这项生动的研究是**本专注于意大利文艺复兴时期裸体艺术诞生的学术专着，颠覆了这一时期的裸体艺术是古典复兴的胜利这一观点。再次探讨Botticelli，Leonardo da Vinci，Michelangelo和Titian等艺术家的为人熟悉（甚至过于熟悉）的绘画，这本书研究了作为殖民主义和征服的工具的裸体画，以此来断言男人相比于女人的优越性，并通过将力量差距固定在关于身体及其代表的固定观念中来使这些差距归化。吉尔•伯克（Jill Burke）使用了关于文艺复兴时期的性行为，物质文化和医学史的新研究，以将那个时代对裸体和艺术与生活中人体的迷恋置于其背景下考虑。《意大利文艺复兴时期的裸体画》鼓励读者从美学的角度来探讨这些**的裸体作品，思考他们为什么要画它们，它们被创作出来给谁看的，以及这些艺术作品是如何被使用的。

The first scholarly monograph to focus on the inception of the Italian Renaissance nude, this lively study subverts the idea that the nude in this period was a triumph of classical revival. Looking again at familiar (even overly familiar) images by artists such as Botticelli, Leonardo da Vinci, Michelangelo, and Titian, this book investigates the nude as a tool of colonialism and conquest, as a means of asserting the superiority of men to women, and of naturalizing power differentials by entrenching them in a fixed set of ideas about the body and its representation.   Jill Burke uses new research on Renaissance sexual practices, material culture, and the history of medicine to contextualize the era’s fascination with nakedness and the body in both art and life.   The Italian Renaissance Nude invites readers to consider these celebrated nudes from beyond an aesthetic perspective—to consider why they were painted, whose gaze the images were created for, and how these artworks were used.