Contents
| This theme includes example sections and will be revised and added to as we proceed. Suggestions for additions, improvements and the correction of factual errors are always appreciated.
Status: Collect > Document > Analyse > Improve |
The female nude
2.01 Erotica > The female nude
Daguerreotypes of naked women were almost entirely taken in France between the 1840's and the 1850's and were often claimed to be for the purposes of artists models. The French painter Eugéne Delacroix (1798-1863) knew of Daguerreotype studies of the male nude taken by the artist Jules-Claude Ziégler in about 1850 and by 1853 he obtained photographic prints taken by Eugène Durieu (1800-1874). He used these studies as the basis for a series of sketches. Not surprisingly following the advent of the camera painting changed in France and in the 1850's there was a movement towards a new Realism with painters such as Gustave Courbet (1819-1877) using photographs of female nudes by Julien Vallou de Villeneuve (1795-1866) as the basis for paintings such as L'Atelier (1853) and Les Baigneuses (1853).
Many other influential artists including Paul Gauguin (1848-1903) and Alphonse Marie Mucha (1860-1939) used photographs as the basis for their designs.
2.02 Erotica > Oil paintings by Gustave Courbet based upon photographs
 
Both of these oil paintings are clearly based upon known photographs by Julien Vallou de Villeneuve (1795-1866).
- In L'Atelier (The Artist's Studio) 1855 (Musée d'Orsay) the woman partially concealed by the towel has been copied from a nude study by Villeneuve now in the Biblioteque Nationale (Paris).
- In Les Baigneuses (The Bathers) 1853 (The Musée Fabre, Montpellier) also used a Villeneuve print now in the Biblioteque Nationale (Paris).
The book by Aaron Scharf Art and Photography (1968) discusses these similarities and landscape paintings by Gustave Courbet that used photographs by Gustave Le Gray and Adolphe Braun.
2.03 Erotica > Académies and the use of artist studies of nudes to assist artists
                         
2.04 Erotica > Artistic studies of nude women
               
2.05 Erotica > Early female nude studies
 
France was the center for the production of nude photographs and distinction between photographs that were taken to further art and those designed for more dubious purposes was blurred. In the middle of the nineteenth century the French photographer Auguste Belloc had his negatives confiscated by the authorities and in 1851 Felix Jacques Antoine Moulin was sent to prison for a month.
The oil paintings of nude women and children that lined the walls of salons and galleries were accepted as art but photographs were not. Similar confusion over what is art and what is obscene continues today.
2.06 Erotica > Eugène Durieu: Artist studies - Académies
About this photographer | Photographs by this photographer
 
2.07 Erotica > Erotica: Comment me preferez vous? [How would you like to see me?]
            
2.08 Erotica > Pictorialism, the nude and erotica
                     
2.09 Erotica > G.L. Arlaud: Vingt Études de Nu en Plein Air (1920)
About this photographer | Photographs by this photographer
                                 
Photographer G.L. Arlaud is remembered for a series of outdoor nude studies he took in the South of France that were printed as photogravures in Vingt Études de Nu en Plein Air (Paris, Horos Editions, 1920)
2.10 Erotica > Walery: Nus - Cent photographies originales de Laryew (ca. 1924)
About this photographer | Photographs by this photographer
                   
Walery (1863-1935) was born Stanislaw Julian Ignacy and used a number of pseudonyms. In 1920s Paris he was a photographer of the rich and famous. During this period, using the pseudonym Laryew, he produced a portfolio of nudes (NUS) in Art Deco settings using the girls of the Follies Bergere nightclub as his models.
2.11 Erotica > Strand Studios: Glamour portraits
           
2.12 Erotica > Frantisek Drtikol: Nudes
About this photographer | Photographs by this photographer
             
2.13 Erotica > Different approaches to the female nude
  
The naked form has been one of the dominant artistic themes since classical times. In painting and sculpture there can be the illusion of a separation between a real person and the work itself and this makes it more acceptable to polite society and allowed it access to the prudish salons of the nineteenth century. With photography there is no separation and it is, in most cases, a real person we are seeing and this raises artistic and moral questions. We find it difficult to ignore nagging fears about the exploitation of the participants even when they are willing and this is made all the more difficult when the motivations and morals of the photographer are unclear.
The examples selected highlight different sensitivities and approaches of the photographers. The unashamed full frontal pride in the body is the hallmark of Helmut Newton in this image which comes from his series "Big Nudes". The wonderfully curved and rounded back shot taken by Edward Weston looks more like a piece of fruit with all the symbolism that goes with that. The 1951 photograph by Bill Brandt is masterful for the depth of field and context. Here we do not need to see the entire form and two legs are sufficient to give us a sense of mystery. What is hidden is often far more sensual than what is shown.
The vast scale of the public interest in the naked form is exemplified by the sales figures of magazines and of books that cater for this form of desire. When Kishin Shinoyama published the book His Santa-Fe (Tokyo, 1991) that contained nude photographs of the actress Rie Miyazawa it sold over a million copies.
2.14 Erotica > Shadow patterns on nudes
 
