Seeing Through Clothes by Anne Hollander
Seeing Through Clothes was unable to answer this burning question Ive had for awhile: What the heck is going on with this dress? Why does it look as if its wearer had just unfolded it from a square?
John Everett Millais, The Black Brunswicker, 1860
As interested as I am in both representational art and fashion, Hollanders book failed to keep me engaged. It does have many black and white plates, which is good - there are very few pages which go unillustrated. But particularly in the first couple chapters, titled Drapery and Nudity, I got the odd sensation that Hollander wasnt a serious academic art historian. (It didnt help that her tiny bio blurb on the back cover doesnt say where she works or teaches. Does she teach? No idea.) I cant quite put my finger on why; maybe these chapters could have been better organized, within themselves and within the book overall. There was quite a bit of repetition throughout the book. When she begins writing about costumes and theatricality, in the fourth chapter, you get the sense shes more of an expert, more in her wheelhouse. Its hard not to think that her expertise isnt so much the art history of painting and sculpture, as costumes, theater sets, and movies.
Some of her slightly odd examples contributed to this feeling. She refers to Courbets convincingly smelly-looking women (p. 131) - and references this gal:
Gustave Courbet, The Source, 1868, Musée dOrsay
Why would I think that woman smells bad? Merely because she has a very big caboose? Does a big butt = stinky? If anything, she probably smells less bad than your average woman on the street in 1868, because shes rinsing off under a waterfall.
She tells us that the hairlessness of Bronzinos dirty Venus, together with her hipless contours, has vague connotations of a smooth eleven-year-old prostitute skilled in vile practices. (p. 146) This is the dirty Venus shes referring to:
Bronzino, Venus, Cupid, Folly and Time, c. 1540, National Gallery, London
Does that look like an eleven-year-old prostitute to you? She also uses Bronzinos Venus as an example of the disappearance of the well-defined waistline, producing women who resemble long, lumpy sausages... (p. 100) Again, that wouldnt be the first analogy that comes to mind when I look at Bronzinos Venus. And sausages usually arent lumpy, theyre usually very smooth.
Examining Hans Memlings Martyrdom of Saint Sebastian,
she finds that the saints torturers are very near him, like prospective rapists pretending to be archers. (p. 183) Really? Rapists?
One of her most important points is that nude images, in addition to being based on the natural pictorial ideal of the moment, are dependent on the dressed image from which the clothes are missing. Thus Goyas The Nude Maja with her high, widely separated breasts and rigid spine...seems to show the effects of corseting without the corset:
Francisco Goya, The Nude Maja, Prado Museum
The last chapter, somewhat oddly titled Mirrors, contains an interesting digression on descriptions or lack thereof of clothing in literature, with a look at Austen, Eliot, Louisa May Alcott, Coleridge, the Brontës, Flaubert, Stendhal, and Balzac.
The captioning of her illustrations is disruptively inconsistent. Some have the date of the artwork, but many dont. The same goes for the Sources for Illustrations at the end of the book - artist, title, and location are specified, but the date of the work only rarely.
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Any photo see through clothes 1.13 APK For Android
But Photoshop is not the only tool you can use for getting a see through effect. Moreover, Photoshop is paid tool. By hidden pixels, we mean pixels that are blended with clothes and skin. If the clothes pixels are solid, getting the see-through and x-ray effect will not be possible. The clothes and skin blending ratio is also important to get your desired effect.
Any photo see through clothes 1.13 Update
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