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First published Wed Aug 20, 2014; substantive revision Mon Sep 24, 2018
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Painting, Sculptures, and Photographs Referenced
Isenheim Altarpiece (1512–16),
Unterlinden Museum, Colmar, France
Araki, Nobuyoshi, The Look (1993)
Dix, Otto, Old Couple (1923)
Emin, Tracey,
Is Anal Sex Legal? (1998), Tate, London
Emin, Tracey,
Is Legal Sex Anal? (1998), Tate, London
Grosz, George,
Sex Murder in the Ackerstrasse (1916–7)
Delacroix, Eugène,
Liberty Leading the People (1830), Louvre
Goya, Francisco,
The Naked Maja (c. 1797–1800), Prado, Spain
Manet, Edouard,
Olympia (1863) Musée d’Orsay, Paris
Ray, Man,
The Prayer (1930)
Rodin, Auguste,
The Burghers of Calais
Smith, Kiki,
Tale (1992)
Smith, Kiki,
Blood Pool (1992)
Tintoretto,
Crocifissione (1565), Scuola Grande di San Rocco, Venice
Titian,
Venus of Urbino (1538), Uffizi, Florence
Titian,
Rape of Europa (1562), Isabella Stewart Gardner Museum
Velázquez, Diego,
Rokeby Venus (c. 1647–51), National Gallery, London
Vermeer, Johannes,
Milk Maid (1657–58), Rijksmuseum, Amsterdam
Literature and Films Referenced
Bell, Jennifer Lyon & Murielle Scherre
(directors), 2010, Skin.Like.Sun .
de Boyer, Jean-Baptiste,
1748, Thérèse Philosophe .
Cleland, John, 1748, Fanny Hill .
Diderot, 1748, Les Bijoux Indiscrets .
Kiely, Molly, 1999, That Kind of Girl ,
Seattle: Eros Comix.
de Latouche, Jean-Charles Gervaise, 1741, Histoire
de Dom B… Portier des Chartreux .
McEwan, Ian, 2007, On Chesil Beach , London:
Jonathan Cape.
Sade, 1795, La Philosophie dans le Boudoir .
Engberg, Mia (producer), 2009, Dirty Diaries ,
a collection of Swedish movie shorts.
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What is erotic art? Do all paintings with a sexual theme qualify as
erotic? How to distinguish between erotica and erotic art? In what way
are aesthetic experiences related to, or different from, erotic
experiences and are they at all compatible? Both people and works of
art can be sensually appealing, but is the beauty in each case
substantially the same? How helpful is the distinction
between the nude and the naked? Can we draw a strict line between
erotic art and pornography? We tend to think of art as complex and of
pornography as one-dimensional, but how compelling is that differentiation?
Pornography is often considered harmful, objectifying, and
exploitative, but to what extent is erotic art immune to moral
criticism of this sort? In addressing such questions this entry will
provide an overview of current philosophical debates on erotic art. It
will also place those debates in historical perspective and, in the
closing section, explore some important avenues for future
research.
In Sex and Reason , Richard Posner proposes to use the word
“erotic” to describe
presentations and representations that are, or at
least are taken by some viewers to be, in some sense
“about” sexual activity. (Posner 1994:
351)
This characterization needs some narrowing down if one wants to arrive
at a definition that captures the extension of what we ordinarily
think counts as erotic art. For one thing, an extensionally adequate
definition should exclude scientific-behavioral studies or medical
illustrations of sexual activity (which tend to be neither erotic nor
artistic in nature). Furthermore, it’s not the case, simply because
some viewers take a painting or a sculpture to be about sexual
activity, that we are ipso facto dealing with an erotic
representation. Someone who is unfamiliar with the story of the Christian Bible
might take a crucifixion painting to be a depiction of a
sado-masochistic act, but that would be insufficient grounds to call,
say, Tintoretto’s Crucifixion (1565)
a work of erotic art.
Peter Webb’s definition of erotic art as
art on a sexual theme related specifically to emotions
rather than merely actions, and sexual depictions which are
justifiable on aesthetic grounds (Webb 1975: 2)
is already closer to the mark. But even though Webb’s emphasis on
emotions is understandable from an etymological point of
view—the term “erotic” derives from the Greek word
“eros” meaning love or passion—he does not succeed
in spelling out the necessary or sufficient conditions for erotic
art. Man Ray’s photograph The Prayer
(1930) shows only the hands, feet, and buttocks of a woman; it is not
a sexual depiction in the strict sense and there is no show of
emotions. Still, it is widely considered to be an erotic
masterpiece. Conversely, Ian McEwan’s novella On
Chesil Beach , set in the early 1960s and telling the story
of a wedding night that goes horribly wrong, does qualify as
“art on a sexual theme related specifically to emotions”
and yet it would be misleading to label it as erotic literature.
Instead of claiming that erotic art is about sexual
feelings or desires, one could say that erotic art elicits
sexual feelings or desires. But this characterization would also be
too broad. A pious Madonna and Child painting may elicit sexual
feelings or desires in some people, but that in and of itself does not
make it erotic art. The intention to be sexually stimulating
appears crucial, as Jerrold Levinson acknowledges in his definition of
erotic art as
art which aims to engage viewers sexually through
explicit sexual content, and that succeeds, to some exte
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