2.15 Erotica > Body stockings
            
The male nude
2.16 Erotica > The male nude
 
Just as there are issues with the taking of female nudes by male photographers there are issues in the portrayal of men. Here it is difficult to separate out the beauty from the underlying messages of the homoeroticism.
One of the earliest, if not the earliest, naked self portrait was taken by the French pioneer Hippolyte Bayard (1801-1887). The Self Portrait as a Drowned Man is significant for multiple reasons, firstly it produced in 1840 using a paper process invented by the photographer, secondly it was created as a direct propaganda piece to highlight the unfairness of the decision of the French authorities to promote and financially support Louis-Jacques-Mande Daguerre but at the same time ignored Hippolyte Bayard.
2.17 Erotica > Artistic studies of nude men
 
With the early male photographs of men they appear to be less ambiguous than those of women but this has to be a personal opinion. They do seem to be predominantly artist studies rather than erotic.
2.18 Erotica > Strong men
   
Herb Ritts in his 1984 series Fred with Tires took a sequence of shots of a well muscled body moving tires around in an auto repair shop - here strength and independence are the messages. The image by Arthur Tress is rather more tame than some of his but the placing of naked animals together in a misty forest glade takes us back to a timeless Eden of innocence when anything is possible. Robert Mapplethorpe produced a wide variety of images from exquisite flowers to powerful portraits but it was his studies of the naked male form that shocked and provoked outrage at some of his exhibitions. The outrage was simplistic and was sometimes based on little more than the fact the images were of well formed naked black men - it would seem that naked women were acceptable but naked men, especially black, were not. There are difficult images here but they are not exploitative and they make us question our values and taboos.
2.19 Erotica > Studies of naked men
- Alair de Oliveira Gomes (1921-1992) telephoto photographs of men on the beach.
- Minor White (1908-1976)
- Herb Ritts (1952-2002)
- Arthur Tress
- Robert Mapplethorpe (1946-1989)
- Baron Wilhelm von Gloeden (1856-1931) born at Wismar in Germany moved to Italy and in the 1920's took a series of staged portraits of boys dressed in classical costumes that have a homo-erotic edge to them. Many of his glass plate negatives were destroyed by the Italian fascists as they were considered pornographic.
- Vera Friederich - Whilst it is commonplace for a man to photograph naked woman it is more unusual the other way around.
Erotica
2.20 Erotica > Gelatin silver prints: Erotica
            
Fetishism
2.21 Erotica > Count Theodore Zichy: The fetishism of legs and feet
About this photographer | Photographs by this photographer
    
