1000 Erotic Works of Genius. Victoria Charles

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      © Pierre Molinier Estate, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Edvard Munch Estate, Artists Rights Society (ARS), New York, USA/ BONO, Oslo

      © Emil Nolde Estate, Artists Rights Society (ARS), New York, USA/ VG Bild-Kunst, Bonn

      © The Georgia O’Keeffe Museum, Artists Rights Society (ARS), New York, USA

      © Max Pechstein Estate / Artists Rights Society (ARS), New York, USA/ VG Bild-Kunst, Bonn

      © Dominique Peyronnet

      © Peter Phillips

      © Francis Picabia Estate, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Estate of Pablo Picasso/ Artists Rights Society (ARS), New York, USA

      © Pierre et Gilles. Galerie Jérôme de Noirmont, Paris

      © Sigmar Polke

      © The Pollock-Krasner Foundation/ Artists Rights Society (ARS), New York, USA

      Art © Mel Ramos / Licensed by VAGA, New York, NY

      © Martial Raysse Estate, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Red Grooms

      © Reunier, copyright reserved

      © Yva Richard

      © Gerhard Riebicke

      © Ker Xavier Roussel, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Rudolf Schlichter

      © Karl Schmidt-Rottluff Estate, Artists Rights Society (ARS), New York, USA/ VG Bild-Kunst, Bonn

      © Ulo Sooster

      © Antoni Tàpies Estate, Artists Rights Society (ARS), New York, USA/ VEGAP, Madrid

      © Vladimir Tatlin Estate, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      Tom of Finland 1986 © Tom of Finland Foundation

      www.TomofFinlandFoundation.org

      © Suzanne Valadon Estate, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Elena A.Volkova

      © Kees Van Dongen Estate, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Marcel Vertès

      © Andy Warhol Foundation for the Visual Arts/ Artists Rights Society (ARS), New York, USA

      Art © Estate of Tom Wesselmann / Licensed by VAGA, New York, NY

      Introduction

      Erotic art or pornography?

      “That which is pornography to one person is the laughter of genius for the other.”

      The term ‘Erotic Art’ is muddied by a miasma of ambiguous terms. Art and pornography, sexuality and sensuality, obscenity and morality are all involved to such an extent that it seems almost impossible to reach an objective definition, which is not unusual in the history of art. How is it possible to speak of erotic art?

      This much is certain: the depiction of a sexual activity alone does not raise a work to the nobility that is erotic art. To identify erotic art only with its content would reduce it to one dimension, just as it is not possible to distinguish artistic and pornographic depictions only by describing their immoral contents. The view that erotic works are created solely for sexual arousal and so cannot be art is erroneous as well. Does the creative imagination brought to erotic art distinguish it from pornography? Yet pornography is also a product of imagination. It has to be more than just a depiction of sexual reality, however, or who would buy it? Günter Schmidt states that pornography is “constructed like sexual fantasy and daydreams, just as unreal, megalomaniacal, magical, illogical, and just as stereotypical.” Erotic daydreams – they are the subject of erotic art as well. Those making a choice between art and pornography may have already decided against the first one. Pornography is a moralising defamatory term. What is art to one person is the Devil’s handiwork to another. The mixing of aesthetic with ethical-moralistic questions dooms every clarification process right from the start.

      In the original Greek, pornography means ‘prostitute writings’ – that is, text with sexual content – in which case it would be possible to approach pornography in a free-thinking manner and equate the content of erotic art with that of pornography. This re-evaluation would amount to a rehabilitation of the term.

      The extent to which the distinction between art and pornography depends on contemporary attitudes is illustrated, for example, by the painting over of Michelangelo’s Last Judgment in the Sistine Chapel. Nudity was not considered obscene during the Renaissance. The patron of this work of art, Pope Clement VII, saw nothing immoral in its execution. His successor, Paul IV, however, ordered an artist to provide the Last Judgment with pants!

      Another example of the difficult relationship between society and erotic art is the handling of the excavated frescos of Pompeii which were inaccessible to the public until recently. In 1819, the Gallery of Obscenities was established in the Palazzo degli Studi, the future National Museum where only people of mature age and known high moral standards had access to the locked room. The collection changed its name to Gallery of Locked Objects in 1823. Again, only those with a royal permit were able to view the exhibited works. The reactionary wave after the unrest in 1848 also affected the erotic collection of the museum. In 1849, the doors of the Gallery of Locked Objects were closed forever. The collection was transferred to a still further removed section of the museum three years later, with even the doors leading to that area being bricked up.

      Not until 1860, when Guiseppe Garibaldi marched into Naples, was reopening of the erotic collection even considered. The name of the collection was then changed to the Pornographic Collection. Over time, many objects were removed from this collection and returned to the normal exhibits. The history of the Gallery thus provides an overview of the mores of the last three centuries. Not every age is equally propitious for the creation of eroticism and its associated matters. It can even become its confessed enemy. For example, the libertine environment of the Rococo period created a very favourable atmosphere for eroticism and erotic art. Erotic art, however, is not only a reflection of achieved sexual freedom; it can also be a by-product of the suppression and repression with which eroticism is burdened. It is even conceivable that the most passionate erotic works were created not in spite of, but rather because of, the cultural pressures on sexuality. In nature, the instinct-controlled sexuality of animals is not erotic. In eroticism, however, culture uses nature. Whereas sexuality as an imperative of nature – even in humans – is timeless, eroticism is changeable: as culturally conditioned sexuality, it has a history.

      Eroticism thus would have to be understood as a socially and culturally formed phenomenon. In which case, it is the creature of moral, legal, and magical prohibitions, prohibitions which arise to prevent sexuality harming the social structure. The bridled urge expresses itself; but it also encourages fantasy without exposing society to the destructive dangers of excess. This distance distinguishes eroticism from sexuality. Eroticism is a successful balancing act that finds a precarious equilibrium between the cold flow of a rationally organised society – which in its extremes can also СКАЧАТЬ