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Vanity Fair also points out multiple passages in the books that imply Melisandre is or could be immortal. But their most compelling argument surrounding Melisandre's transformation is perfectly pegged to the long, full body shot we see of the old, nude woman:
This is a super interesting idea, if the series chooses to explore it further, that could significantly complicate and deepen Melisandre's character. We know her as a somewhat shallow, seductive, cunning woman with a little bit of a mean girl vibe that presumably comes from getting everything she's ever wanted handed to her, thanks to her rockin' body and great hair. But if she really is hundreds of years old, then she's probably seen some sh*t. She's likely lived at least parts of her life in her old woman form, with all the invisibility that comes accompanies women of age. This could be a huge source of depth audiences are gaining for her character and motivations.
Imogen and Twinka at Yosemite is a 1974 photograph by Judy Dater. It depicts elderly photographer Imogen Cunningham, encountering nude model Twinka Thiebaud behind a tree in Yosemite National Park. It is considered Dater's most popular photograph and according to the photographer, was inspired by Thomas Hart Benton's painting Persephone, which portrays a voyeur observing a nude woman reclining against a tree, who had been bathing in a stream.[1]
Dater had been familiar with Benton's 1938 Persephone painting and its theme of voyeurism since her childhood, and it inspired her to attempt several earlier photos based on that theme. She has said that it "really worked" with this particular photo, because "it's a twist, given that it's two women looking at each other."[2]
At the time the photograph was taken, Cunningham was 90 years old and had been a famous photographer for 60 years. Dater had been a friend and admirer for the previous ten years, and considered Cunningham her mentor. The nude model, Twinka Thiebaud, was the daughter of painter Wayne Thiebaud. Dater had earlier photographed Twinka fully clothed, in 1970.[3]
The photograph was taken as part of a workshop called "The Nude in the Landscape", organized by Ansel Adams, that had about 100 students. Dater was one of the instructors, and Cunningham was a guest lecturer.[2] According to Twinka Thiebaud, the event started out in an undisciplined way. The clueless students swarmed around the nude models, and they "pounced like paparazzi", and were "unruly and disorganized".[2] Dater, Cunningham and Thiebaud stepped away from the crowd, and approached the tree. There, as many of the students gathered around her, Dater demonstrated how to work with a model. This photograph was the result.[2]
In 1997, critic Sarah Boxer described the photo as "Imogen Cunningham sneaking around the trunk of a giant tree in Yosemite National Park and coming upon Twinka, a nude model who has one leg propped on a root and is looking around coyly" and called it "an amusing play" on the goddess Diana.[5] In 1999, critic Margarett Loke said that the photo "remains a delightful send-up of a photographer with a nude subject".[6] In 2011, critic Donna Stein wrote that "Dater reverses the traditional erotic relationship of a leering old man eyeing a voluptuous nude to show two women - youth and old age - confronting each other."[7] Stein reports that the photo "pays homage to the Persephone myth as portrayed in a painting by Thomas Hart Benton".[7]
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Queen Victoria was an enthusiastic patron of the nude in art. She and Prince Albert frequently gave each other nude paintings and statues as birthday presents. She evidently subscribed to the view of William Etty, a prominent painter of the nude, that "God's most glorious work [was] WOMAN, that all human beauty had been concentrated in her" (qtd. in Lambourne 282). Reconciling the female nude and Christian morals entailed certain artistic conventions intended to discharge the nude's eroticism. The most familiar was to distance the nude subject in space, time, and culture by situating it in pre-Christian Greece or Rome, or in the harems and slave markets of the Islamic Middle East. However, the medieval English setting of Edwin Landseer's Lady Godiva's Prayer (c. 1865) was too close for some critics' comfort (Smith 55). 2ff7e9595c
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