From the New York Times: “…the city has a centuries-old tradition of solo exploration, personified by the flâneur, or stroller. Flânerie is, in its purest form, a goal-less pursuit, though for some it evolved into a purposeful art: Walking and observing became a method of understanding a city, an age. Baudelaire described the flâneur as a passionate spectator, one who was fond of ‘botanizing on the asphalt,’ as the essayist Walter Benjamin would later put it.”

Okay, so where am I?

Whelp, I’m not in Paris, but in a few paragraphs we will be transported there…hang tight.

Actually, I am still home in the beautiful confines of my Encino California Compound. Other that to get my mail, bread, and fresh fruit, I have been sequestered here riding out the Coronavirus since the Los Angeles-mandated prohibition started two weeks ago on my birthday.

In addition to missing out on a pretty stellar Disneyland birthday, I had two Japanese commercials wiped out because of the travel ban (postponed, not cancelled) and now I am having NBA and NHL withdrawals along with some severe cabin fever. Thank goodness— along with my family, friends and colleagues—I am safe.

I was planning to meet Margrét, My New Favorite Amazon Model, because the last time I spoke with her she was at the Baghdad Café lamenting bout trying to due her clothesless craft amongst families and kids roaming around the tourist trap over two years ago. But with all of the city shutdowns, we had to cancel and move to a video conference to catchup. Ah, the new world of “Stay At Home” work and friendships.

So just to catch you up—or you can scroll all the way down to end and read the previous columns— Margrét is a nude model who travels the world taking her clothes off in the pursuit of her art. It’s never going to make her rich, but it makes her happy and a happy Margrét makes the world a better place…

Media Guy: You usually stick close to the Western USA, but is it true you are stuck outside the country?

Margrét, My New Favorite Amazon Model: I would say luckily I was in France when all of the Coronavirus lockdows and travel bans went into effect, but Paris is a drag without all of the cuisine and museums and sights.But I’m making the best of it trying to go all Hemingway with my introspective writing at abandoned city sites soaking in the essence of the land.

MG: What were you up to before for the country ground to a halt?

MMNFAM: I was doing my thing with this self-photography exhibition on the French Countryside when, well, imagine four dudes breaking down 300 meters from my camera lens in their big Mercedes hauler. Now imagine then not knowing how to fix their hauler and I roll up on them to help. Except I wasn’t wearing more than a Nikon lens cover! I bet they never expected help to come in the form of an intrepid nude model.

MG: But I imagine that’s exactly what happened, right? And how did you pull that off?

MMNFAM: Imagine the look on these French bros’ faces when a second nude model, my roommate, rolled up in an Aston Martin with a back seat full of tools. I’m telling you, it was like MacGyver met French Baywatch. The only thing mission was were our red one-piece swimsuits so that we could have run over in slow motion. I’m guessing they were fairly pleased with two mostly nude chicks fixing their timing belts while the fought to keep their jaws from dropping.

MG: I’ve often wondered about the fine line you’re walking when it comes to nude modeling because some of the readers say you are reinforcing sexist stereotypes of scantily clad women (or unclad) women on film.

MMNFAM: It’s what I battle with on a regular basis with my modeling, because what is considered arty can be pretty hokey and sexist. But I figure God blessed me with a certain look and I get to control my destiny with what I charge and the situations I ultimately wind up in. At the end of the day, it’s a more honest living that some of the mucky-mucks in banking or on Wall Street.

MG: You’re doing well these days?

MMNFAM: My modeling affords me an income to support my home and my adventures. I stay off social media to avoid stalkers and weirdos and in the last five years I have shot in 31 countries. It’s a great way to make a living,

MG: What has shaped up as your specialty as of late?

MMNFAM: My specialty is artistic nudes, when translated to the layman means non-erotic nudes set in contrast against the landscapes of the world. Everyone wants this fit brunette against beautiful scenery. I love the work because it gets me outdoors. I don’t have to sit at a desk answering emails all day ad in turn I get to experience the remarkably attractive world that few ever get to see like I do. Modeling gets old pretty quick, I feel like exploring the outdoors doesn’t.

MG: What is it about the outdoors that has kept you employed all of these years?

MMNFAM: Guys will forever have a curiously mysterious hard-on for a curvy, firm backside in a ruptured landscape. I do a lot of posing in fantasy landscapes—mountains, lakes, log cabins—but the ones that garner the biggest paydays come from the most dilapidated settings like old warehouses, crumbling buildings, salt mines, abandoned parks, civil wars zones. There must be something about rotting cities that is some sort of aphrodisiac that appeals to many a photographer. The contrast of luscious nubile skin against corroded timeworn building carcasses is an age-old fantasy that will probably never go out of style. Like the Birth of Venus painting only set in Chernobyl.

MG: So your quest for post-apocalyptic ruins has taken you on a journey all over the world?

MMNFAM: With a little bit of investigating, you can find some truly extraordinary rubble to photograph and when it comes to ruin nude modeling, the Baltics and Eastern Europe are pretty much the gold standard. It’s like a Disneyland of desolation and tetanus. These areas are some that you’ve only heard about in the deep recesses of the news and now the whole region has essentially been ignored and neglected due to its being left in a state of disrepair after the boys took their weapons and petty differences and went home.

MG: And you’re finding the same in Paris?

