Erotica Ren

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Erotica Ren
Home » Courses » Spring 2015 » Erotic Renaissance
Instructor: Professor James Grantham Turner
A sampling of sixteenth-century discourses of sexuality, theories of Eros, artworks and writings about the erotic in art, from major male and female authors in Italy, France and England. The aim is to test the hypothesis of my recent research – that an “erotic revolution” transformed Italian art and art writing – and to explore how far it applies to other literatures. For a brief period, after 1500 and before the Counter-Reformation, arousal could be interpreted as a positive experience that yielded new ways of seeing and producing art, at the center rather than the margins of the culture. Some of the texts we will read are openly libertine or obscenely explicit, others develop the amorous sonnet and the philosophical love-treatise in more elevated language, but all manifest the “corporeal turn” away from strict Petrarchanism and Neoplatonism. Authors include Pietro Aretino, Marsilio Ficino, Antonio Vignali, Baldessare Castiglione, Tullia d’Aragona, Veronica Franca, François Rabelais, Louise Labé, Michel de Montaigne, Pierre de Brantôme, Philip Sidney, Thomas Nashe and John Donne.
The first half of the semester will focus on art and writing in Italy, typified by the range of Aretino’s letters, poems and dialogues – from high aesthetics to (literal) pornography. The emphasis will be on primary texts and images, but to frame the conversation I will also designate passages from my recently completed book manuscript Eros Visible , which I describe as “a broad, synthetic history of this ‘sex-positive’ phase of the Renaissance, when lascivious became a neutral or endearing term, when sculpture was valued for ‘filling every viewer’s mind with libido’ (Aretino) and beauty was discovered in earthly rather than‘celestial’ love. Even more than beauty artists strove for the living quality of the image, ‘awakening’ and reanimating the Classical models they studied, and erotic response was the best guarantee of vitality. In this stimulating moment artists’ discoveries and writers’ ideas fed each other. Patrons and critics who valued ‘profane’ Eros more highly also encouraged sensuous intensity and sexual subject-matter. Recovering libertine art is only one element in this revolution, however. I explore the increasing emphasis on erotic passion in Renaissance art theory, which challenged artists to depict states of intense feeling and to evolve sensuous techniques that ‘melt’ or ‘penetrate’ the viewer likewise. My subject is not so much sex in the explicit sense as Eros in general – the evocation of desire in and for art.”
All texts will be taught in English, with originals in Italian, Latin or French on hand. 203- series courses are designed as exploratory “proseminars” or “readings” and may be taken by specialists and non-specialists, either as a survey (with paper topics on core texts or images from the syllabus) or as a research seminar. You may choose to write two shorter papers (note deadlines below) or one longer paper . Except for paperback editions of the Vignali, Aretino Dialogues , Labé and Nashe texts listed below, ALL course materials will be available in electronic form for download from bCourses, and include high-resolution images of the erotic engraving series I Modi and T he Loves of the Gods , together with paintings by Titian, Parmigianino, Bronzino and Michelangelo. To pursue secondary reading, begin with the endnotes of Eros Visible , which can be mined electronically to generate a bibliography of the Italian part; other suggestions will be made once your individual interests become clearer.
322 Wheeler Hall
University of California
Berkeley, CA 94720-1030

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E rotic artwork is a diverse category of visual arts that includes any artistic creation meant to elicit erotic pleasure, typically representing human nakedness as well as sexual behavior. Sexual artwork may be discovered in practically every visual media, such as sketches, engravings, movies, erotic paintings, photography, and sculptural works. Throughout history, the representation of sexuality in art has varied according to each society. Today, we will be exploring the erotic fine arts through the ages, but be aware that this is NSFW artwork, meaning that it is not suitable for the workplace.
Because judgments of what is pornographic and what is art differ, the concept of sexual artwork is rather subjective and context-dependent. A phallus statue, for instance, may be regarded as a customary emblem of virility rather than explicitly pornographic in certain cultures. Content created to promote sex education may be seen as overly provocative by others.
Erotic artwork is a type of art that has been developed with the goal of sexually stimulating its intended viewers, and that achieves this goal to some extent.
Pornography shows situations of sexual intercourse and is designed to elicit sensual pleasure but it is not commonly regarded as erotic fine art. Some distinguish between sexuality in art and pornography based on the erotic artists’ objective and statement: Erotic paintings would be works designed for purposes other than just purely sexual pleasure that may be admired as art by someone disinterested in its sensual component.
The Turkish bath (1862) by Jean Auguste Dominique Ingres ; Jean Auguste Dominique Ingres , Public domain, via Wikimedia Commons
Paleolithic images and sculptures are among the oldest extant instances of sexual representations, although erotic artwork has been created by many cultures. Objects from ancient Mesopotamia have been uncovered that portray graphic heterosexual intercourse.
The Sumerian Early Dynastic Period glyptic art typically depicts depictions of frontal intercourse in the missionary position. In early second century BC Mesopotamian votive plaques, the male is generally represented penetrating the female from behind as she leans over, sipping beer with a straw. Middle Assyrian-led votive statues frequently depict a man standing and entering a lady who is resting on top of an altar.
