European erotica
From The Art and Popular Culture Encyclopedia
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| + | :One striking aspect of pre-industrial European erotic literature is the preponderance of female characters. Two early 17th century French works, ''[[L’Ecole des Filles]]'' and ''[[L’Academie des Dames]]'', were written as female dialogues — a literary device that was to be repeated many times over the next century in works such as [[John Cleland]]’s ''[[Fanny Hill]]'' and the [[Marquis de Sade]]’s ''[[Juliette]]''. | ||
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| In Europe, starting with the [[Renaissance]], there was a tradition of producing erotica for the amusement of the aristocracy. In the early 16th century, the text ''[[I Modi]]'' was an [[woodcut]] album created by the designer [[Giulio Romano]], the engraver [[Marcantonio Raimondi]] and the poet [[Pietro Aretino]]. In 1601 [[Michelangelo Merisi|Caravaggio]] painted the "Love Triumphant," for the collection of the Marquis Vincenzo Giustiniani. The latter is reputed to have kept it hidden behind a curtain to show only to his friends, as it was seen as a blatant celebration of [[sodomy]]. The tradition is continued by other, more modern painters, such as [[Fragonard]], [[Courbet]], [[Jean-François Millet|Millet]], [[Balthus]], [[Picasso]], [[Edgar Degas]], [[Toulouse-Lautrec]], [[Egon Schiele]], who served time in jail and had several works destroyed by the authorities for offending turn-of-the-century Austrian mores with his depiction of nude young girls, and so on. | In Europe, starting with the [[Renaissance]], there was a tradition of producing erotica for the amusement of the aristocracy. In the early 16th century, the text ''[[I Modi]]'' was an [[woodcut]] album created by the designer [[Giulio Romano]], the engraver [[Marcantonio Raimondi]] and the poet [[Pietro Aretino]]. In 1601 [[Michelangelo Merisi|Caravaggio]] painted the "Love Triumphant," for the collection of the Marquis Vincenzo Giustiniani. The latter is reputed to have kept it hidden behind a curtain to show only to his friends, as it was seen as a blatant celebration of [[sodomy]]. The tradition is continued by other, more modern painters, such as [[Fragonard]], [[Courbet]], [[Jean-François Millet|Millet]], [[Balthus]], [[Picasso]], [[Edgar Degas]], [[Toulouse-Lautrec]], [[Egon Schiele]], who served time in jail and had several works destroyed by the authorities for offending turn-of-the-century Austrian mores with his depiction of nude young girls, and so on. | ||
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| + | == Intro == | ||
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| + | Mainland Europe, especially France, Scandinavia and the Netherlands has a reputation for sexual freedom unknown in the puritanical Anglo-Saxon world. | ||
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| + | Paris is the capital of erotic art and the Netherlands has enjoyed freedom of the press since the enlightenment era. | ||
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| + | Many British upper class Grand Tour travellers were shocked by the sexual explicitness of the artworks they found in Europe. | ||
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| + | An example of such outrage can be found in the writings of American author Mark Twain: | ||
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| + | :In his 1880 travelogue A Tramp Abroad Mark Twain called the Venus of Urbino 'the foulest, the vilest, the obscenest picture the world possesses'. He proposed that 'it was painted for a bagnio and it was probably refused because it was a trifle too strong', adding humorously that 'in truth, it is a trifle too strong for any place but a public art gallery'. | ||
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| + | == European erotic film == | ||
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| + | === Eurotica=== | ||
| + | During the 1960s and 1970s, European low-budget films went kinky, emerging as a new type of cinema that blended eroticism, surrealism, horror, and over-the-top atmospherics. | ||
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| + | === European trash cinema === | ||
| + | European trash cinema is a cinematic subgenre of European cinema and trash cinema. It is also referred to as Eurosleaze. | ||
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| + | ==== Directors ==== | ||
| + | The moniker 'Euro trash' includes but is not limited to [[Mario Bava]], [[Jess Franco]], [[Jean Rollin]], [[Walerian Borowczyk]], [[Tinto Brass]], [[Radley Metzger]] [an American who shot many of his movies in France and who regularly imported European erotic movies in the US where he sometimes or re-edited them], [[Max Pecas]], [[José Benazeraf]], [[Jose Larraz]], [[Claude Mulot]]... | ||
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| + | == Continental film review (1952 - 1983?) == | ||
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| + | First issue in 1952. | ||
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| + | 'UK-based ''international'' film magazine which purported to be a somewhat serious film journal devoted to foreign films, but which in its later years focused rather more on pruriently on the scantily-clad and often nude young actresses which peopled films of the era.' | ||
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| + | There was also published a US-priced edition which was exactly the same as the UK-counterpart except that it was dated a month later and was priced at 35 or 50 cents rather than 1/6. --http://www.geocities.com/moviemags/continental61.html [Jan 2005] | ||
Revision as of 12:17, 2 June 2007
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- One striking aspect of pre-industrial European erotic literature is the preponderance of female characters. Two early 17th century French works, L’Ecole des Filles and L’Academie des Dames, were written as female dialogues — a literary device that was to be repeated many times over the next century in works such as John Cleland’s Fanny Hill and the Marquis de Sade’s Juliette.
