In our hyper-sexualized yet puritanical American culture, many assume that all depictions of the unclothed human body are, by definition, pornographic.  What is the Christian artist to do?  

First, let's go to the Bible.

"So, God created man in His own image, in the image of God he created him; male and female He created them." Genesis 1:27 (NIV)

"The Word became flesh and made his dwelling among us.  We have seen his glory, the glory of the One and Only, who came from the Father, full of grace and truth." John 1:14 (NIV)

The words from Genesis strongly suggest that every human being is created with inherent dignity and worth.  The verse from the New Testament proclaims that God Himself, in Jesus Christ, "became flesh" -- that is to say, was, in a particular place, in a particular time, born a human being. 

And, let's consider a book from the Bible: The Song of Songs. Both Jewish and Christian scholars have been  so profoundly uncomfortable with this text, that they have interpreted it as metaphor.  For many Jewish commentators, the book speaks symbolically of the love of God for His people, Israel.  For many Christian teachers, it reveals the love of Christ for His Bride, the Church.  But, to anyone who approaches the text at face value, it very forthrightly and enthusiastically expresses erotic love between and man and a woman.  Yet, there it is, a book of the Holy Bible.

Now, let's look at two images.  One, from a Victoria's Secret catalog.  And one from a masterpiece of Christian art, the Ghent Altarpiece, by the Van Eyck brothers, completed in 1432.  Which one best fits your definition of pornography?

Victoria has never had very many secrets, has she?

The underwire push-up bra.  About as comfortable to a woman as a tight necktie is to a man.  It could be worse, tho.  We could still be wearing corsets.  

A detail from the Ghent Altarpiece.









At the top of this piece, see the Sacrifice of Isaac.  The angel will appear any moment to stay Abraham's hand.

Below, see the woman.  Her name appears on the arch over her head.  Eva. She holds a fruit in her hand.  Any moment, she will take the first bite.

To the modern American eye, she appears to be pregnant.  Not the case.  In the Northern Renaissance, the ideal female body type had small, high breasts, a long torso, and a large stomach.  Ideals of feminine beauty are, after all, cultural.  

The Ghent Altarpiece is also known as "Adoration of the Mystic Lamb."  Here is a detail from the lower front panels.  






















I have only shown two details of this amazingly complex work of art.  To explore this masterpiece more deeply, go to Belgium (and, I would so love to go with you!).  Otherwise, google the words "Ghent Altarpiece" and click on images.  You will be blown away.

 For almost 2000 years, we have had Christian art, the earliest examples found in the catacombs.  Below, see Adam and Eve, after eating the fruit:

Jumping ahead a few centuries:

This dome mosaic (above) in the Baptistry in Ravenna, Italy, dates from the 5th Century A.D.  It depicts  the baptism of Jesus.  John the Baptist, on the left, the Holy Spirit as a dove above Christ's head.  In the right background, we see a figure holding a garment.  He has been interpreted as the personification of the river Jordan, ready to offer the naked Jesus clothing when the baptism has been completed
.

I'll conclude with a question.  Do we really want to equate the Sistine Chapel with a Playboy Magazine?

You decide.

Pietà

Michelangelo’s first true masterpiece, his sculpture of the Pieta, is a familiar image to many, whether they have traveled to St. Peter’s Basilica in Rome to see it, or not.  A proud, young man in his early twenties at the time, the artist carved his name down Mary’s sash to prove that he indeed was the sculptor.  Here, Mary gazes down at the body of her son, lying in her lap, as if he were a little boy who fell asleep in his mother’s arms.  Her face is youthful and serene, devoid of sorrow.  Michelangelo obviously did not intend to portray the intense anguish of a mother’s grief.  Instead, he presents an iconic image of the Blessed Virgin, Queen of Heaven, presenting to all the body of her Son, sacrificed for the sins of the world.  

As an older man, Michelangelo returned twice to the theme of the Pieta and each time brought a more and more human interpretation to the story.  (A fourth statue has been attributed to him, but is in doubt, so I will not bring it into this discussion.)

 

His Deposition, in Florence, presents the body of Jesus being removed from the Cross.  Four figures carry him: his mother Mary, Mary Magdalene, and a figure who is either Nicodemus or Joseph of Arimathea.  Michelangelo carved a self-portrait for the man’s face, making himself an active participant in the scene.  Fifty years older than he was when he carved his first Pieta, he now demonstrates a personal connection with Christ.  He intended this sculpture for his own tomb. 

For over 25 years now, a lifedrawing open studio has met on Tuesday mornings at the Dougherty Cultural Arts Center in Austin, TX.  I attended this studio in the 80's, intermittently in the '90's.  In this, the first decade of the 21st Century, I became more regular.  Dorothy Billman started this endeavor, and she stayed on as the studio monitor for 25 years.  Aa few years ago, at the age of 83, she fell and cracked her pelvis.  I substituted for her, expecting her return.  She planned to return.  But, she did not get back to driving.  No one was willing to take it on, and I wanted to keep drawing, so I stepped in officially.  The group has grown, so much so, that I opened up another open studio at the Austin Visual Arts Association on Wednesday mornings.  I put us on MeetUp.com, where I promote, not only my group, but every lifedrawing group in the Austin area, at least the ones I know about.