The Greeks attached great importance to their nakedness. Thucydides, in recording the stages by which they distinguished themselves from the barbarians, gives prominence to the date at which it became the rule in the Olympic games, and we know from vase paintings that the competitors at the Panathenaic festival had been naked ever since the early sixth century. Although the presence or absence of a loincloth does not greatly affect questions of form, and in this study I shall include figures that are lightly draped, psychologically the Greek cult of absolute nakedness is of great importance. It implies the conquest of an inhibition that oppresses all but the most backward people; it is like a denial of original sin. This is not, as is sometimes supposed, simply a quirk of paganism: for the Romans were shocked by the nakedness of Greek athletes, and Ennius attacked it as sign of decadence. Needless to say, he was wide of the mark, for the most determined nudists of all were the Spartans, who scandalized even the Athenians by allowing women to compete, lightly clad, in their games. He and subsequent moralists considered the matter in purely physical terms; but, in fact, Greek confidence in the body can be understood only in relation to their philosophy. It expresses above all their sense of human wholeness. Nothing that related to the whole man could be isolated or evaded; and this serious awareness of how much was implied in physical beauty saved them from the two evils of sensuality and aestheticism. [23/24]
- Kenneth Clark on Naked, Nude, and Ideal Form
- “Kenneth Clark on Michelangelo's intensely personal use of the nude
Clark, Kenneth. The Nude: A Study in Ideal Form. Bollingen Series 35.2. New York: Pantheon Books, 1956.
Last modified 16 February 2007