalist, aggressive work, with curiosity in sadomasochism: Mathematical Nude (1928), influenced by Miró. 1956), which was the poster for the This is Tomorrow exhibition at the White Chapel Art Gallery in London; it was a photomontage, which exalted consumerism as a modernizing factor, where on a regular basis objects develop into works of art, and the place a bodybuilder and a half-naked girl appeared as objects within the scene.
The Broken Column (1944) is a self-portrait that reveals the steel corset she needed to put on for some time due to the accident that had destroyed her spine, represented by an Ionic column, while her whole body is pierced with nails, in an image of intense drama; on this painting she initially appeared nude, however finally solely her breasts have been exposed. In the series Bathrooms (1963) he moved to 3-dimensionality, the place his typical nude paintings appeared with actual objects such as curtains, towels, detergents or nail polish, or have been seen by means of a half-open door, emphasizing the voyeuristic effect. His Women sequence (1945-1950) is halfway between figuration and abstraction, where the feminine figure is diminished to spots of color, utilized in an aggressive and expressive method, with contours that evoke prehistoric fertility goddesses as well as obscene road paintings. Reclining Figure (1951), by Henry Moore, Fitzwilliam Museum, Cambridge. In Two Nudes in a Forest (1939) two naked women seem, one with lighter pores and skin and the opposite with darker pores and skin, reclining one on top of the other, and noticed by a monkey, symbol of sin, in a scene that can have two interpretations: the primary could be that of lesbian love, while the second can be a double self-portrait of Frida, capturing her two natures, the European and the Mexican.