All of these sexual artworks have usually been understood as scenes of ceremonial intercourse, although they are more likely to be related to the religion of Inanna, the deity of sexuality and prostitution.
Inanna, the deity of sexuality and prostitution; Public Domain, Link
Many sexually graphic depictions were discovered at the sanctuary of Inanna at Assur, as well as replicas of female and male sexual organs, such as stone phalli, which may have been placed around the necks as a talisman or used to embellish cult sculptures and clay replicas of the female vaginal opening.
Although representations of sexual intercourse were not common in ancient Egyptian formal art, primitive drawings of intercourse have been discovered on ceramic shards and in graffiti.
The Turin Erotic Papyrus is an Egyptian papyrus scroll unearthed at Deir el-Medina that has a sequence of twelve vignettes depicting men and women in different sexual situations. The men in the imagery are “raggedy, going bald, small, and portly,” with unnaturally huge genitalia, and do not meet Egyptian standards of beauty desirability. The females, on the other hand, are nubile and are displayed with items from classical erotic symbology, such as convolvulus foliage, and, in certain images, they are even carrying objects typically affiliated with Hathor, the deity of love, such as lotus flowers and primates.
Turin Erotic Papyrus; Unknown author Unknown author , Public domain, via Wikimedia Commons
The scroll was most likely produced during the Ramesside period, and its great artistic quality suggests it was made for a privileged audience. There have been no other such scrolls unearthed so far. Many of the earliest depictions of same-sex interactions may be seen on the walls of ruined Roman buildings at Pompeii, and the ancient Greeks created sexual images on their ceramics, many of which are renowned for being among the first depictions of same-sex interactions.
Another ancient culture from South America, the Moche, carved vivid depictions of sex into their ceramics. The Larco Museum in Lima has an entire hall dedicated to pre-Columbian sexual pottery.
During his college years, Edward Perry Warren developed a passion for Greek art . Perry then became an erotic art collector who specializes in Greek erotic art artifacts that frequently depict gay sexual encounters. The Warren Cup has depictions of males having anal intercourse. In Eastern civilizations, there is a long history of sexual art.
Side B of the so-called Warren Cup (c. 50 AD); © Marie-Lan Nguyen / Wikimedia Commons
Shunga, for example, first debuted in Japan in the 13th century and grew in prominence until photography was established in the late 19th century. Shunga, or “spring images,” was a collection of explicit erotic paintings produced with ink or woodblock prints that were printed onto paper scrolls as an orientational introduction to sex education in Japan during the Edo era.
Shunga was an Asian religious group that intended to unleash all people’s inherent sexual selves, including females and gay sexuality.
Couples engaged in sexual actions were depicted smiling and enjoying their partner’s company, emphasizing the positive aspects of sex. Shunga was greeted with criticism and forbidden in Japan about 1700, yet the distribution of this important Erotic artwork remained.
An example of a Shunga woodcut, depicting a young couple making love, with the woman above. A colored reproduction of a woodcut by Moronobu, ca. 1680s; See page for author , CC BY 4.0 , via Wikimedia Commons
Shunga might be found in many Japanese individuals’ homes and institutions. Similarly, Chinese erotic art peaked in popularity during the latter half of the Ming Dynasty. The renowned Kama Sutra in India is an old sex handbook that is still widely read across the world.
Beginning with the Renaissance, there was a history in Europe of manufacturing erotica for the enjoyment of the elite. The text “I Modi” was a woodcut book made in the early 16th century. In Italy, erotic fine art took numerous forms, but artist Giulio Romano is most known for his iconic I Modi drawings.
Raphael was commissioned by Pope Julius II to adorn chambers in the Vatican that housed only the religious elite. After his death, Romano was left with the task of finishing his last installation in the Vatican dwelling quarters in the Sala. The Sala served as a meeting place for the religious elite. The paintings in this area showed Emperor Constantine in a way that illustrated images of Christianity’s successful spiritual victory against Paganism.
Romano drew sexually graphic situations between mythological renowned historical couples while finishing these pieces.
Sala of Cupid and Psyche, Tea Palace, Mantua, with a painting of Zeus seducing Olympias by Giulio Romano; Sailko , CC BY 3.0 , via Wikimedia Commons

These illustrations were created to convey the basic essence of sex between humans. I Modi provided the people the right to view things that the Vatican’s clerics had forbidden them from viewing. The designs finally found their way to the engraver Marcantonio Raimondi, who had also been formally trained by Raphael. Raimondi produced and marketed Romano’s prints.
The artworks immediately became popular among non-elite members of society and were spread around Italy’s Vatican City.
Pope Clement commanded the destruction of this forbidden issue in Italy. Marcantonio Raimondi was detained for copying and distributing I Modi. Caravaggio created Amor Vincit Omnia in 1601 for the collection of Marquis Vincenzo Giustiniani.
