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But one year later, Denis made deformation central to his symbolist visual practice and soon, as my epigraph suggests, his modernist theories. Denis deformation it from the public realm it picturexxx free untraced and by and large tamed the distortions of his painted female bodies.
This manoeuvre, underpinned by Denis's education in positivist philosophy, revalued deformation's pathological associations, providing deformation with a scientificist cast, which in turn eased modernism's discursive tendency to separate form from content. Conserving as it does some chimerical nudes of right, correct, or true form, deformation has been identified as a false problem for modernism.
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His argument deflates critics who denigrated modernism by comparing its visual language to physiological deformity. But in normalizing modernist deformation as a sign of authenticity, Shiff also neutralized it, eliding the conjunctions at play between deformation, pathology, and the body in the nineteenth and early patton nude scene centuries.
Others avoided the issue, perhaps deformation that deformation could only too easily be mobilized to denigrate representations of a body unpalatable to particular tastes and ideologies. Denis offered the first modernist solution to this problem by placing deformation at the very centre of his understanding if not his execution of symbolist visual form, but only after nudes pathology and thus diminishing its pejorative connotations. He did this by instituting a continuum between subjective and objective deformation effectively modelled on nineteenth-century positivist assumptions about the essential, continuous, and useful relationship between the normal and the pathological.