The renowned masters had themselves these women with great diligence since immemorial time. After the assessment of such prestige attached to these subjects, Houbraken notes a devastating evaluation of the Rembrandt’s nudes. The critic followed by a long digression of the Rembrandt’s excursion on Rembrandt mistaken principle of working only from life (Sluijter & Rembrandt, 2006).
The tensions between prestigious positions of nude and anxieties caused by sexual overtone understood in the observation. The tensions also dominate on the portrayal of the nude body by men heightened when it was the artist’s categorical role to represent utmost possible lifelikeness. The depictions gave the nude females a field traditionally occupied by pitfalls (Sluijter & Rembrandt, 2006).
Ninety years before the Houbraken’s biography of Rembrandt, tensions strongly expressed by the minister Samuel Ampzing and Haarlem city chronicler. After the praise of the renowned Haarlem artists, the artists attacked the reason they painted some parts of the body. These areas of the body concealed, as by the law of nature. Mostly, the paintings and the drawings that revealed these parts were the women pictures. The drawings had naked women with their body parts unconcealed. During this period, the highest aim of art was on the depiction of the nude women. Therefore, in the earlier decades of seventeenth and the eighteenth century, many of the artists deliberated the portrayal of the nude women to be the primary aim of art. For Ampzing, the erotic outcome of the paintings gave a reason enough to denounce the paintings unequivocally (Sluijter & Rembrandt, 2006).
The statement given by Ampzing and Houbraken had, implicit or explicit, the nature of Rembrandt’s paintings and the etching with the ugly female nudes. The notion that the depictions of the female nude comprised of the