GIGIContents

PERMISSIVENESSWhile the nude has often been de-

scribed as the perpetual challenge tocreative artists, it hasi been a target of

Edish whims as frequently as it hasn admired. Its reception throughout

the ages has traditionally mirrored pre-

vailing concepts of morality, and these,

at least in the past two-thousand years,

have tended to subordinate the nude'sessential wholesomeness. Times havechanged. We now view the nude far morehospitably than at any time in the pasttwo centuries. Art and literature are theprincipal heirs to this freedom while menof the future are destined to become its

beneficiaries.

PERMISSIVENESS page 2

NUDITY AND SEXThe curious concept that nudity and sex are somehow related, has beenlargely responsible for the antagonism directed against popular accept-ance of the nude figure in art. There is no basis whatever for such anoutrageous belief; it is wholly unjustified in light of the evidenceavailable from studies of the nudist movement page 5

THE PHOTOGRAPHER AND THE DRAFTSMENJust as many topics are more readily reduced to opinions instead of

facts, art can be discussed without benefit of dictum. It is shockingto note, however, how easily certain people, artistically oriented, canoverlook the fact that photo-artistry contributes significantly to anyprogram of artistic instruction page 13

ART— AN EVOLUTIONARY PROCESSArt, per se, exists and has for centuries. So has the nude in art. Oddlyenough, few people think that art has been an evolutionary process,

a succession of experiments and discoveries leading to what we termclassic form. But, progress, there was and the process is continuingeven today page 22

IS PHOTOGRAPHY REALLY ART?Ever since Daguerre invented the. photographic medium in the mid-1800's, art critics have been plagued by the question whether photogra-phy is truly a form of art or not. A comparison between painting andphotography herps resolve the issue page 27

GIGI is published by Tudor House Publications, Baltimore, Maryland, as ajournal seeking to equate the acceptance of nudity in the arts with contemporarymores and to encourage a more liberal acceptance of the nude figure itself. It

is an educational and sociological publication of artistic expression in the classictradition. Neither reproduction of text nor illustrations shall be permitted in

whole or in part without the express consent of the publisher in writing. Copy-right © 1968 by Tudor House Inc., Baltimore, Maryland. All rights reserved.

tuOoR housepuBl ICAtlOllS

EDITORIAL CONSULTANTS: Sunshine Enterprises

ART WORK AND MECHANICALS: The Cadmo Agency

ART DIRECTOR: Bradford I. Boone

DISTRIBUTION: Central Sales Ltd., Box 42, Baltimore, Maryland 21203

PAGE 2© 1968

Art is seemingly one of those worldly subjects

that lends itself more readily to opinion thanfact. It is foolish, however, to ignore com-mon practices just to score points in debate.

One issue that recently came to light con-

cerned the use of photographs in the training

of art students. The question: Are they of

any value?

ran

Photographerand the

Draftsmanby COLIN SHELBY

It is difficult to go through life without forming opinions

and in a free society every one has the right to express his

views. This franchise to freely communicate one's convictions

is of incalculable merit in a democratic community but there

are limitations. One such example would be when one is

called upon to render expert testimony. Courts are funda-

mentally interested in the facts, not merely one's opinions

so it comes as somewhat of a shock to learn of a recent

case in which an "expert" in the field of art instruction

testified to the effect that art students benefited little, if at

all, by working with photographic studies. Wihout doubt,

this man is entitled to his opinion but the weight of experi-

ence to the contrary belies his observation.

Perhaps our friend has his own ax to grind; the truth

is, thousands of amateur artists as well as professionals use

photographs as the foundation for their creative works.

Many do so independently while numerous schools of art

rely almost exclusively on a "copy-the-photo" approach to

instilling the basics of art discipline. Indeed, there are

countless mail-order art courses that rely on no other meth-

od. The students who enroll in these courses range from

rank amateurs to those who obviously possess a degree of

talent and skill, a feel for art that simply needs nourishing

to bring it to full flower. Those with no natural ability at all

might well profit little from working with static stills, but

the more gifted almost certainly derive a wealth of experi-

ence.

Admittedly, working from photo-prints has its disad-

vantages, but these are largely overweighed by other, more

practical, factors. If the resultant art is less than it might

otherwise be, it in no way detracts from the premise that

photo-artistry is a sound point of departure for the padand pencil set. For many it would be impossible to sharpen

their artistic talent were it not for the availability of suitable

photos from which to work. The reason is simple enough;

money — or rather the lack of it. There are many subjects

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