Dreams of Desire 65 (Ingres)

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The Turkish Bath-Jean Auguste Dominque Ingres 1862-1863
The French Revolution had swept away the frivolous excesses of Rococo (see Dreams of Desire 64 (Boucher’s Odalisques) and two competing tendencies dominated French during the first half of the Nineteenth Century: the wild grandiose Romanticism of Delacroix and the somber, stately Neo-Classicism best personified by Jean Auguste Dominique Ingres.

Ingres painted a number of important erotic paintings including the Valpinçon Bather of 1808, La Grande Odalisque of 1814 and L’Odalisque à l’esclave from 1839, however his most famous painting is The Turkish Bath from 1862-1863, completed when Ingres was 83 years old.

Portraying a group of nude women in a bath at a harem, The Turkish Bath is suffused with a lush hothouse atmosphere that heightens the erotic charge of the painting. Ingres erotic works would have a major impact upon the Modernists including Picasso and Matisse while the Post Modernist German artist Gerhard Richter would base his painting Bathers upon Ingres’s masterpiece.

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The Valpincon Bather-Ingres 1808
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La Grand Odalisque-Ingres 1814

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Odalisque with Slave-Ingres 1839

(Just a reminder to inform you that my book Motion No. 69 is available from November 30th 2017 from Amazon).

 

 

Dreams of Desire 64 (Boucher’s Odalisques)

Portrait of Marie-Louise O'Murphy-Francois Boucher 1752
Portrait of Marie-Louise O’Murphy (Blonde Odalisque)-Francois Boucher 1752

During the period when Baroque reigned supreme, overt eroticism all but disappeared from Western Art. It would take the emergence of Rococo, the florid, playful and frankly somewhat sluttish younger French sister of Baroque, to take art back into the boudoir.

Francois Boucher was one of the leading lights of Rococo and enjoyed the patronage of the prime mover of the style, Madame de Pompadour, the Official Chief Mistress of King Louis XV. As well as mythological genres scenes featuring Venus he painted two odalisques stripped of all allegorical trappings, the L’Odalisque Brune from 1745 and the L’Odalisque Blonde from 1752.

France was ongoing a vogue for the mysterious, exotic East during the Ancien Regime. Several libertine novels including Denis Diderot Les bijoux indiscrets (The Indiscreet Jewels) and Crebillon Fils La Sopha (The Sofa) are set in fantasy Oriental lands, partly to give full reign to the imagination but also to disguise the political satire on the luxuriant and decadent Court of Louis XV. Part of the attraction, for men anyway, were the stories of odalisques; mistresses or concubines in a harem.

Boucher’s L’Odalisque Brune from 1745 was reportedly a portrait of Madame Boucher , which led Diderot, Encyclopedist and somewhat risque writer of the above-mentioned  Les bijoux indiscrets and La Religieuse (The Nun) to state that Boucher was prostituting his wife.  L’Odalisque Blonde is a portrait of the courtesan Marie-Louise O’Murphy. King Louis XV was so taken with this painting that he arranged for Marie-Louise to become a petite maitresse (lesser mistress). At least one of her children was the King’s.

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L’Odalisque Brune-Francois Boucher 1745

Dreams of Desire 63 (Utamaro)

Lovers-in-the-upstairs-room-of-a-teahouse-from-Poem-of-the-Pillow-1788-by-Kitagawa-Utamaro[1]
Kitagawa Utamaro-Lovers in the Upstairs Room of a Teahouse 1788
The Meiji Restoration in 1868 opened Japan’s ports again to foreign trade after 200 years of international isolation. Soon Japanese art and artefacts found their way to Paris and London which resulted in a craze known as Japonisme. Ukiyo-e, particularly the works of the masters, Hokusai, Hiroshige and Kitagawa Utamaro, would have a profound effect upon the first of all modern art movements, Impressionism.

