In 2007 TASCHEN released The New Erotic Photography, followed in 2012 by The New Erotic Photography 2. Each book featured hundreds of fresh and provocative images from the world's most intriguing erotic talents. Now the best of both books is available in The New Erotic Photography, featuring 62 photographers from 10 countries, exploring the global variations of erotic photography, as well as the evolution of photographic media over the last decade. We see film give way to digital, while those who persist with film are as likely to use Polaroids and primitive cameras like the Lomo and Holga as traditional SLRs. The featured photographers include new names Gregory Bojorquez, Jo Schwab, Tomohide Ikeya, Frederic Fontenoy, Andrew Pashis, and Jan Hronsky, as well as established artists Guido Argentini, Bruno Bisang, Eric Kroll, and the late Bob Carlos Clarke. Several outstanding women are also featured in this edition, including erotic film star Kimberly Kane, digital pioneer Natacha Merritt, heavy metal skateboarder Magdalena Wosinska, self-portraitist Jody Frost, and cover artist April-lea Hutchinson. It all adds up to an awful lot of nudes for a tantalizingly low price. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

The cinematic tale of Harrison Marks' nudist feature "Naked As Nature Intended, the iconic naturist film that brought us bare breasts on Porthcurno beach, donkey-stroking in Clovelly and Pamela Green in her birthday suit. Behind the scenes exclusives and never before seen pictures.

Why did the male nude come to occupy such an important place in ancient Greek culture? Despite extended debate, the answer to this question remains obscure. In this book, Sarah Murray demonstrates that evidence from the Early Iron Age Aegean has much to add to the discussion. Her research shows that aesthetics and practices involving male nudity in the Aegean had a complicated origin in prehistory. Murray offers a close analysis of the earliest male nudes from the late Bronze and Early Iron Ages, which mostly take the form of small bronze votive figurines deposited in rural sanctuaries. Datable to the end of the second millennium BCE, these figurines, she argues, enlighten the ritual and material contexts in which nude athletics originated, complicating the rationalizing accounts present in the earliest textual evidence for such practices. Murray's book breaks new ground by reconstructing a scenario for the ritual and ideological origins of nudity in Greek art and culture.

Drawing and Painting Beauitful Faces is an inspiring, mixed media workbook on how to draw and paint beautiful, fashion illustration-style faces. Author Jane Davenport is a beloved artist, and popular international workshop instructor known by her thousands of students and fans for her over-the-top, enthusiastic, happy and encouraging style. In this book, she guides you step-by-step through the foundations of drawing a face, developing successful features, creating skintones, playing with bright colors, shading, highlighting and much more as you learn to create amazing mixed media portraits. Master a variety of techniques that employ pencil, marker, pen, watercolor, acrylic paint, ink, pastel, and ephemera as you happily dance your way through the exercises in this brilliant guide.

The articles in Naked Truths demonstrate the application of feminist theory to a diverse repertory of classical art: they offer topical and controversial readings on the material culture of the ancient Mediterranean. This volume presents a timely, provocative and beautifully illustrated re-evaluation of how the issues of gender, identity and sexuality reveal 'naked truths' about fundamental human values and social realities, through the compelling symbolism of the body.

Drawing the Nude is an exciting approach to drawing the human body. Divided into three parts, on structure, anatomy and observation, it introduces a set of principles and develops a treasury of ideas for the artist to follow. Whilst recognizing the importance of observation, it focuses more on a conceptual understanding of the construction of the body in anatomical terms. In doing so, it encourages the cultivation of more informed observation and accommodates those who work from memory, imagination and invention.

This study examines the forces that made the nude a contentious image in the early Third Republic. Analyzing the evolving relationship between the fine art nude, print culture, and censorship, Heather Dawkins explores how artists, art critics, politicians, bureaucrats, lawyers, and judges evaluated the nude. She reveals how spectatorship of the nude was refracted through the ideals of art, femininity, republican liberty, and public decency. Dawkins also investigates how women reshaped private perception of the nude to accommodate their own experience and subjectivity.

"The Nude" explores some of the principal ways that paintings of the nude function in the conflicted terrain of culture and society in Europe and America from the fifteenth through twentieth centuries, as set against questions about human sexuality that emerge around differences of class, gender, age, and race. Author Richard Leppert relates the visual history of how the naked body intersects with the foundational characteristics of what it is to be human, measured against a range of basic emotions (happiness, delight, and desire; fear, anxiety, and abjection) and read in the context of changing social and cultural realities. The bodies comprising the Western nude are variously pleasured or tormented, ecstatic or bored, pleased or horrified. In short, as this volume amply demonstrates, the nude in Western art is a terrain on whose surface is written a summation of Western history: its glory but also its degradation.

Daughters of Darkness is a collection of fine art portraits of women in corpse paint. A nod to black metal and doom album cover art, Daughters of Darkness was photographed over 10+ years, with more than 400 models from all over the world, almost all of which did their own corpse paint and are fans of black metal. Daughters of Darkness features many celebrities, actresses, musicians, and models (some under the cover of corpse painted anonymity) all of whom donned only corpse paint for this book. Photographed by internationally renowned music and fine art photographer Jeremy Saffer, this project combines both his music photography and fine art photography worlds into a single project, which was conceived to capture the memory of flipping though albums in a music store and buying albums based entirely on the albums cover art (which often featured a nude portrait, someone in corpse paint, or both) prior to knowing the music or the band. Like the music that inspired it, Daughters of Darkness shows the duality of finding beauty in dark imagery, and finding darkness within beauty.

Contents:
1. Naked truths about classical art: An introduction 2. 'Ways of seeing' women in antiquity: An introduction to feminism in classical archaeology and ancient art history 3. Female beauty and male violence in early Italian society 4. divesting the female breast of clothes in classical sculpture 5. When painters execute a murderess: the representation of clytemnestra on attic vases 6. Sappho in attic vase painting 7. Gender and sexuality in the Parthenon frieze 8. Naked and limbless: Learning about the feminine body in ancient Athens 9. Nursing mothers in classical art 10. Making a world of difference: Gender, Asymmetry, and the Greek nude 11. The only happy couple: Hermaphrodites and gender 12. Violent stages in two Pompeian houses: Imperial taste, aristocratic response and messages of male control 13. Epilogue: gender and desire

Born like Venus on the half shell from the centuries-long tradition of the nude in painting, the nude first appeared as a subject matter in photography with the introduction of the medium itself, between 1837 and 1840, and has continued as an ever-evolving theme through changing technical developments and cultural mores to the present day. This volume surveys the subject of nudity from the earliest surviving photographs of Greek and Roman sculpture through studies of living nude models for aesthetic or scientific purposes to the burgeoning practice of exploring the human body as pure form. The seventy-eight works, selected from the extensive collection of the J. Paul Getty Museum and further contextualized here in the essay Masterworks of the Nude, span the entire arc of the history of photography in a manner that is both fresh and illuminating. Among the sixty-four photographers included are nineteenth-century masters Julia Margaret Cameron, Edgar Degas, and Thomas Eakins; early-twentieth-century artists Man Ray, Alfred Stieglitz, and Edward Weston; mid-twentieth-century innovators Bill Brandt, Harry Callahan, and Minor White; late-twentieth-century image makers Diane Arbus, Robert Mapplethorpe, and Herb Ritts; and contemporary artists Chuck Close, Timothy Greenfield-Sanders, and Mona Kuhn.