Free Pictures Of Nude Women

Free Pictures Of Nude Women
Is nakedness invisibility’s opposite? Maybe not, but, if it’s unapologetically displayed, it can be a kind of antidote to erasure.
“Bebe on Sand,” 2014. Photographs by Jocelyn Lee
“Deborah at Aquinnah Beach in September,” 2020.
“Nancy at 78, Maine at 18 (Aunt and Grandniece),” 2018.
“Nancy Floating at Quitsa Pond,” 2016.
“Judith at Home,” 2009. Photographs by Jocelyn Lee
“Bebe and Pagan in the Red Room,” 2004.
“Bebe and Pagan Pregnant with Twin Girls,” 2012.
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Some clichés about the cycle of life are true. When you are raising young children, the days are long and the years are short. And when you’re a woman, you will, at about age fifty, become invisible. All our lives, as girls and younger women, we prepare ourselves to be looked at. We grow accustomed to registering —to attracting, evading, or denouncing the male gaze. In “ Mrs. Dalloway ,” Clarissa, newly aware of herself as a woman of a certain age, walks down the street thinking, “This body, with all its capacities, seemed nothing—nothing at all.” The cultural critic Akiko Busch, quoting that line from “Mrs. Dalloway,” notes that “a reduced sense of visibility does not necessarily constrain experience.” True, but it takes some getting used to, and when it’s punctuated, as it often is, by condescension—when strangers are suddenly addressing you not even as “Ma’am” but, with a verbal wink, as “young lady”—you may not want to get used to it.
Is nakedness invisibility’s opposite? Maybe not, but, if it’s voluntarily, unapologetically displayed, it can be a kind of antidote to diminishment and erasure. A nude portrait of a woman older than, say, sixty is an unusual image—even a taboo one. To make such photographs, and, even more so, to pose for them, is an act of defiance. In the course of her career, the photographer Jocelyn Lee has been drawn to nude bodies of all shapes and ages. Her latest book, “Sovereign” (Minor Matters Books), features a selection of her photographs of women who range in age from their mid-fifties to their early nineties, posing naked, frequently outdoors and in natural settings.
Lee’s color images of older women are painterly, classical, but also frank. Skin puckers, crinkles, and sags. Bellies poof and pleat. A silver-haired woman stands knee-deep in a pond strewn with autumn leaves, looking directly at the camera, her elbows angled back like wings to reveal one intact breast and one mastectomy scar. A naked woman sits on a blanket of moss in the woods, her breasts and belly soft, so at ease she might be napping. In “Nancy at 78, Maine at 18,” a woman and her grandniece stand nude on a beach. Side by side, their long-legged, curly-headed bodies rhyme, but also remind us of the ways time will remake our familiar, corporeal selves. The image is not some grim memento mori, though. The women lean comfortably toward each other, touching shoulders; the younger woman’s arm loops through the elder woman’s. Behind them, the sea and sky are a light-suffused blue.
Lee, who is fifty-nine, lives part of the year on a lush, wooded property outside of Portland, Maine. She’s taken some of the portraits of older women at a pond near her house, and others on beaches at Martha’s Vineyard and elsewhere. The natural settings, devoid of sociological detail and inherently beautiful, tend to banish ironic readings and extend a certain benevolence to the naked subjects. We aren’t in paradise here—nobody in these photos looks that naïve—but we are not in any sort of judgment-laden social space, either. Lee told me that she hoped the locations implied the warmth of sun on the body—“that kind of comfort and love”—and communicated the idea that we are “all essentially sensual creatures.”
“The camera can be very cruel depending on how you use it,” she said. “There’s a whole tradition of photography that’s based on criticality and cruelty. Diane Arbus —whom I love, by the way—looked for unflattering moments to create a sense of drama. Sometimes that can be done with the juxtaposition of elements in a space, the exaggeration of the appearance of wealth or poverty, harsh lighting.”
Lee said that, by contrast, her work had sometimes been criticized for being “too earnest or romantic.” But she made her peace with that a long time ago. Through her photography, Lee has always tried to understand “what lay ahead.” When she was still in college, long before she had children herself, she photographed a pregnant friend in the nude as part of her thesis project. “This was before the Demi Moore Vanity Fair cover; people didn’t really know what a pregnant woman looked like,” she said. Through the years, she took many nude photographs of her mother, who, she says, had a remarkable ease in her own skin. Lee continued taking pictures of her as she was dying of cancer.
