JFIF,,Photoshop 3.08BIM{Z%Gt{Copyrighted work available under Creative Commons by-nc-nd 2.0 UK, see http://wellcomeimages.org/indexplus/page/Prices.htmlPWellcome Library, London@L0058207 Wax anatomical figure of reclining woman, Florence, ItaiEL0058207 Wax anatomical figure of reclining woman, Florence, Italy, 1x;L0058207 Wax anatomical figure of reclining woman, Florence, Italy, 1 Credit: Science Museum, London. Wellcome Images images@wellcome.ac.uk http://wellcomeimages.org What is odd about this model? It could be described in many ways ñ beautiful, exposed, sexually alluring. Is that consistent with its role as an anatomical teaching model? Should it have these qualities, or other more scientific ones? Wax anatomical models of this period had different uses for different audiences. In the European anatomical tradition, the standard or normative body was always male. Female bodies were studied in terms of how they differed. In practice this meant a focus on their reproductive capacities ñ most often they were pregnant, with a foetus as one of the removable pieces. But does this explain the modelís passive, sexualised pose? Female wax anatomical models were often referred to as ëVenusesí, after the goddess of love and beauty. Reclining on silk or velvet cushions, in positions copied from works of art, they often had flowing hair and jewellery, which added nothing to their anatomical use. They served to show not just physical differences but also gender differences, as perceived in European culture at that time. A third way of understanding the model is to see the exposed body layers as a symbol of nature ëunveiling herselfí to the medical gaze. Looking deep into the body was considered to be the route to knowledge. In just one model, ideas about art, anatomy, gender, flesh and knowledge were all conveyed. So it is not surprising if you have mixed reactions to the model ñ it was made that way. maker: Susini, Clemente Place made: Florence, Firenze, Tuscany, Italy made: 1771-1800 Published: - Copyrighted work available under Creative Commons by-nc-nd 2.0 UK, see http://wellcomeimages.org/indexplus/page/Prices.html8BIM%t+E^ ͳMExifMM*JR(iZ,,ICC_PROFILEappl mntrRGB XYZ   acspAPPLappl-appl descodscmxlcprt8wtptrXYZ0gXYZDbXYZXrTRClchad|,bTRClgTRCldescGeneric RGB ProfileGeneric RGB Profilemluc skSK(xhrHR(caES$ptBR&ukUA*frFU(Vaeobecn RGB profilGeneri ki RGB profilPerfil RGB genricPerfil RGB Genrico030;L=89 ?@>D09; RGBProfil gnrique RVBu( RGB r_icϏProfilo RGB genericoGenerisk RGB-profil| RGB \ |Obecn RGB profil RGB Allgemeines RGB-Profilltalnos RGB profilfn RGB cϏeNN, RGB 000000Profil RGB generic  RGBPerfil RGB genricoAlgemeen RGB-profielB#D%L RGB 1H'DGenel RGB ProfiliYleinen RGB-profiiliUniwersalny profil RGB1I89 ?@>D8;L RGBEDA *91JA RGB 'D9'EGeneric RGB ProfileGenerel RGB-beskrivelsetextCopyright 2007 Apple Inc., all rights reserved.XYZ RXYZ tM=XYZ Zus4XYZ (6curvsf32 B&l http://ns.adobe.com/xap/1.0/ Copyrighted work available under Creative Commons by-nc-nd 2.0 UK, see http://wellcomeimages.org/indexplus/page/Prices.html Wellcome Library, London L0058207 Wax anatomical figure of reclining woman, Florence, Italy, 1 Credit: Science Museum, London. Wellcome Images images@wellcome.ac.uk http://wellcomeimages.org What is odd about this model? It could be described in many ways ñ beautiful, exposed, sexually alluring. Is that consistent with its role as an anatomical teaching model? Should it have these qualities, or other more scientific ones? Wax anatomical models of this period had different uses for different audiences. In the European anatomical tradition, the standard or normative body was always male. Female bodies were studied in terms of how they differed. In practice this meant a focus on their reproductive capacities ñ most often they were pregnant, with a foetus as one of the removable pieces. But does this explain the modelís passive, sexualised pose? Female wax anatomical models were often referred to as ëVenusesí, after the goddess of love and beauty. Reclining on silk or velvet cushions, in positions copied from works of art, they often had flowing hair and jewellery, which added nothing to their anatomical use. They served to show not just physical differences but also gender differences, as perceived in European culture at that time. A third way of understanding the model is to see the exposed body layers as a symbol of nature ëunveiling herselfí to the medical gaze. Looking deep into the body was considered to be the route to knowledge. In just one model, ideas about art, anatomy, gender, flesh and knowledge were all conveyed. 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