After graduating from the Academy of Fine Arts in Bordeaux, Jean-Marie Poumeyrol taught mechanical draughtsmanship before being let go from this occupation for failing to pass the nude drawing exam, receiving an ‘F’ in this subject at the same time that his disturbing and morbid erotic paintings were becoming highly prized collectors items.
Allied with the artists of fantastic realism, H.R Giger and Sibylle Ruppert are two notable examples of the style that I have previously written about, Poumeyrol developed his style away from erotica, painting mysterious interiors devoid of human beings but filled with the ghostly traces of absent inhabitants, noticeably numerous fetishistic drawings adoring the walls. The hushed surroundings are bathed in a peculiar pellucid light; gradually the hint of horror that these paintings undoubtedly contain reveals itself in the eerie calm of these meretriciously rendered spaces
Below is a selection of paintings covering various stages of his career. Information is rather scarce regarding dates and titles, surprising for such an excellent artist of singular vision, however that is the vagaries of reputation and fame.
The controversial life and work of the Marquis De Sade, the man so diabolical he was called divine, is still the subject of much debate between apologists who defend him as the apostle of total freedom, and his detractors who view him as a vile libertine possessed with an over-weening feudal sense of entitlement and a virulent misogynist. The question that Simone De Beauvoir nervously asked in 1951, ‘Must We Burn Sade?‘, is still no closer to being answered satisfactorily. But maybe it will never be, as the challenge De Sade lays down is an impossible one.
Regardless of De Sade’s ambiguous position in culture, what is not in doubt is the influence he possessed over the Surrealist movement. Andre Breton name checks the Marquis in the Surrealist Manifesto and he is included in the Pope of Surrealism‘s Anthology of Black Humour (with good reason, De Sade possessed a cruel, sharp wit on occasion), and it seems to have been de rigeur for Surrealists artists to reference and/or illustrate the Divine Marquis.
Below are examples from various artists, many of whom are favourites here. I have written about Toyen on many occasions and have highlighted her repeated rifts on Sadean subjects (see especially At the Chateau La Coste). Her artistic partner Jindrich Strysky provided a cover for Philosophy in the Boudoir, as well as producing the erotic story Emilie Comes to Me in a Dream. Valentine Hugo‘s images have graced several headers of my poems and stories, including several of her illustrations for Eugenie de Franval.The Argentinian artist Leonor Fini was another woman Surrealist who astounded with her frank depiction of erotic subjects and was instinctively drawn to illustrating Juliette. Finally in this post is the deliriously lurid and low-brow paintings of Clovis Trouille, whose entire oeuvre appears to be a psychedelic actualisation on canvas of a Sadean scenario of the mind.
Jindrich Strysky-Cover for Philosophy in the Boudoir
Jindrich Strysky-Emilie Comes to Me In a Dream 1933
Valentine Hugo-Eugenie de Franval 1948
Leonor Fini-the lovers
Clovis Trouille-Rêve Claustral
Leonor Fini-L’Entre Deux-1967
Valentine Hugo-Eugenie de Franval 1948
Clovis Trouille-My Tomb 1947
Clovis Trouille-Dolmancé et ses fantômes de luxure
The publication of Les Fleurs Du Mal by Charles Baudelaire in 1857 can rightly be judged as the birth of Modernity. Baudelaire’s innovation wasn’t in style or technique, but in the bold, shocking subject matter, (that would lead to obscenity trials) and its depiction of a sordid, urban milieu. As well as the poems themselves, Baudelaire as a perceptive art critic would have a great influence upon emerging young artists determined to break with convention and tradition, notably Edouard Manet (see Olympia Press: A Brief History of DBs which features his groundbreaking painting Olympia from 1863).
The great realist Gustave Courbet was directly inspired by Baudelaire’s poem Femmes damnees Delphine et Hippolyte (Damned Women Delphine and Hippolyte)from LesFleurs du mal in his masterful erotic painting Le Sommeil (The Sleepers) from 1866. This provocative depiction of lesbianism with its compelling, and at the time completely new, realism led to a police report and removal for display when first exhibited in 1872. Le Sommeil was not subsequently allowed to be publicly shown until 1988.
1866 was also the year that Courbet completed a commission for his most famous erotic painting L’Origine du monde (The Origin of the World) with its graphic close up view of a naked woman’s genitals and abdomen. In February 2016 a Parisian court ruled that Facebook may be sued in France for removing the image from users pages.
(This is a revised version of a post that originally appeared here September 2016, in order for to fit in with the Dreams of Desire Series. If you like this post or my many other stories, poems, essays then my collection Motion No. 69 will be available for sale on 30th November 2017.)
Regular readers will be aware of the high esteem that I hold the mysterious, brilliant artist and co-founder of the Czech Surrealist Group, Toyen, through the many posts that have featured her extra-ordinary artwork. However while I have certainly noted the influence of the erotic upon her work ( notably At the Chateau La Coste), I have refrained from featuring her more explicit drawings that she produced for Edition 69 (see Dreams of Desire 34 (Emilie Comes To Me In A Dream) and throughout her career, instead concentrating on her marvellous paintings and lithographs (see The Myth of Light, Horror and The Shooting Gallery); however these erotic drawings and dry-points are exceptional in their technical execution, mastery of line (unsurpassed within the Surrealist group, with the possible exception of the supremely disquieting Hans Bellmer), visual wit and power to cause unease.
Below are some of Toyen’s illustrations for the Edition 69 series, which included Justine by the Marquis De Sade and Pybrac by that urbane decadent writer and pornographer Pierre Louys, which is without doubt the filthiest poem ever published. Also included are later dry-point illustrations from Radovan Ivsic’s Le Puit dans la tour/Derbis de reves (The Well in the tower/Debris of dreams).
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 TheDream of the Fisherman’s Wifeis 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.