The Nude and the Male Gaze in European Art

According to the text, a man's presence is dependent upon what promise?

How does the text describe the state of a woman's self as a result of societal expectations?

What simplified statement does the author use to summarize the different roles of men and women in society?

According to the text, what is the 'principal, ever-recurring subject' in one major category of European oil painting?

What does the text identify as a striking fact about the story of Adam and Eve from Genesis, in relation to sight?

How did the depiction of Adam and Eve's shame change from the medieval tradition to the Renaissance, according to the text?

In paintings of Susannah and the Elders, how does the text describe the relationship between the viewer and the figures in the painting?

What was the stated symbolic function of the mirror in paintings of women, and what does the author call this moralizing?

According to the text, what was the 'real function' of the mirror in paintings of nudes?

What new element did the theme of 'The Judgement of Paris' add to the tradition of the nude?

What does the text say is the difference between nakedness and nudity in the European tradition, according to art historian Kenneth Clark?

How does the author define being 'nude' as distinct from being 'naked'?

The author claims that 'Nudity is a form of...' what?

Who is the 'principal protagonist' in the average European oil painting of the nude, according to the text?

In the discussion of Bronzino's 'Allegory of Time and Love', what does the author say about the arrangement of Venus's body?

What convention regarding the depiction of the female body is mentioned as helping to minimize the woman's own sexual passion?

When comparing the expression of a model in an Ingres painting to a model in a 'girlie magazine', what conclusion does the author draw?

In post-Renaissance European sexual imagery that includes couples, what is the presumed role of the spectator-owner?

Approximately how many 'exceptional nudes' that break the norms of the art form does the author estimate exist within the tradition?

What defines the 'exceptional' nudes that break from the European tradition?

When discussing the sexual function of nakedness in reality, what element does the author say enters at the moment of first perception?

According to the author, why is it difficult to create a static image of sexual nakedness?

What is the 'easy solution' for a photographer who wants to depict a naked figure but avoid the chilling banality of a static image?

In the analysis of Rubens's painting of Hélène Fourment, what is the approximate sideways displacement of her thighs in relation to her hips?

What does the anatomical displacement in Rubens's painting of Hélène Fourment permit the body to do?

What fundamental contradiction in the European tradition of the nude does the text identify?

How did the artist Dürer believe the ideal nude ought to be constructed?

Why does the author consider Manet's painting 'Olympia' to be a turning point in the art-form of the European nude?

What is the primary reason given for why women are depicted differently from men in art?

At the end of the chapter, the author proposes an experiment to the reader. What does this experiment involve?

According to the proposed experiment, the violence of transforming a female nude into a male figure is done to what?

A woman's presence, in contrast to a man's, expresses what?

The surveyor of woman in herself is described as being what?

What does the portrait of Nell Gwynne by Lely, commissioned by Charles the Second, demonstrate according to the text?

How does the text characterize nakedness in non-European traditions like Indian or Persian art?

Why must a woman's sexual passion be minimized in the traditional European nude, according to the text?

In the context of Rembrandt's painting 'Danäe' being an 'exceptional' nude, what is the spectator forced to recognize?

What is the sequence of experience described for creating a shared mystery in sexual intimacy?

What distinguishes a 'lover' from a 'voyeur' in the context of Rubens's painting of Hélène Fourment?

In Dürer's method of constructing an ideal nude, how many different women's body parts are mentioned in the text's example?

What became the 'quintessential woman' of early avant-garde twentieth-century painting after the ideal was broken?

The author states that today, the attitudes and values that informed the tradition of the nude are expressed through what?

What is the result of a woman's sense of being in herself being supplanted by a sense of being appreciated by another?

What does the text say about the depiction of shame in medieval illustrations of the Fall of Man?

How does the text describe the absurdity of male flattery in the public academic art of the nineteenth century?

What does the text say a woman 'offers up' in her expression of calculated charm directed at an imagined male viewer?

In the context of the European tradition, the woman depicted in a nude painting is there to feed what?

At the moment of perceiving nakedness in reality, the text says our perception shifts from expressive parts like eyes and mouth to what?

The 'relief' felt at the sight of another's nakedness, according to the text, is the relief of finding what?

In the author's analysis, how is the coherence of Hélène Fourment's body in Rubens's painting achieved?