Human Form In Moonscapes I-IV, And Botello

Compare and Critic
Naked and afraid is how mankind is introduced to this world. Nudity is permitted in art to show forms and shapes to depict the human anatomy. The human form has been an object of many artists throughout history. The display of naked men or women is hard to ignore when portrayed on canvas with skill and focus. The Abduction of Psyche by French painter, Pierre-Paul, and Moonscapes I-IV by Wayne Healy and David Botello both contain a common theme of nude human forms; however, they differ greatly due to the artistic placement and the content involved.
The un-flexed human form in Pierre-Paul’s Abduction of Psyche is distinguished with subtle tones of paint. Soft, light tones of cream, beige, and red help illustrate a fair skinned,
nude, young woman laying on a light yellow cloth. Every texture of the picture suggests a soft setting, showing peace and relaxation. Her naturally, un-clutched hands rest as clouds beneath her feet seem to float weightlessly.
The viewer can almost smell the small flowers and blades of grass as they seem to come off the canvas.
Cool, dark green shrubbery covers the mountains in the background. Every color is realistic. Each figure is proportionate and anatomically correct. The perspective is visually sound as the main figure adjusts her head to look backwards and beneath her. The symbolism of looking back could indicate that the artist is suggesting that peace is temporary.
A nude man stretches to adjust himself, as depicted in Wayne Healy and David Botello’s Moonscapes I-IV. While balancing the weight of an engine in his large hands, he holds a cold stare in his eyes. His gaze is solid, focused and purposeful. While lying on a mechanics creeper, his exaggerated muscles bulge, flexing to support his arms that reach forward to grip the object above him. The light source from the left of the picture defines his tough cheek bones and powerful form.
The perspective is skewed to exaggerate his physique. His hands and forearms are huge when compared to the rest of his body. Unrealistic neon colors are used for the figure of the man, who is alone in the darkness of outer space. Light green and blue hues complement his muscles, while turquoise and maroon shades glow against his body, creating an effect that is unnatural. He looks forward with serious anticipation. The symbolism of the figure looking forward could possibly represent the future
approaching.
The Abduction of Psyche and Moonscapes I-IV both contain a nude human figure with a dark background, all while expanding across the picture. Although the general theme is similar, the details provide the viewer with two different illustrations. One picture shows a strong nude muscular man working; in contrast, the other picture shows a delicate soft skinned nude woman relaxing.
Moonscapes illustrates an un-natural and exaggerated perspective of a focused, cold man looking forward while holding an engine. His long body stretches from the top left of the canvas, down to the bottom right. The picture’s positive space is divided diagonally. The Abduction of Psyche depicts a realistic and proportionate woman comfortably looking backwards. A meek, empty handed woman reclines carelessly, while separating the canvas from the top right, down to the bottom left. The negative space is divided diagonally; however, the positive space is the opposite composition of Moonscapes.
The realistic yet abstract portrayal of nude human forms in Pierre-Paul’s The Abduction of Psyche and Healy and Botello’s Moonscapes both seem to float as they stretch across the canvas. One cold man, alone, in outer space works on an engine as a comfortable young woman socializes and carelessly relaxes on earth. The nude human form is the focus; however, when illustrated with different artistic intent and subjective focuses, they become two vastly different pictures.