Clothed male, naked female
The opposite to CMNF is clothed female, naked male (CFNM).
One-sided female nudity may involve sexual and nonsexual erotic scenarios. Sexual scenarios may involve male domination, female submission, exhibitionism and erotic entertainment. CMNF is also considered by some to be a form of sexual objectification of women. Feminist scholars argue that the one-sided female nudity is a form of objectification of women by reducing a woman's worth or role in society to that of an instrument for the sexual pleasure that she can produce in the mind of another.12 Pro-feminist cultural critics such as Robert Jensen and Sut Jhally accuse mass media and advertising of promoting the sexualization and objectification of women to help promote goods and services.345
One-sided female nudity has also been depicted in art, particularly in the Orientalist paintings of the 19th-century. A typical scene would often contain depictions of white slavery in which one or several nude females would be displayed before an audience of men as part of a slave auction. The archetypal example of this type of scene is Jean-Léon Gérôme's The Slave Market, in which a nude female slave is examined by a potential buyer. Another example is Gérôme's Phryné devant l'Areopage (Phryne before the Areopagus, 1861) which was based on the trial of Phryne before the Areopagus in ancient Greece. The odalisque (harem scene) was also a popular subject for depicting one-sided female nudity, although the clothed figures in the scene were not always male.
Outside of the Orientalist style, a less popular scenario for one-sided female nudity in 19th-century art was the knight-errant, in which the stereotype of the damsel in distress was used to explore the erotic subtext of the powerful knight coming to the rescue of a helpless female. The best known example of this is John Everett Millais' painting Knight Errant, in which a nude woman has been tied to a tree and a knight is shown cutting her loose. The painting initially created controversy when it was first displayed, because the nude female was shown facing her rescuer, a posture which was considered too sexually suggestive for European audiences.6 Millais repainted the figure so that she was looking away from her rescuer.
Édouard Manet's Le déjeuner sur l'herbe ("The Luncheon on the Grass"), in which a nude woman is depicted having lunch with two fully clothed men, is another famous painting whose themes were controversial when it was first displayed in 1863. The Pastoral Concert (c. 1510) attributed to Giorgione or his pupil Titian7 has been cited as an inspiration for Manet's painting.
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- LeMoncheck, Linda, Loose Women, Lecherous Men: A Feminist Philosophy of Sex (Oxford University press, 1997), ISBN 0-19-510555-9, p. 133
- Barry, Kathleen, Female Sexual Slavery (NYU Press, 1984), ISBN 0-8147-1069-7, p.247
- Jensen, Robert, 'Using Pornography' in Dines, Gail, Robert Jensen and Ann Russo (eds) Pornography: The Production and Consumption of Inequality (Routledge, 1998), ISBN 978-0-415-91813-8
- Jhally, Sut (dir) Dreamworlds II: Desire, Sex, Power in Music (Media Education Foundation, USA, 1997)
- Frith, Katherine, Ping Shaw and Hong Cheng 'The Construction of Beauty: A Cross-Cultural Analysis of Women's Magazine Advertising' in Journal of Communication 55 (1), 2005, pp.56–70
- Refer to the section on "The Problem Nude" in these notes from 2005/2006 course lectures given by Carol Jacobi at Birkbeck College: http://www.shafe.co.uk/art/19thC_The_Nude.asp
- From the Louvre Museum Official Website