I read in the Newyorker about Jesus Christ being depicted Nude, based on renaissance paintings.
A look into this.
Leo Steinberg published “The Sexuality of Christ in Renaissance Art and in Modern Oblivion,” a book that does much to explain the connection between Pope Francis’s passionate devotion to the poor and afflicted and his seeming openness to gay Catholics. In “The Sexuality of Christ,” Steinberg argues that as a result of the rise of the Franciscan order, around 1260, an emphasis on Christ’s nakedness, and, thus, on his humanity, joined compassion to an acceptance of the role of sexuality in human life.
A credo of the Franciscan order was nudus nudum Christum sequi (“follow naked the naked Christ”). It was a radical call to cast aside worldly wealth and belongings and acknowledge the fragile, fallen nature of all men and women. But in casting aside Christ’s garments, the Franciscans made Christ’s nude body a focal point. As a result, according to Steinberg, from about the middle of the thirteenth century until the sixteenth century artists lavished particular care on Christ’s penis, the part of Christ’s body that made him most mortal, and which proved his union with humankind. “One must recognize,” wrote Steinberg, “anostentatio genitalium comparable to the canonic ostentatio vulnerum, the showing forth of the wounds.”
Giovanni Bellini was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. His father was Jacopo Bellini, his brother was Gentile Bellini, and his brother-in-law was Andrea Mantegna. He is considered to have revolutionized Venetian painting, moving it towards a more sensuous and coloristic style. Through the use of clear, slow-drying oil paints, Giovanni created deep, rich tints and detailed shadings. His sumptuous coloring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupils Giorgione and Titian.Giovanni Bellini was probably born in Venice. He was brought up in his father’s house, and always lived and worked in the closest fraternal relation with his brother Gentile. Up until the age of nearly thirty we find in his work a depth of religious feeling and human pathos which is his own. His paintings from the early period are all executed in the old tempera method; the scene is softened by a new and beautiful effect of romantic sunrise color
- Life and Paintings of Bernardo Strozzi (1581 – 1644) (makeyourideasart.com)