Model (art) - History

History

The Greeks, who had the naked body constantly before them in the exercises of the gymnasium, had far less need of professional models than the moderns; but it is scarcely likely that they could have attained the high level reached by their works without constant study from nature. It was probably in Ancient Greece that models were first used. The story told of Zeuxis by Valerius Maximus, who had five of the most beautiful virgins of the city of Crotone offered him as models for his picture of Helen, proves their occasional use. The names of some of these models of the era are themselves known, such as the beautiful Phryne who modeled for many paintings and sculptures.

The nude virtually disappeared from Western art during the Middle Ages due to a combination of civil disorder and the attitude of the early Christians. This changed with the Renaissance with the rediscovery of classical antiquity, when painters generally made use of their relatives and friends as models, of which many examples might be quoted from Venice, Florence, Rome and other places, and the stories of Titian and the duchess of Ferrara and of Botticelli and Simonetta Vespucci, go to show that ladies of exalted rank were sometimes not averse to having their charms immortalized by the painter's brush. The story of the love between Raphael and his mistress-model Margarita Luti (La Fornarina) is "the archetypal artist-model relationship of Western tradition". Paid models were not unknown, as the story of the unfortunate contadino used by Jacopo Sansovino as model for his statue of the Bacchus will show.

See also: Study of a Kneeling Nude Girl for The Entombment

Art modeling as an occupation appeared in the late Renaissance when the establishment of schools for the study of the human figure created a regular demand, and since that time the remuneration offered has ensured a continual supply. However academy models were only men until the 19th Century, as were the students. The status of nude models has fluctuated with the value and acceptance of nudity in art. Maintaining the classical ideals of Greece and Rome into the Christian Era, nudity was prominent in the decoration of Catholic churches in the Renaissance, only to be covered up with draperies or fig leaves by more prudish successors. The Protestant Reformation went even further, destroying many artworks. From being a possibly glamorous occupation celebrating beauty, being a nude model was at other times equivalent to prostitution, practiced by persons without the means to gain more respectable employment. The costumed models used to create historical paintings may not have been a distinct group, since nude studies were done in preparation for any figure painting.

When Victorian attitudes took hold in England, studies with a live model became more restrictive than they had been in the prior century, limited to advanced classes of students that had already proved their worthiness by copying old master paintings and drawing from plaster casts. This is in part because many schools were publicly funded, so decisions were under the scrutiny of non-artists. Modeling was not respectable, and even less so for women. During the same period, the French art atelier system allowed any art student to work from life in a less formal atmosphere, and also admitted women as students. Live figure studies only returned to its classical status in art education throughout the England, Europe and the United States with the approach of the 20th Century.

In the postmodern era, the nude has returned to gain some acceptance in the art world, but not necessarily the art model. Figure drawing is offered in most art schools, but may not be required for a fine art degree. In trendy galleries, the nude has become passé. Beauty no longer has a place in art. Some established living artists work from models, but more work from photographs, or their imagination. Yet privately held open drawing sessions with a live model remain as popular as ever.

Models in History

Agnès Sorel was a favourite mistress of King Charles VII of France. She was the subject of several works of art. Simonetta Vespucci was an Italian Renaissance noblewoman from Genoa and the wife of Marco Vespucci of Florence. Olympe Pélissier was a French artists' model and the second wife of the Italian composer Gioachino Rossini. Victorine Meurent,now best known as the favourite model of Édouard Manet, was an artist in her own right. Apollonie Sabatier was a French courtesan, artists' muse and bohémienne in 1850s Paris. Rosina Ferrara, an Italian girl from Capri, became the favorite muse of John Singer Sargent. Misia Sert,a pianist of Polish descent; patron and friend of numerous artists, for whom she regularly posed. Evelyn Nesbit, a popular American chorus girl and artists’ model. Audrey Munson was the model or inspiration for more than 15 statues in New York City.