The Nudes of Drtikol (French: Les nus de Drtikol), published in 1929, embraced elements of "New Vision" photography, such as unconventional angles and an emphasis on form and light, while still showcasing Pictorialist influences like soft focus and hand-painted backgrounds. Drtikol’s participation in the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris—an event that inspired the term “Art Deco”—profoundly influenced his work, highlighting his shift towards bold geometric patterns and dramatic contrasts. The burgeoning avant-garde movements of the time, including Symbolism and Art Nouveau, left their imprint on this work, as seen in the lyrical interplay of form, light, and composition.
The artistic vision behind this project by Drtikol is more straightforward in its direct exploration of the human body compared to his project Woman in Light. The photographs here reject abstraction in favor of direct engagement with the body, often emphasizing eroticism within a controlled, aesthetic framework. Drtikol celebrates the natural elegance of his subjects while imbuing the images with an emotive depth that transcends mere documentation. By deliberately involving the model’s hands—positioned to touch parts of the body or interact with props—Drtikol evoked a sense of tactility and heightened sensuality, drawing the viewer deeper into the emotional resonance of the work.
Visually, the project is defined by its harmonious compositions and masterful use of chiaroscuro. This technique draws attention to the natural contours of the body, creating a dynamic tension between illumination and obscurity. The soft focus and hand-painted backgrounds evoke the mood of classical art, while the strategic placement of drapes and props enhances the organic lines of the body. Inspired by the dramatic lighting techniques of silent films, Drtikol’s experiments with bold, directional lighting and geometric decorations elevated his work beyond conventional Pictorialist photography.
Drtikol’s approach to the nude challenged prevailing norms and drew both admiration and controversy. Following the 1929 publication of Les nus de Drtikol, the portfolio circulated internationally—from Buenos Aires and Warsaw to the Brooklyn Institute of Arts and Sciences in 1931—broadening its audience. After mid-century obscurity, reassessments beginning at the Museum of Decorative Arts, Prague (1972), and an international retrospective in 1991 (Odense; Bremen; Frankfurt) re-situated the work within debates on the nude, studio practice, and interwar modernism.
