In literature the term “nude” sometimes transcends its literal reference to unclothed bodies and functions as a descriptor of a particular flesh‐tone palette. For instance, one author contrasts “naked” with “nude,” noting that even when the figure appears undressed, the very color rendered on canvas—as in the “colour what there is of it”—can be deemed “distinctly unpleasant” [1]. In a different context, the phrase “nude brown” is employed to characterize skin tones so homogenous that one individual becomes hardly distinguishable from another, hinting at a muted, almost standardized shade of human flesh [2]. These examples illustrate how the term “nude” can operate not only as a statement of physical undress but also as a nuanced commentary on the aesthetic qualities of color in art and literature.