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THE HUMAN FIGURE IN MOTION PDF

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Gridded photographs of Ben Bailey helped situate him as 'a racialised object', reinforcing common negative stereotypes of the time surrounding primitivism and hyper-virility through his particularly muscular frame Brown, p These males were athletic, but not so overtly muscular, and represented a wider societal desire for young white males to achieve both intellectual and physical excellence; itself a subversion of stereotypes born from the previous generation of American intellectuals, who had suffered widely from neurasthenia.

Bailey thus provided a frighteningly exaggerated version of the physical ideal, whereas Muybridge's white male subjects - mostly students and athletes from Pennsylvania University - represented a balanced version of this new aspiration for the next generation of American intellectual leaders. Pictures of men engaged in sporting events including fencing and boxing, as well as other physical activities such as hammering and lathing helped reinforce the dimensions of this new ideal masculinity - competitive, athletic and physically as well as intellectually able.

'Two Men. Fencing.'

Just as ideals of maleness were embodied by Muybridge's photography, so were images of femininity. These were more traditionally entrenched, but persuasive nonetheless. Women were pictured in graceful, domestic or maternal stances - and as is often the case in artistic representation, displayed for the viewer in representations far more sexualized than any pragmatic male nudity: often erring towards fantasy Cresswell, , p65 Therefore white male athletic bodies and female sexualized domestic bodies represented racial stereotypes and social hierarchies just as clearly as images of Ben Bailey.

The plain contrast between medical abnormality and the physical ideal represented by this work clearly illustrates the 19th century trend of racial and bodily hierarchy Muybridge's work functioned within. Just as ideals of maleness were embodied by Muybridge's photography, so were images of femininity. These were more traditionally entrenched, but persuasive nonetheless.

Women were pictured in graceful, domestic or maternal stances - and as is often the case in artistic representation, displayed for the viewer in representations far more sexualized than any pragmatic male nudity: often erring towards fantasy Cresswell, , p65 Therefore white male athletic bodies and female sexualized domestic bodies represented racial stereotypes and social hierarchies just as clearly as images of Ben Bailey.

The plain contrast between medical abnormality and the physical ideal represented by this work clearly illustrates the 19th century trend of racial and bodily hierarchy Muybridge's work functioned within.

We might find this horrifying now, but we must not blame Muybridge for his sensibilities. A man of his time, Muybridge is an essential orator for the world he inhabited.

The Human Figure In Motion Photo Album - Eadweard Muybridge

Select Bibliography Brown, Elspeth H. In Gender and History Vol 17 no 3 Nov pp We use cookies to give you the best possible experience.

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Eadweard Muybridge - The Human Figure In Motion.pdf

George B. John H.

Gottfried Bammes. Eadweard Muybridge.

Joseph Sheppard. Fritz Schider. Bernhard Siegfried Albinus.

Charles R. George Stubbs.

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Harry Potter. Popular Features. New in These historic photographs, one of the great monuments of 19th century photography, are reproduced original size, with all the clarity and detail of the originals.

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A man of his time, Muybridge is an essential orator for the world he inhabited. By using our website you agree to our use of cookies.

London: Bloomsbury, Interestingly, Muybridge never used an anthropometric grid behind his subjects until he photographed Bailey, and never photographed the human figure without one afterwards Brown, p London: Bloomsbury, But this hierarchy was not only produced through the negative representation of non-western people.

Drawing the Draped Figure George B.