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Sexuality and the Modern Male Body

Online / On-Site / Art in Context

Mondays, June 6 – June 27, 1 – 3pm

#SeeingtheBarnes

Egon Schiele. Standing Male Nude with Arm Raised, Back View (detail), 1910. Watercolor and charcoal on paper. Gift of Jo Carole and Ronald S. Lauder, The Museum of Modern Art / New York, NY / USA. Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY

$220; members $198
(4 classes)

About the Class

The 19th century saw foundational shifts in the concepts of masculinity and male sexuality in European society. This course will chart how these shifts came to bear in art of the 19th and early 20th centuries. We will draw on queer, feminist, and postcolonial readings to arrive at a nuanced understanding of how depictions of the male body evinced contemporary notions of gender and sexuality. Together, we will explore the art academies of neoclassical Paris, the studios of Victorian London, and the streets of Weimar Berlin and discover what artistic depictions of the male body can tell us about sexuality in modern Europe.

This course takes place at the Barnes, in the Comcast NBCUniversal Auditorium, but is also available for online enrollment. All students, whether on-site or remote, will have the opportunity to participate in class discussions. More about online classes.

On-site capacity: 80
Note: Proof of COVID-19 vaccination is required to attend this class; face masks are welcome but not required.

 

Egon Schiele. Standing Male Nude with Arm Raised, Back View, 1910

Instructor

Ty Vanover

A PhD candidate at the University of California, Berkeley, Vanover specializes in 19th- and early 20th-century Central European art and visual culture. His research focuses on drawing and the graphic arts within the context of German sexual science between 1869 and 1933. His work has been supported by museums and universities across Germany, Austria, and the UK.

Art in Context

Art in Context courses connect works of art to history: What was happening politically, socially, and culturally at the time a piece was made? How did these circumstances shape the artist’s formal choices?