Ethnographic nudity
2.22 Erotica > Ethnographic nudity
                   
Motivations and desires can be difficult to determine without evidence and our preconceptions of exploitation of the subject are not necessarily correct. If we understand the background of the photographer and how a photograph was taken, disseminated and the context within which it was displayed we have a partial framework, however incomplete, to place it. Blunt statements such as "all photographs are exploitative" or "photographs of ethnic nudity display a power relationship between the photographer and the subject within which the subject has little control" do not address the complex nuances. Ethnographic photography has at times been used to support theories of racial differences and Louis Agassiz (1807-1873) was a proponent of that approach but it would be naive to say that all ethnographers have similar motivations. The photographs anthropologist G.E. Dobson took of Maia Biala, the chief of Rutland Island and his wife was of a man he admired. Some photographs have the appearance of erotica or even pornography and the taboos associated with those in western society were partially reduced by the sense of the exotic. Other portraits were taken for sale to the tourist trade and the bare-breasted North African ladies in the Lehnert & Landrock were exotic images in the Orientalist style where the motivation was presumable pecuniary. Photographs change their meaning and usage over time and anthropologists would purchase commercial photographs and postcards to build up their racial typologies.
Voyeurism
2.23 Erotica > Voyeurism
The use of hidden cameras within street photography has been well established by photographers such as Paul Martin with his captured moments in British seaside towns and beaches or with the subway portraits of Walker Evans. These are well accepted within the history of photography even though there is concern about the lack of consent of those photographed. This can be justified to a certain extent by the knowledge that when a camera is present it changes the dynamic and some degree of posing will take place removing the naturalism of a scene.
When the photographer and those being photographed are of different genders or there is a disparity in age such as an older person photographing a young child our sensitivities become more acute and laws are increasingly being made and enforced to outlaw the activity. These laws are increasingly flouted as ever-smaller cameras are embedded into mobile devices and have become almost invisible.
So how should the work of photographers like Miroslav Tichý be viewed?
Miroslav Tichý (1926-2011) was a Czech photographer with a somewhat eccentric style recording with homemade cameras the women of his home town of Kyjov. His use of strange cameras made out of cardboard tubes and old tin cans along with his poorly printed voyeuristic works has made him highly regarded by a certain section of the fine photography community. His work has been collected and preserved by a neighbour, Roman Buxbaum, and since 2004 has gained reputation through international exhibitions as a subversive rebellion against communist repression. The question of voyeurism still remains.
Obscenity and pornography
2.24 Erotica > Pornography
The definition of what is a pornographic image is subjective and I well remember the protests that were made over the exhibitions of Robert Mapplethorpe's extraordinarily powerful images. The purpose of this site is not to provide titillating images but to encourage a deeper understanding of what makes a truly memorable image.
2.25 Erotica > Obscenity
The British Journal of Photography, October 24, 1879, p.514.
Offensive Photographs. At the Marylebone Police Court, on Wednesday last, the 22nd hist., Alfred Paul de Witt, 32, photographer, of 103, St. John's-wood-terrace, was brought up on a warrant by Chief Inspector Shore, of Scotland-yard, and charged with unlawfully, wickedly, and maliciously uttering and selling certain obscene, wicked, and scandalous prints and photographs. Mr. Collette prosecuted for the Society for the Suppression of Vice, Mr. S. B. Abrahams defending. Mr. Collette, in opening the case, said the prisoner was a photographer, and, besides carrying on a legitimate business, it was notorious that he received women from all parts of London, whom he photographed, and he also reproduced photographic pictures from negatives sent to him for the purpose. This case originated under a warrant under Lord Campbell's Act, and a warrant was also obtained to take the prisoner's body under the ordinary criminal law. St. Ledger Lousada, an officer of the Criminal Investigation Department at Scotland-yard, said he received instructions from Chief Inspector Shore, and also from Mr. Collette, and then proceeded to No. 103, St. John's-wood-terrace, on the 13th instant. He there saw the prisoner and stated his wish to have his photograph taken. The light being indifferent it was postponed until the following day, when he went again and sat for his portrait. He asked the prisoner if he had any photographs of women taken a la mode, and he said he had a few negatives, but he seldom kept them, generally destroying them after he had taken them. Witness said he should like to see them, and the prisoner showed him the negative (produced). Witness ordered some copies from that and other negatives that the prisoner showed him, and also purchased a photograph and then left, the prisoner telling him the others would be ready by the Friday. He called on that day, and the prisoner told him he would have to reprint them, as he had met with an accident with them. Witness called on the Saturday, but they were not printed, and the prisoner told him if he could call on the Sunday they would be finished. Witness called on the Sunday afternoon, but the prisoner was out. He went again on the Monday and saw the prisoner, who handed him six photographs (produced). Witness had paid him £1 9s. 6d. For them and his own photograph on the previous Tuesday. Witness took the pictures to Scotland-yard, and handed them to Chief Superintendent Williamson, and by his instructions he called on Mr. Collette the next morning. He was present that morning at the prisoner's house, with Chief Inspector Shore, when the negatives produced were seized. They corresponded with the pictures he had bought. He recognised among other parcels of negatives now handed to him, and which were seized that morning, two negatives the prisoner had shown him. Cross-examined: He went to the prisoner's once or twice on horseback. The prisoner told him the negatives did not belong to him. The payment of £1 9s. 6d., for which the receipt was now produced, was not solely for his photographs it included the others. His photographs were 17s. 6d. Per dozen. The prisoner, that morning, made no effort of concealment. He told them where the negatives were. John Shore, chief inspector of Scotland-yard, having also given evidence, the prisoner reserved his defence, and Mr. Mansfield committed him for trial. Mr. Collette applied for a summons for the destruction of the negatives and photographs, which Mr. Mansfield granted. Mr. Abrahams asked that the prisoner be allowed to go out on bail, and Mr. Mansfield agreed to accept two sureties in £40 each.
alan@luminous-lint.com |
      
