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A classical Christmas

At Christmastide, I like to share one of my traditions, which is a reading of a selection from John Milton’s “Hymn on the Morning of Christ’s Nativity.” As a classical Christian – I know, an oxymoron – I’m always struck by how the advent of Christianity sounded a death knell for Greco-Roman culture. But then, someone’s sunrise is always someone else’s sunset.

Yet Greco-Roman culture – with its sensual tales of gods and heroes, its dramas on the terrible wonder of the human condition, its emphasis on the body in all its brutal beauty – never died. (It’s a theme of Gore Vidal’s 1964 novel “Julian,” about the post-Christian Roman emperor who attempted to reinstall the Greco-Roman pantheon.) The Greeks would instead resurface in the Renaissance and at the turn of the 19th century. ...

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A classical Christmas

At Christmastide, I like to share one of my traditions, which is a reading of a selection from John Milton’s “Hymn on the Morning of Christ’s Nativity.” As a classical Christian – I know, an oxymoron – I’m always struck by how the advent of Christianity sounded a death knell for Greco-Roman culture. But then, someone’s sunrise is always someone else’s sunset.

Yet Greco-Roman culture – with its sensual tales of gods and heroes, its dramas on the terrible wonder of the human condition, its emphasis on the body in all its brutal beauty – never died. (It’s a theme of Gore Vidal’s 1964 novel “Julian,” about the post-Christian Roman emperor who attempted to reinstall the Greco-Roman pantheon.) The Greeks would instead resurface in the Renaissance and at the turn of the 19th century. ...

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Classical nudes: The not-so-obscure objects of our desire

This has been a big year for the classical nude. But then again, when is it not?

From the moment the Renaissance uncovered Roman copies of sculptures of ancient Greek gods and goddesses, heroes and heroines, the nude has defined our highest aspirations for the body, from the art of Donatello and Michelangelo to the neoclassical works of turn-of-the-19th century Paris to the highly formal, erotically charged photographs of Robert Mapplethorpe, just to name a few.

“Not only is it the longest lasting, most influential visual form for representing the human body up to the present day, but it has also become so powerfully naturalized as merely ‘the nude’ that we have often lost the ability to see it as a specific historical type, with a particular history, geography and canon,” curator Jonathan David Katz wrote in the catalog for “Classical Nudes and the Making of Queer History,” at the Leslie-Lohman Museum of Gay and Lesbian Art in Manhattan last fall. ...

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