MMNFAM: Oh no, much different here. A did a month-long series in and around Paris, fully-clothed doing a full-on Greta Garbo meets Breakfast At Tiffany’s motif. You know, it was easy to surrender in Paris to the moment. The alchemy of everything metamorphosed average activities into pleasurable ones; a stroll in the park, a cappuccino at a sidewalk café…you name it. Here, I dragged the edge of a butter knife across a baguette with a style better suited to gliding a bow across a Stratavarious. And today, with almost nobody around it is still quite the same. I am here on my own. My residence is paid for until July. I worked enough not to book another job until August and I am sponging in the city in my own post-apocalyptic illusion. In a city that has been honing splendor since the reign of Napoleon III, there are immeasurable sensual minutiae—patterns, touches, tints, hums—that can be mitigated, even overlooked, when babbling with someone or following a locked in schedule. Alone. one becomes deeply aware of the resonating clack of high heels in a park walkway; the patina of the gas lamps that light the city, the effervescence of the blue sky on a cloudless day; and how the empty wine bottles laid gently next to the recycling bins are the epitome of your neighbor’s good times.
There is a Paris that acutely repays the individual traveler.

MG: So all of this adds up to another fantastic chapter in the Book of Margrét, My New Favorite Amazon Model?

MMNFAM: It’s a fantastic book I am living. I hope it never ends. Au revior!

The post Virtually Live From Paris with Margrét, My New Favorite Amazon Model appeared first on Media Guy Struggles.

In the advertising world, it means if you want to make it, you better be able to talk about things other than copy, photo shoot ideas, and next year’s campaign. I mean, there’s a world of great concepts out there lurking in the minds of your colleagues and competition.

What keeps clients and co-workers alike happy is the ability to spin a good tale and talk about areas of interest nobody has any real knowledge about. Throw out something about art or history in any real detail and most of your contemporaries with think you’re a real brain and want to hear more at a later date. Think Scheherazade extending her life for years in One Thousand and One Nights. The real secret is when to work in your special knowledge and make is worth listening to. This is an art in itself.

This approach has served me well for a handful of decades. It will serve you well too.

Okay, so where am I?

I’m in Florence, Italy. In case you don’t know it, Florence is the Cradle of the Renaissance, romantic, enchanting and utterly irresistible, Florence (Firenze) is a place to feast on world-class art and gourmet Tuscan cuisine. It’s also home for some pretty great art.

Now, I know a thing or two about art, having penned a couple of books about the subject and all without taking myself too seriously. But, Florence offered the allure of the Uffizi Gallery and the opportunity to see some special pieces of art that I’ve written about but never seen before.

One such piece is Sandro Botticelli’s Birth of Venus (circa 1484-86). Aside from his painting of the Primavera, Botticelli’s other greatest work, done for the Medici family, is the Birth of Venus. Unfortunately, we do not know for sure which Medici it was painted for, or which location it was originally hung in.

Sandro Botticelli, Birth of Venus, c. 1484-86, tempera on canvas

Before considering the subject matter, it is important to take note of the medium.  This is a work of tempera on canvas.  During this time, wood panels were popular surfaces for painting, and they would remain popular through the end of the sixteenth century.  Canvas, however, was starting to gain acceptance by painters.  It worked well in humid regions, such as Venice, because wooden panels tended to warp in such climates.  Canvas also cost less than wood, but it was also considered to be less formal, which made it more appropriate for paintings that would be shown in non-official locations (e.g. countryside villas, rather than urban palaces).

The theme of the Birth of Venus was taken from the writings of the ancient poet, Homer.  According to the traditional account, after Venus was born, she rode on a seashell and sea foam to the island of Cythera.  In the painting we see here, Venus is prominently depicted in the center, born out of the foam as she rides to shore.  On the left, the figure of Zephyrus carries the nymph Chloris (alternatively identified as “Aura”) as he blows the wind to guide Venus.

On shore, a figure who has been identified as Pomona, or as the goddess of Spring, waits for Venus with mantle in hand.  The mantle billows in the wind from Zephyrus’ mouth.

The composition is similar in some respects to that of the Primavera. Venus is slightly to the right of center, and she is isolated against the background so no other figures overlap her.  She has a slight tilt of the head, and she leans in an awkward contrapposto-like stance.

Botticelli paid much attention to her hair and hairstyle, which reflected his interest in the way women wore their long hair in the late fifteenth century. He gave Venus an idealized face which is remarkably free of blemishes, and beautifully shaded her face to distinguish a lighter side and a more shaded side.

Of obvious importance in this painting is the nudity of Venus. The depiction of nude women was not something that was normally done in the Middle Ages, with a few exceptions in specific circumstances. For the modeling of this figure, Botticelli turned to an Aphrodite statue, such as the Aphrodite of Cnidos, in which the goddess attempts to cover herself in a gesture of modestly.

In painting Venus, Botticelli painted a dark line around the contours of her body. This made it easier to see her bodily forms against the background, and it also emphasized the color of her milky skin.  The result of all of this is that Venus almost looks like her flesh is made out of marble, underscoring the sculpturesque nature of her body.

The demand for this type of scene, of course, was humanism, which was alive and well in the court of Lorenzo d’Medici in the 1480s. Here, Renaissance humanism was open not only to the use of a pagan sculpture as a model, but also a pagan narrative for the subject matter.

Although the Birth of Venus is not a work which employed Renaissance perspectival innovations, the elegance of the classical subject matter was something that would have intrigued wealthy Florentines who patronized this type of work. However, it would not have appealed to everyone, like those who viewed the worldly behavior of the ruling Medici family as corrupt or vile. By the 1490s, the tension that resulted from the clash between courtly excess and those who wanted religious reform came to a climax when the preacher Savonarola preached his crusade to the people of Florence. One of the people influenced by the preacher was Botticelli, whose change of heart moved him to destroy some of his early paintings by fire.

The Uffizi Dome (click to enlarge)

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