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Lola fingers her hairy twat for your pleasure. The meaning of these sexual sculptures is debated, and suggestions have ranged from their being educational images providing instruction on contraception, to examples of Moche moralizing or humor, to the portrayal of ceremonial and religious rites.
They are mostly without archaeological context, but recent systematic archaeological excavation suggests that they were elite grave gifts. This vessel comprises a fully fleshed woman masturbating a male skeleton.
It has been proposed that the message may be that of continuity between the living and the dead. In the pre-Columbian languages of the Andes, the concepts of "ancestor", "lineage" and "penis" are linguistically linked. The vessel should be understood in the context of social inequality: for the powerful and wealthy, the point of reproduction was not simply the bearing of babies, but the creation of heirs who would continue the lineage and control the political and economic resources amassed by their ancestors.
The presence of these "sex pots" in elite tombs, and the representation on them of skeletal figures, thus places sex in the house of the dead and the lineage of the ancestors. Based on anthropological comparisons with Amazonian and other South American cultures, bodily fluids may have been understood by the Moche as tangible links to the ancestors, at the same time acting as nurturing fluids passed from man to woman as seminal fluid, and from woman to infant as breast milk. Image courtesy of the British Museum, London.
These fragments of larger, more graphic images tantalize us with their suggestions of what has been cut out, for they are all that remains of an explicit set of sexual instructions known as I Modi The Positions , suppressed for centuries by the Catholic Church. Mounted on a sheet are the remains of nine separate engravings printed from copper plates: four show female heads in profile, while three depict the naked upper bodies of women in positions that hint at intercourse.
Two nude males seen from the torso up suggest similar activity. The fragments have been cut carefully to avoid any explicit details, forcing us to guess at their original graphic content, but ultimately ensuring their survival from censure by the Vatican. The original edition of I Modi was devised by the Italian engraver Marcantonio Raimondi, who based his designs on sixteen images of sexual positions reputedly drawn by Giulio Romano, court artist to the duchy of Mantua. Romano also designed and decorated a new pleasure palace, Palazzo Te, filled with a number of erotic frescos, for his patron Federico II Gonzaga on the outskirts of the city.
He is also believed to have painted for the same ruler the enigmatic Love Scene —5. Romano had trained under the Renaissance master Raphael, many of whose more widely known works Raimondi also engraved. According to the satirist Pietro Aretino, Raimondi was immediately arrested upon publication of I Modi in under the orders of Pope Clement VII, who demanded that all copies be destroyed. This edition too was widely suppressed though the sonnets remain known to us from a sixteenth-century book illustrated with clumsy woodcuts.
Despite facing religious censure, I Modi found illicit interest across Europe and continued to be revived whether in the form of direct copying, as in the set of sixteenth-century woodcuts, or by exerting influence as in the erotic engravings of Agostino Carracci see below. Despite strictures from religious authorities, people down the years kept these images safe, aware that what we imagine can arouse us at least as much as the readily apparent.
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Agostino Carracci Lascivie — Images courtesy of the British Museum, London. Many such editions would have been suppressed during moralizing purges, among them the infamous I Modi The Positions by Marcantonio Raimondi.
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One engraving shows the Three Graces standing in forward-facing, backwards and three-quarter poses; the rest follow a theme popular in the collection: satyrs and nymphs. In one we see a goat-like creature standing to make love to a nymph seated on a rock, while another engraving shows a male figure gazing at a nymph sleeping under drapery similar to that employed by Nicolas Poussin in his later work Jupiter and Antiope. She shares her bed with a child; the composition also includes a cat on the floor and a birdcage in the background.
This particular series, though, is of his own design and shows him to be a talented artist in his own right, able to re-create classical themes and tell stories in a clear, concise manner. While the Lascivie are more complete than I Modi , they still come to us in a fragmented manner, meaning that it is unclear whether they were created as a series or collated only later.
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Writers from the seventeenth century have described a book of such prints, although the number of plates mentioned has varied from the teens to the twenties. As the artist progressed, he developed softer, more rounded forms. This suggests that the artist worked on what became the Lascivie over a period of time, and that the project evolved from one-off prints into an open-ended group with a common format.
Image courtesy of the Victoria and Albert Museum, London. In this pencil and watercolor sketch, three women couple with a prostrate man, his head hidden between the thighs of the woman on the right. The four bodies form a pyramid; the figure at the apex lowers herself on to the erection of their common lover, while the third figure assists by holding his penis.
