We've decided to delete one of our earlier entries containing the essay A Vision of the Nude by Francis Cunningham, because it's too difficult to read as one block of text. At the same time Dick has recently ironed out a more readable version of A Vision of the Nude (Abridged for Linea), which I put up on his website in place of the older version. Enjoy the read. Let us know if you have questions or comments. Dick will try to respond in some form.
"The lack of rigorous training directed toward a specific visual goal – the nude – combined with a view of humanity that saw the model as more than a studio prop for learning to draw, paint and sculpt, led my sculptor colleague, Barney Hodes, and myself to develop new approaches. By focusing on the model, we were working on a nude that was neither idealized and classical nor modernist and anti-classical. It wasn’t a nude people expected or could readily categorize – a Venus or Apollo, say, or a Picasso or a Modigliani. It would be a different nude, and when we founded the New Brooklyn School of Life Drawing, Painting & Sculpture, Inc. (1979-82), we were on our way to articulating what that nude could be." -Francis Cunningham
excerpt from A Vision of the Nude (Abridged for Linea)
Another reason (a less important detail) to remove that previews version of A Vision of the Nude from this blog was the confusion about the authorship of the essay, due to an image of the bust of Francis Cunningham by Barney Hodes, which I'd originally used to break up the text.
Dick still thinks that the bust is a good illustration to his text.
"Francis Cunningham" by Barney Hodes
Here is another bust by the same hand of Barney Hodes:
"Mason Harding" by Barney Hodes. Photograph: by Christopher Wood