November 14, 2009
From The Art and Popular Culture Encyclopedia
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User:Jahsonic/L'Histoire de l'Erotisme
"From Disco to Disco" samples Bohannon's b-side to Foot Stompin' Music Part II, "I Remember."
Jezebel, Salome, Eve, Delilah, Maacah, Potiphar's wife, Lot's daughters, Lot's wife, Herodias, and Athaliah are the bad women of the bible.
Lucretia, Salome, Cleopatra, Judith are archetypes for Leiris in Arena, probably a Dutch translation out on Privédomein. The link is death and women.
Amorous Scene (after Titian) at the Casa Buonarroti
Theodore Kerckring's drawings of the "little man inside the egg"—whom nobody ever called a "homunculus"
Bibliothèque Nationale - Paris
Roman Cieslewicz appropriates Jean Auguste Dominique Ingres and Leonardo Da Vinci
André Dunoyer de Segonzac HdE, Lo Duca
Museum of Erotic Art Bande dessinée érotique Romi (écrivain) Éditions Dominique Leroy
The cover on the Dutch translation of The Marquis De Sade: A New Biography (1992) by Tony Thomas published by Bert Bakker has this Roman Cieslewicz illustration of Sade
"Fernando et Luce séduits par leurs corps échangés", 1966, 100 cm de diamètre, huile sur toile by Arrabal
'Binx', photos by Gary Dobry
balthus Un homme et une filette. , which harked back to the painting of the Italian Quattrocento (in particular that of Piero della Francesca) and prolonged the great French tradi-tion (Poussin, Ingres, Courbet).
Alain Jouffroy, Jean-Clarence Lambert and Gérald Gassiot-Talabot Opus International
Revue Opus International N° 001
Guerrillero Heroico Wiesław Wałkuski Alina Szapocznikow Cyrk (Art) Polish School of Posters
- "However, there is another contradictory element also present in Lucretia, an erotic subtext that runs through Cranach's art, from around 1520 onwards. While on one hand she symbolizes wifely virtue, on the other she is a sixteenth century "Venus in furs." She has dressed for her suicide in a jeweled collar with a gold chain around her neck, and her fur-lined cloak is pulled open so it frames her naked bosom and stomach. Cranach uses the same type, with subtle variations, for nearly all his female subjects, be they Eve, Judith, Salome, Lucretia or Venus. She is a young, slim Saxon girl, cool but knowing as she subtly engages the viewer's eye. The most overtly sexual paintings are those of Venus and the Honey Thief, but the erotic theme is apparent in the others as well. The court at Wittenberg was an educated and sophisticated one, engaged in the religious debates of the day, familiar with the classics but not immune to the sensual pleasures of a narrow and wealthy society. Lucas Cranach the Elder and Younger understood the tastes of their patrons and served them well."--Sothebys[1]
Water Nymph Resting (c. 1530) – Lucas Cranach the Elder