Amor Vincit Omnia (1601) by Caravaggio; Caravaggio , Public domain, via Wikimedia Commons
Catherine the Great also commissioned an erotic cabinet, which appears to have been close to her suite of chambers at the Gatchina Palace. The furniture was outlandish, including tables with huge penises for legs. On the furniture, vaginas and penises were carved. Sexual artwork was adorning the walls. The chambers and furniture were observed by two Wehrmacht officers in 1941, but they appear to have gone since then. According to a documentary by Peter Woditsch, the cabinet was located at Peterhof Palace rather than Gatchina.
Later, more contemporary painters followed in the footsteps of Millet, Picasso, Edgar Degas , and Egon Schiele.
Schiele was imprisoned and had numerous paintings burned by the government for depicting naked females, which offended modern morals. By the 20th century, photography had become the most popular medium for sexual art. Taschen, for example, mass-produced pornographic graphics and photos.
Photographic illustration of Sapho by Jane de la Vaudère, 1908; Jane de La Vaudère , Public domain, via Wikimedia Commons

In the 2010s, there were a lot of erotic artists working. However, in some groups, most of the style is still not as generally recognized as more traditional painting forms such as portraits and landscapes. Over the course of the twentieth century, erotic images in art underwent a fundamental repositioning. Futurism , Cubism, and German expressionism were early 20th-century art styles that investigated the sexual by manipulating the naked to explore different views, color experimentation, and the reduction of the form into mathematical components.
In the mid-20th century, realism and surrealism introduced new ways of representing the naked.
The sexual became a vehicle for surrealist artists to explore themes of imagination, the subconscious, and the dream realm. Surrealist artists that dealt with the sensual directly included Giorgio de Chirico , Paul Delvaux, and Max Ernst. Following the First World War, there was a trend away from the abstract silhouettes of the 1920s and 1930s and toward realism. In England, painters such as British artist Stanley Spencer pioneered this repurposed attitude to the human form, with naked paintings of himself and his wife in sensual settings. This is shown in his work Double Nude Portrait (1937).
The naked portrait was becoming a dominant type of sexual art in the 20th century, much like the academic nude had in the 19th. Critical essays on the “nude”, particularly the female nude, resulted in significant modifications in how images of the nude and depictions of sexuality were viewed. Seminal books were re-examining the concept of the nude and sexuality in art.
This epoch in art was distinguished by a keen interest in politics. It was a watershed event in history that highlighted the significance of the sexual revolution in art.
The 1960s and 1970s saw a significant social and political transformation in Europe and America. The battle for women’s equality, with an emphasis on sensuality, woman’s choice, the household, and the workplace, was among the movements. Painters and scholars began to look into how imagery in Western art and media were frequently constructed within a male storyline, and how this maintained idealizations of the female figure. The questioning and examination of the dominant male perspective within the art history narrative, reflected in both critique and creative practice, came to characterize much of the art and erotic artists of the 20th century.
 “More than any other topic, the nude might indicate that art begins in and is nourished by male sensual energy,” writes American art historian Carol Duncan of the male gaze and its link to erotic art. This is why many of the period’s ‘seminal’ masterpieces are naked.” Sylvia Sleigh’s work is an illustration of this inversion of the male gaze since it displays male sitters in conventional sexual reclining stances that were formerly designated for the female figure as a portion of the “odalisque” tradition.
With the development of feminism, the sexual revolution, and conceptual art in the mid-20th century, the connection between images and viewers, as well as the erotic artists and audience, began to be challenged and reinterpreted, introducing new areas of practice. Artists began to utilize their own naked bodies to present an alternate sensual story from different perspectives. Women artists were using performances and photography to call attention to concerns of gender power dynamics and the blurred lines between pornographic imagery and art, and new media was being utilized to show the naked and the sexual.
Since the 1960s, performance art has developed and is regarded as a direct reaction and response to conventional kinds of media, and it has been connected with the dematerialization of the work or item. As sensual performance thrived in the 1980s and 1990s, both female and male artists were experimenting with new erotic depiction tactics.
Martha Edelheit was a female artist noted for her innovations in erotic art as a defiant stand against traditional gender norms that prohibited women artists from unfettered sexual expression. As a result, women were frequently the focus of many notable erotic art paintings that appealed to males. Edelheit was chastised for being a female artist who made sensual artwork at a period when males were the primary producers of this genre. Edelheit was a feminist art movement pioneer since she was a woman who made sensual art and also represented herself in many of her pieces, paving the path for gender rights in sexual freedom.
Edelheit challenged the popular misconception that this work was obscene by providing a different perspective on oneself. Her paintings cleared the path for women to express their sexual urges freely. Painting naked male figures was unusual in the 1970s; her art flipped the script and let women be at the vanguard of the 1970s gender expression movement. The tolerance and appeal of erotic fine art have propelled the style into mainstream entertainment, spawning a slew of iconic icons.
Among the painters whose work has been extensively circulated are Luis Royo, Frank Frazetta, Boris Vallejo, Chris Achilleos, and Clyde Caldwell. The Guild of Erotic Artists was founded in 2002 to gather together a group of like-m
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