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A recently published study by a researcher at Pisa University suggests that Michelangelo may have based some of the figures in his fresco The Last Judgment , in the Sistine Chapel, on visits to contemporary Roman bathhouses. Painted on the altar wall between and , The Last Judgment shows the Second Coming of Christ, who raises the souls of the saved to heaven and casts down the damned to eternal punishment in hell. The punishments are indeed grisly: one of the damned is being dragged into the inferno by his testicles, and another is reduced to his sagging, flayed skin. A kind of staff sling, the fustibal was used to throw stones up to feet. It had been known since Roman times and was represented by both Lorenzo Ghiberti and Leonardo da Vinci.
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Michelangelo: Naked Truths? -ARTnews

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Michelangelo: Naked Truths?

Willem de Kooning American, born the Netherlands. Over the course of a career that lasted nearly seven decades, he experimented continuously, shifting his style to explore new techniques and forms of expression. Such regular reinvention led to a body of paintings, drawings , prints , and sculptures characterized by boldness and innovation. He trained in both fine and commercial art at the Rotterdam Academy in The Netherlands and worked as a sign painter , while making his early paintings and drawings in a more academic style. In , the adventurous young artist stowed away on a British ship bound for the United States, skirted immigration, and moved to New York City, where the Jazz Age was in full swing. He fell under the sway of the improvisatory, lyrical freedom of jazz music and the abstract art made by other artists under its influence.
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MoMA Learning

The antique specimens collected by Renaissance artists attest to their fervid interest in Greek and Roman modes of representing the human body. In addition to providing artists with specific, quotable motifs, these workshop tools clearly served a more general, instructional purpose, shedding light on the classical interpretation of human anatomy. The Renaissance preoccupation with the body presented a stark contrast to medieval tradition. Valuing spirit over flesh, medieval artists had worked in an abstract, two-dimensional linear style that deemphasized corporeality. Unsatisfied by this approach, fifteenth-century artists emulated the body-conscious quality of ancient Greek and Roman sculpture, drawing inspiration from the prevalent depiction of nudity and the use of drapery as a means of articulating the body, simultaneously revealing and concealing the torso and limbs.
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In our discussion of the beginnings of monumental stone sculpture in Greek art, we noted the central position of the standing male nude or kouros figure in the development of Archaic art. Contemporaneous to the kouros figure, there developed the female or kore pl: korai figure. Nanette Salomon in her article on the Venus Pudica pose has succinctly articulated the contrast between the Kouros and Kore figures: "The male figure is portrayed as coherent and rational from within; the female figure is portrayed as attractive from without; the male figure is dynamically explored as an internally logical, organic unity; the female body is treated as an external surface decoration. Much of the development of archaic kouroi figures revolves around the increasing information the artists record about the muscles and skeletal structure of the male figure.
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