Impressionism’s Male Bodies: Deneen N.

Gustave Caillebotte, Man at his Bath, 1884

Gustave Caillebotte’s Man at his Bath at first glance is erotic and voyeuristic. Viewers are getting a first-hand look at a man who seems to have just finished taking a bath. We the viewers are put in a position where we are looking in at a moment that is supposed to be private-we are essentially invading his privacy. It puts us in that moment with him, however, he is also alienated from us because his back is turned. We cannot see his face so he is merely an object to be viewed. Looking closely at the painting we see the puddles on the floor as if he had just stepped out of the bath. He stands with his feet apart and slightly bent forward as he dries himself, his entire demeanor challenges the ideals of masculinity. This is a very sexualized painting.

Jules Elie Delaunay, Triumphant David, 1874

Contrasting Man at his Bath is Jules Elie Delaunay’s Triumphant David. Here we have a nude that can be viewed as heroic. Delaunay’s painting embodies what is considered a masculine male body. This is what was idealized as the perfect male body at the time- figures that had resemblances to Greek gods. Unlike Man at his Bath, David is placed in a typical male role- a warrior, a conqueror, someone having strength rather than someone who is feminized. These paintings forces us to look at the construction of masculinity by the society. It is interesting that male nudes are only widely accepted if the male is depicted in a masculine role or in a position of power, otherwise, the image may be viewed as homeoerotic- something not widely accepted during this time period.

The other image we are taking a look at is The Floor Scrapers by Caillebotte. Caillebotte seems to have been obsessed with painting masculine activity but his subjects were often semi-naked. The painting reminds me of a photograph, the portions and how the edges are cut off as well as the way the painting seems to capture this moment. This painting is depicting urban working class laborers, those outside of high society who work hard. Caillebotte eroticizes the male body through the posture of the subjects and the way lighting seems to fall on them. The light coming in highlights the men’s muscles in a way that gives the painting a sensual aura. In the Tamar Garb reading, critics refer to this painting as vulgar, the laborers are as much of a focus as the laboring itself.

Nude on a Couch

Lastly, we are taking a brief look at yet another Caillebotte painting, Nude on a Couch. This is another voyeuristic painting by Caillebotte of a woman in a state of undress. She is laying naked on the couch with a hand over her face – as if she is trying to hide it. Caillebotte doesn’t quite define her anatomy the way he does with his male subjects. It is also interesting how she is laying on her back in a position that is so vulnerable and lacking any power. It reminds me of Manet’s Olympia, as if she is merely a prostitute waiting for her customer. On the other hand, with his male nudes, they are covered from the waist down or in the case of Man at his Bath, his back is turned as if what is covered is only meant to be seen in private without prying eyes.