L'Origine du monde
From The Art and Popular Culture Encyclopedia
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| In [[1994|February 1994]] the novel ''Adorations perpétuelles'' (''Perpetual Adorations'') by [[Jacques Henric]], reproduced ''L’Origine du monde'' on its cover. Police visited several French bookshops to have them withdraw the book from their windows. A few proprietors, such as the ''Rome'' bookshop in [[Clermont-Ferrand]], maintained the book, but others such as ''Les Sandales d’Empédocle'' in [[Besançon]] complied, and some voluntarily removed it. The author was saddened by these events: “A few years ago, bookshops were counter-powers. When the Ministry of Interior, in [[1970]], banned [[Pierre Guyotat]]’s book, ''Eden, Eden, Eden'', bookshops had been resistance places. Today, they anticipate censorship…”. | In [[1994|February 1994]] the novel ''Adorations perpétuelles'' (''Perpetual Adorations'') by [[Jacques Henric]], reproduced ''L’Origine du monde'' on its cover. Police visited several French bookshops to have them withdraw the book from their windows. A few proprietors, such as the ''Rome'' bookshop in [[Clermont-Ferrand]], maintained the book, but others such as ''Les Sandales d’Empédocle'' in [[Besançon]] complied, and some voluntarily removed it. The author was saddened by these events: “A few years ago, bookshops were counter-powers. When the Ministry of Interior, in [[1970]], banned [[Pierre Guyotat]]’s book, ''Eden, Eden, Eden'', bookshops had been resistance places. Today, they anticipate censorship…”. | ||
| - | Although moral standards and resulting taboos regarding the artistic display of nudity have evolved since Courbet, owing especially to [[photography]] and [[film|cinema]], the painting remained provocative. Its arrival at the [[Musée d'Orsay]] caused high excitement. A guard was permanently assigned to the monitoring of this sole work, to observe the reactions of the public. | + | Although moral standards and resulting taboos regarding the artistic display of nudity have evolved since Courbet, owing especially to [[photography]] and [[film|cinema]], the painting remained provocative. Its arrival at the [[Musée d'Orsay]] caused high excitement. A guard was permanently assigned to the monitoring of this sole work, to observe the reactions of the public.{{GFDL}} |
| - | [http://en.wikipedia.org/wiki/{{PAGENAMEE}}] [May 2007] | + | |
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L’Origine du monde (The Origin of the World) is an oil on canvas painted by Gustave Courbet in 1866. Measuring about 46 cm by 55 cm (18.1 by 21.7 inches), it depicts the close-up view of the genitals and abdomen of a naked woman, lying on a bed and spreading her legs.
The framing of the scene, between the thighs and the chest, emphasizes the eroticism of the work. Moreover, an erect nipple and the redness of the labia suggest that the model just had a sexual encounter.
The painting was not publicly exhibited until the mid-1990s.
Provocative work
During the 19th century, the display of the nude body underwent a revolution whose main activists were Courbet and Manet. Courbet rejected academic painting and its smooth, idealised nudes, but he also directly recriminated the hypocritical social conventions of the Second Empire, where eroticism and even pornography were acceptable in mythological or oneiric paintings.
Courbet later insisted he never lied in his paintings, and his realism pushed the limits of what was considered presentable. With L'Origine du monde he has made even more explicit the eroticism of Manet's Olympia. Maxime Du Camp, in a harsh tirade, reported his visit of the work’s purchaser, and his sight of a painting “giving realism’s last word”.
Influence
In February 1994 the novel Adorations perpétuelles (Perpetual Adorations) by Jacques Henric, reproduced L’Origine du monde on its cover. Police visited several French bookshops to have them withdraw the book from their windows. A few proprietors, such as the Rome bookshop in Clermont-Ferrand, maintained the book, but others such as Les Sandales d’Empédocle in Besançon complied, and some voluntarily removed it. The author was saddened by these events: “A few years ago, bookshops were counter-powers. When the Ministry of Interior, in 1970, banned Pierre Guyotat’s book, Eden, Eden, Eden, bookshops had been resistance places. Today, they anticipate censorship…”.
Although moral standards and resulting taboos regarding the artistic display of nudity have evolved since Courbet, owing especially to photography and cinema, the painting remained provocative. Its arrival at the Musée d'Orsay caused high excitement. A guard was permanently assigned to the monitoring of this sole work, to observe the reactions of the public.