Image courtesy of Wikimedia Commons. This is perhaps the most bewitching shunga erotic image of all time, and it is certainly one that has fascinated audiences for centuries. It was painted by the great artist Katsushika Hokusai, and depicts a diving woman who has been dragged down to the depths of the ocean, where a brilliantly colored octopus is taking its pleasure of her. As all eight legs caress and fondle her, its great mouth performs cunnilingus on the woman, who has given herself completely to the bulbous black-eyed monster.
This sexually explicit image comes from his third book, Pining for Love , which he made in The book begins with a picture of a beautiful woman, and each scene thereafter depicts her in various states of passionate arousal with a lover, until the final picture focuses on a close-up of her genitals. Image courtesy of WikiArt. This picture was meant to shock. The painting depicts a crimson-faced general, flushed with red wine, groping the swollen breast of a fleshy, naked prostitute. Having served as a soldier in the First World War, he yearned for a better society in which men could transcend their social levels.
His moral outrage at the grotesque and decadent decay of post-war Europe became the defining subject of his paintings, and he honed in on the prostitutes, pimps, profiteers and beggars who had emerged in the intervening years. His anger at the victimization of the war wounded, who had been left half-starved and unable to support themselves, was represented unsparingly, contrasting the suffering of the unfortunate with the monstrous greed of the rich.
In Brussels, where this painting is set, the sex industry had become rife during the war because soldiers were allowed to carouse for a week or two before resuming their fanatical slaughter on the front line. The subject matter is meant to be offensive, and indeed in it brought Dix to the German courts, where he was tried and acquitted for obscenity. It is a hedonistic vision of carnal lust, rendered gratuitously with a raw erotic power that never fails to excite and shock. A "panic fear of venereal diseases" began at a young age, when he saw medical photographs of the devastation they wreak in a textbook left by his father on the family piano.
Ants swarm into and out of the hole, symbolizing the danger of a vagina dentata. The Surrealists translated Freudian ideas on dream interpretation, the unconscious, and the sexual and aggressive drives into literature and art.
Sexuality in ancient Rome
Bourgeois society tends to repress the biological drives, a process the Surrealists sought to undo through their shocking art. Image courtesy of the Museum of Modern Art. This drawing was made in by the American Pop artist Claes Oldenburg as a raunchy retort to bourgeois pretension. Drawn in ballpoint pen to give sharp definition to the characters and to mimic a cartoon, it depicts a group of slovenly female figures straddling a giant, flaccid penis. Oldenburg is best known for monolithic sculptures in which he scales up everyday mass-produced items—such as a lipstick, a vacuum cleaner or a hacksaw—to vast proportions.
Less well known are his exquisite erotic drawings, which he began making in the early s, inspired by the classical Romanticism of nineteenth-century Europe. He decided, with a cockeyed enthusiasm, to flatten all that pomposity by proposing a new type of monument, and these delectable cartoonish females are an early prototype.
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Bruce Nauman Body Pressure Images courtesy of Sperone Westwater; photograph by Jacob Birken. The conceptual artwork Body Pressure consists of a list of written instructions from the artist, Bruce Nauman , and comes to fruition as an artwork when these are performed. The words are usually displayed on a gallery wall with additional sheets of paper available, which viewers are encouraged to take away with them. The piece invites participants to press themselves against a wall, and to consider the effect of doing so has on their body.
Nauman is also interested in the power and effect of language, and its ability to communicate ideas. How erotic, or not, the experience may be, though, is of course entirely down to the individual participant. Joan Semmel Touch The American artist Joan Semmel began painting her erotic figurative works in the early s in response to what she saw as the sexploitation of the porn industry in her native country.
As a proactive member of the feminist art movement, she began adopting the photographic techniques and subject matter used in pornography to create a series of paintings that presented a different narrative from the fetishized one promoted by the porn industry. But it is the unusual perspective of the picture that creates the intimacy. Although the figures are headless, they are anything but anonymous.
In the heightened color, vivid brushstrokes and unusual composition, Semmel reveals the tactile nature of flesh. This is a painting about emotional and physical human contact. The realistic style and extreme foreshortening, together with the warm amber tones of the skin, add to the sense of closeness.
Semmel makes the viewer a participant in an intensely quiet and private moment between two people. We offer exclusive works you can't find anywhere else. Collecting with us means you're helping to sustain creative culture and supporting organizations that are making the world a better place. We have the resources to find works that suit your needs. Artspace offers you authentic, exclusive works from world-renowned artists, galleries, museums and cultural institutions.
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