I’m about six months older than Lee, and, all in all, I consider aging to be far better than the alternative, as my own mother, who died at sixty, the age I am now, used to say. Still, I prefer the cloudy mirror in my bathroom to any in which I can see myself clearly. The older women who posed for Lee in the nude include professors, writers, artists, an astrologer, a hospice worker, and a small-town mayor. To me, they seem very brave, but it bothers me to say so. We all have bodies; if we’re lucky, we all get old, or at least older. Why not show what it looks like?
Two of Lee’s subjects, Judith and Nancy, have been posing for her for decades. Both told me that they don’t love how they look in some of the images, but that they treasured the experience of making them with Lee, whose process is creative and collaborative. Nancy, who is eighty, said, “I cringe when I look at the images, but I know that when I’m ninety I’m gonna say, ‘Ooh, look how great I looked!’ ” Her grandniece Maine, who posed with her, is a photography student. Maine told me that Lee’s image makes her happy because her grandaunt and she look so alike in it. “It’s like seeing myself in sixty years, and I sort of love that,” she said. “I think Nancy is beautiful.” Lee told me that she plans to photograph the pair every year.
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Sofia Vergara is feeling body confident!
The 45-year-old Modern Family actress recently posed nude for Women's Health 's Naked Issue, looking undeniably gorgeous on the September cover. In the accompanying interview, Vergara gets candid about how her body has changed through the years, the work she puts in to maintain her famous physique and why her husband, Joe Manganiello, appreciates her for being herself.
Vergara says posing naked for Women's Health was especially important to her because of the message it's sending.
"Here's a woman, 45, being able to show her body," she points out. "It's not like before, when it was just young girls who would make the cover of a magazine."
Though Mangianello, of course, had some thoughts.
"Joe's like, 'F**k, you're going to be naked in everything now? Why?'" she says with a laugh, referencing a steamy shower scene in her upcoming spy thriller, Bent .
Vergara has no problem getting candid about aging in Hollywood.
"I'm 45. Even if you want to, at this time in your life, you can't be perfect," she explains. "It's not that you hate it, or that you're upset about it, but it is our reality. We're changing. I see it happening to me. I want to look my age, but I want to look great. I think if you are obsessed with this 'I want to look younger' thing, you're going to go crazy."
"People say, 'Oh, you look like you're in your 20s.' Well, it's not true," she adds. "Our skin is different. I had never thought of the word pore, then I'm like, 'Sh**! What do I do with these?'"
Another topic Vergara isn't shy about is her bra size.
"I can barely cover my boobs with two arms -- I'm a 32-triple-D!" she says when noting why most nude magazine poses won't work for her. "My boobs are real, and I had a baby. If I grab them, I can't even cover the nipple!"
The actress is accepting of her body, including that she'll never have six-pack abs. But she does strive to eat healthy, and works out with a trainer three or four times a week using the Megaformer, an advanced Pilates machine.
"Joe built a very nice gym in the house, so I don't have any excuses," she admits. "It's not about having muscle or cut abs. I don't have abs because I'm not 'I need to be like a fit model with a perfect body.' That would take too much effort!"
"It's like torture for me," she later admits about exercising. "I'm in a bad mood two hours before, I'm in a bad mood while I'm doing it, I'm in a bad mood at the end because I have to schedule the next class."
But if there's one thing she does love, it's looking her best for any occasion. Vergara admits she almost always wears lipstick, even if she's at home by herself.
"One of the first things Joe told me when we started dating was, 'I like how you're always very well put together,'" she reveals. "He said, 'I've had girlfriends that are all day long prancing around the house in sweats, no makeup…' I'm not saying that's bad; it's great. For good or worse, it's the way I grew up: Accept yourself but also be better than yourself."
ET spoke to Vergara last month at the Emoji Movie premiere, where she talked about playing the flamenco dancer emoji.
"Who who else is gonna do that than me?" she quipped.

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