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    Representations of gods and goddesses in Babylonian and Ancient Egyptian art are the precursors of the works of Western antiquity.Other significant non-Western traditions of depicting nudes come from India, and Japan, but the nude does not form an important aspect of Chinese art.Donatello made two statues of the Biblical hero David, a symbol for the Republic of Florence: his first (in marble, 1408–1409) shows a clothed figure, but his second, probably of the 1440s, is the first freestanding statue of a nude since antiquity, several decades before Michelangelo's massive David (1501–04).Nudes in Michelangelo's Sistine Chapel ceiling reestablished a tradition of male nudes in depictions of Biblical stories; the subject of the martyrdom of the near-naked Saint Sebastian had already become highly popular. Although they reflect the proportions of ancient statuary, such figures as Titian's Venus and the Lute Player and Venus of Urbino highlight the sexuality of the female body rather than its ideal geometry.Male nudes tended to be slim and slight in figure, probably drawing on apprentices used as models, but were increasingly accurately observed.The rediscovery of classical culture in the Renaissance restored the nude to art.

    The Greek goddess Aphrodite was a deity whom the Greeks preferred to see clothed.An important innovation was contrapposto—the asymmetrical posture of a figure standing with one leg bearing the body's weight and the other relaxed.An early example of this is Polykleitos' sculpture Doryphoros (ca. In the convention of heroic nudity, gods and heroes were shown nude, while ordinary mortals were less likely to be so, though athletes and warriors in combat were often depicted nude.Kenneth Clark considered idealization the hallmark of true nudes, as opposed to more descriptive and less artful figures that he considered merely naked.His emphasis on idealization points up an essential issue: seductive and appealing as nudes in art may be, they are meant to stir the mind as well as the passions.

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