April 21 - June 26, 2010

Paris, France

Au Bonheur du Jour
presents:

Male Nudes
A Photo Retrospective 1870 - 2010


BIRON
Photograph
Model FRANKE in
Peter Berlin's outfit
(from Biron's 3 year project on using Peter Berlin's personal clothes on models).

   

BIRON
Photograph
Double image of
San Francisco artist René Capone.

90 Photographies

Featuring artwork by:

The early photographers

Eugène Durieu (1800-1874), Guglielmo Marconi (1841-1885),
J. Louis Igout (1837-1880), Guglielmo von Pluschow (1856-1930),
Wilhelm von Gloeden (1856-1931), Vincenzo Galdi.

Early 20th Century

Frank-Meedow Sutcliffe (1853-1940), Robert-Hubert Payelle (1891-1971),
Riebiecke (1878-1957), Raymond Voinquel (1912-1994), Lionel Wendt (1900-1944).

1940s -1960s

Bob Mizer (1922-1992), Bruce of Los Angeles (1909-1974), Arax, Ferrero,
Cadinot (1944-2008)

1970s - 2000s

Bruce Weber, Joseph Caprio,
Yves Paradis, Colt, Joseph Walsh, Biron.

“In 1870, Marconi and Igout were shooting photographs of models for painters and sculptors studios. Between 1885 and 1890, a peak of creativity was reached by the “Italian school” of the nude male photography, with artists such as Plüschow, Gloeden and Galdi. Inspired by classical antiquity, they introduced in their photographs many homoerotic overtones.

"From 1900 to 1920, male nudity inspired many artists of the pictorialist, academic and naturalist schools. In 1930, many new photographers used a great sophistication in their depiction of male beauty. From 1940 to 1960, sports and athletism were a social alibi for photographers willing to show nude men and their splendid beauty.

"From the seventies of the XXth century, freedom of expression as well as the so-called “sexual revolution” allowed artists to fully unveil the male body : the beauty of male nudity was then revealed with all its aesthetic potential.”

Au Bonheur du Jour
Gallery Hours: Tuesday through Saturday from 2:30 PM to 7:30 PM
11 rue Chabanais, 75002 Paris, France · Map ·
33 (0) 1 42 96 58 64
Au Bonheur du Jour Website

Biron Website

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