Utamaro was renowned for his psychologically astute portraits of courtesans. Employing sophisticated compositional techniques of partial views, striking mannerism and subtle gradients of light and shade, Utamaro was collected by many luminaries of Impressionism and Post-Impressionism, notably Degas, Gaugain and Toulouse-Lautrec. The serenity of his female studies were clearly a major influence on the ground-breaking female artist Mary Cassett.

Utamaro, like every ukiyo-e artist produced a large body of shunga. His sensitivity to female beauty combined with the intimacy and tenderness of many of the scenes portrayed rank among the finest examples of erotic art.

Dreams of Desire 62 (Hokusai)

Hokusai-Gods of Myriad Conjugal Delights 1821
Hokusai-Gods of Myriad Conjugal Delights-1821

Katsushika Hokusai is undoubtedly the most famous ukiyo-e (pictures of the floating world) artist of the Edo period. Not only was he responsible for the single most famous Japanese artwork, The Great Wave OffKanagawa, his The Dream of the Fisherman’s Wife is the most widely known example of shunga (spring pictures), the astounding Japanese erotic art that flourished between the 17th and 19th centuries.

What is striking about ukiyo-e is that every major artist of the period produced shunga, including Eiri, Utamaro, Kuniyoshi, Kunisada and Eisen. Although shunga was subject to periodic censorship by the shogunate, this didn’t seem to affect its widespread popularity among all classes of Japanese society. It was also a highly profitable venture for the artist who could supplement their income for months with a single painting.

Below are examples of Hokusai’s work, including The Great Wave Off Kanagawa as well as some brillitantly executed shunga.

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The Great Wave Off Kanagawa
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Hokusai-Sea Cucumber
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Hokusai-Entangled
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Hokusai
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Hokusai
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Hokusai
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Hokusai
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Hokusai
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Hokusai

Dreams of Desire 61 (Rokeby Venus)

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Venus at her Mirror (Rokeby Venus)-Diego Velázquez-1647-1651

One of the most famous portrayals of the female nude in Western Art, Diego Velázquez’s Venus at her Mirror, more commonly known as the Rokeby Venus, (so-called because it hung in the 19th Century at Rokeby Park, Yorkshire before becoming part of the National Gallery in London permanent collection), is a landmark of erotic art.

As Titian and Rubens were both connected to the Spanish court, it is likely that Velázquez would have been familiar with both Titian’s Venus of Urbino, and Rubens Venus in Front of the Mirror, which are cited as possible sources for the Rokeby Venus, however Velázquez was working in the severely censorious and repressive atmosphere of the Spanish Golden Age, where the Spanish Inquisition monitored art for immorality. Several Spanish Cardinals had called for the destruction of any artwork featuring nudity, but some Spanish courtiers and nobility held private collections of such work. Velázquez position as court painter to King Philip IV enabled him to become the first Spaniard to feature female nudity; it would be 150 years before another Spanish artist, Goya, would again take the risk, in his incomparable La Maja Desnuda.

As in Titian’s painting, Venus is shorn of her traditional mythological trappings, the only indicator that this is a mythological painting is the winged presence of her son, Cupid, who holds the mirror for her rapt self-appraisal. In a departure from previous representations of the Goddess, Venus is a brunette and is noticeably more slender than the fully figured versions of Titian and Rubens (especially Rubens). One of the most controversial features of the painting is the blurred face in the mirror in contrast to the precisely delineated derriere that is the focal point of the composition.

Outside of Spain, Velázquez wasn’t well known until the mid 19th Century, when he was discovered however he would have an important influence upon Modern Art. Manet, Picasso and Bacon are among those who have acknowledged their indebtedness.

The King of Kink, Helmut Newton (see Dreams of Desire 55 (Helmut Newton) knowingly references and updates the Rokeby Venus in one of his coolly fetishistic photographs from the late 70’s/early 80’s.

Helmut Newton
Helmut Newton-Rokeby Venus