History Art / NueCouchee

* BodyHorror: The sculpture is a {{surrealis|m}}t take on the RecliningVenus pose, exaggerating it to highlight how artworks that play that trope straight depict women in painful positions for the sake of FanService. As a result, it's a hairless, fleshy mass with too many legs replacing its arms, head, and shoulders. Noticeable ridges shape what would be its spinal column and rear end, as well as the skinny waist, evoke the traditional beauty standard used for most Odalisques.

* RecliningVenus: PlayedForHorror. The piece was deliberately made to be a surrealist depiction of the universal artistic pose. Even its name -- "Reclining Nude" -- is a reference to this.

* BodyHorror: The [[{{Surrealism}} surrealist]] interpretation of the female body created a hairless, fleshy mass where its legs are where its arms, head, and shoulders should be, noticeable ridges that emphasize its spinal column and a butt that serves as {{Fanservice}} that could very easily be interpreted as FanDisservice considering the rest of it.

* ProtagonistTitle

* VerbingNouny

* SexyBacklessOutfit: The RecliningVenus pose that it emulates is interpreted as being from the back of the model not unlike ''Art/GrandeOdalisque''.

* RecliningVenus: The piece was deliberately made to be a surrealist depiction of the universal artistic pose. Even its name -- "Reclining Nude" -- is a reference to this.

Although the title translates to "Reclining Nude", the sculpture is more of a subversion of the RecliningVenus trope commonly associated with Classical art. Instead, it confronts the out-of-date idealism of the female form often captured on canvas. Tanning uses table tennis balls to highlight the delicate backbone and pink fabric to evoke a fleshy bodily mass.

* BodyHorror: The [[{{Surrealism}} surrealist]] interpretation of the female body created a hairless, fleshy mass where its legs are where its arms, head and shoulders should be, noticeable ridges that emphasize its spinal column and a butt that serves as {{Fanservice}} that could very easily be interpreted as FanDisservice considering the rest of it.

A later sculptural piece by Dorothea Tanning, ''Nue Couchée'' introduces her weighty, contorted and headless figures made in the late 60's out of cotton textile, cardboard, 7 table tennis balls, wool and thread.

Although the title translates to "Reclining Nude", the sculpture is more of a subversion of the ReclinignVenus trope commonly associated with Classical art. Instead, it confronts the out-of-date idealism of the female form often captured on canvas. Tanning uses table tennis balls to highlight the delicate backbone and pink fabric to evoke a fleshy bodily mass.

A later sculptural piece by Dorothea Tanning, ''Nue Couchée'' introduces her weighty, contorted and headless figures made in the late 60's out of cotton textile, cardboard, 7 table tennis balls, wool and thread. Although the title translates to "Reclining Nude" the work stands in defiant subversion to the traditional languid and passive reclining female sitter of classical painting. The sculpture resolutely confronts outdated fantasy projections of the female body and instead presents a woman entangled and overcome by complex and invisible interior psychic forces. Tanning uses table tennis balls to highlight the delicate backbone and pink fabric to evoke a fleshy bodily mass. At once heavy, anthropomorphic and still, the form also lies vulnerable, creaturely and ready to scurry or shuffle away.