Contents |
See also
By region
American erotica | Belgian erotica | British erotica | Dutch erotica | European erotica | French erotica | German erotica | Italian erotica | Japanese erotica | Scandinavian erotica
Eurpean erotic art
In Europe, starting with the Renaissance, there was a tradition of producing erotica for the amusement of the aristocracy. In the early 16th century, the text I Modi was an woodcut album created by the designer Giulio Romano, the engraver Marcantonio Raimondi and the poet Pietro Aretino. In 1601 Caravaggio painted the "Love Triumphant," for the collection of the Marquis Vincenzo Giustiniani. The latter is reputed to have kept it hidden behind a curtain to show only to his friends, as it was seen as a blatant celebration of sodomy. The tradition is continued by other, more modern painters, such as Fragonard, Courbet, Millet, Balthus, Picasso, Edgar Degas, Toulouse-Lautrec, Egon Schiele, who served time in jail and had several works destroyed by the authorities for offending turn-of-the-century Austrian mores with his depiction of nude young girls, and so on.
Intro
Mainland Europe, especially France, Scandinavia and the Netherlands has a reputation for sexual freedom unknown in the puritanical Anglo-Saxon world.
Paris is the capital of erotic art and the Netherlands has enjoyed freedom of the press since the enlightenment era.
Many British upper class Grand Tour travellers were shocked by the sexual explicitness of the artworks they found in Europe.
An example of such outrage can be found in the writings of American author Mark Twain:
- In his 1880 travelogue A Tramp Abroad Mark Twain called the Venus of Urbino 'the foulest, the vilest, the obscenest picture the world possesses'. He proposed that 'it was painted for a bagnio and it was probably refused because it was a trifle too strong', adding humorously that 'in truth, it is a trifle too strong for any place but a public art gallery'.
European erotic film
Eurotica
During the 1960s and 1970s, European low-budget films went kinky, emerging as a new type of cinema that blended eroticism, surrealism, horror, and over-the-top atmospherics.
European trash cinema
European trash cinema is a cinematic subgenre of European cinema and trash cinema. It is also referred to as Eurosleaze.
Directors
The moniker 'Euro trash' includes but is not limited to Mario Bava, Jess Franco, Jean Rollin, Walerian Borowczyk, Tinto Brass, Radley Metzger [an American who shot many of his movies in France and who regularly imported European erotic movies in the US where he sometimes or re-edited them], Max Pecas, José Benazeraf, Jose Larraz, Claude Mulot...
Continental film review (1952 - 1983?)
First issue in 1952.
'UK-based international film magazine which purported to be a somewhat serious film journal devoted to foreign films, but which in its later years focused rather more on pruriently on the scantily-clad and often nude young actresses which peopled films of the era.'
There was also published a US-priced edition which was exactly the same as the UK-counterpart except that it was dated a month later and was priced at 35 or 50 cents rather than 1/6. --http://www.geocities.com/moviemags/continental61.html [Jan 2005]