General reading
Bertolotti, Alessandro, 2007, Books of Nudes, (Abrams) isbn-10: 0810994445 isbn-13: 978-0810994447 [Δ]
Bright, Deborah (ed.), 1998, The Passionate Camera: Photography and Bodies of Desire, (London and New York: Routledge) [Δ]
Callahan, Sean & Olschewski, P. (eds.), 1995, Nudes, (Edition Stemmle) isbn-10: 390551401X isbn-13: 978-3905514018 [Δ]
Dennis, Kelly, 1994, ‘Ethnopornography: Veiling the Dark Continent‘, History of Photography, vol.18, no.1, pp.22-28 [Δ]
Dupouy, Alexandre, 1993, Torture garden: Vintage erotica archives, (Tokyo: Treville: Distributed by Libro Port Co.) isbn-13: 978-4845708659 [Δ]
Dupouy, Alexandre, 2003, Erotic art photography, (London: Parkstone) isbn-13: 978-1859958193 [Δ]
Dupouy, Alexandre & Dupouy, Chloé, 2007, Les éditions Ostra: l’Âge d’Or du Fétichisme, (Paris: Astarte) isbn-13: 978-2909607191 [Δ]
Dupouy, Alexandre; Esteban, Anne-Marie & Monsieur X, 1996, Collection privée de Monsieur X, (Paris: Astarte) isbn-13: 978-2909607092 [Δ]
Edwards, Susan H., 1994, ‘Pretty Babies: Art, Erotica or Kiddie Porn‘, History of Photography, vol.18, no.1, pp.38-46 [Δ]
Ewing, William A., 1994, The Body: Photographs of the Human Form, (San Francisco: Chronicle Books) [Δ]
Field, Genevieve. (ed.), 2000, Nerve: The New Nude, (Chronicle Books) isbn-10: 081182957X isbn-13: 978-0811829571 [Δ]
Hanson, Dian, 2013, Dian Hanson's History of Pin-up Magazines Vol. 1-3, (Taschen) isbn-10: 3836539705 isbn-13: 978-3836539708 [Slipcase, English / French / German] [Δ]
Jay, Bill, 1971, Views on Nudes, (Focal Press) isbn-10: 0240507312 isbn-13: 978-0240507316 [Δ]
Kelly, Jain. (ed.), 1979, Nude Theory, (Lustrum Press) isbn-10: 0912810335 isbn-13: 978-0912810331 [Δ]
Köhler, Michael, 1986/1995, The Body Exposed: Views of the Body: 150 Years of the Nude in Photography, (Zurich: Edition Stemmle) [Δ]
Kroll, Eric (ed.), 1995, Elmer Batters. From the tip of the toes to the top of the hose, (Taschen) isbn-13: 978-3836539296 [Δ]
Kuhn, Annette, 1985, The Power of the Image: Essays on Representation and Sexuality, (New York: Routledge) [Δ]
Linderman, Jim, 2011, Secret History of the Black Pin Up: Women of Color from Pin Up to Porn, (Blurb (print-on-demand)) [Blurb id: 2488194] [Δ]
Linderman, Jim, 2011, Smut by Mail: Vintage Graphics from the Golden Age of Obscenity, (Blurb (print-on-demand)) [Blurb id: 1957996] [Δ]
Mavor, Carol, 1995, Pleasures Taken: Performances of Sexuality and Loss in Victorian Photographs, (Durham, NC and London: Duke University Press) [Δ]
Mitchell, M. & Bernhard, R., 1986, The Eternal Body, (Carmel: Photography West Graphics) [Δ]
Mlcoch. Jan & Birgus, Vladimir (eds.), 2001, The Nude In Czech Photography, (Kant) isbn-10: 8086217353 isbn-13: 978-8086217352 [Δ]
Nead, Lynda, 1992, The Female Nude: Art, Obscenity and Sexuality, (London and New York: Routledge) [Δ]
Ovendon, Graham, 1972, Victorian Erotic Photography, (New York: St. Martin's Press) [Δ]
Pulz, John, 1995, The Body and the Lens: Photography 1839 to the Present, (New York: Harry N. Abrams) [Δ]
Richter, Peter-Cornell (ed.), 1998, Nude Photography: Masterpieces from the Past 150 Years, (Prestel Publishing) isbn-10: 3791319981 isbn-13: 978-3791319988 [Δ]
Smith, Todd D., 1994, ‘Gay Male Pornography and the East: Re-Orienting the Orient‘, History of Photography, vol.18, no.1, pp.13-21 [Δ]
Stirrat, Betsy et. al, 1997, The Art of Desire: Erotic Treasures from the Kinsey Institute, (Indiana University Press) isbn-10: 0966032004 isbn-13: 978-0966032000 [Δ]
Weiermair, Peter; Pohlmann, Ulrich, et al., 2004, The Nude: Ideal and Reality - Photography, (Skira) isbn-10: 8884918308 isbn-13: 978-8884918307 [Δ]
Wolin, Jeffrey A. & Stirratt, Betsy, 2000, Peek: Photographs from the Kinsey Institute, (Arena editions) [Δ]
Readings on, or by, individual photographers
G.L. Arlaud
Arlaud, G.L., 1920, Vingt Études de Nu en Plein Air, (Paris, Horos Editions) [Δ]
E.J. Bellocq
Bellocq, E.J., 1996, Bellocq: Photographs from Storyville. The Red-Light District of New Orleans, (New York: Random House) [Introduction by Susan Sontag. Interviews by John Szarkowski. Preface by Lee Friedlander] [Δ]
Szarkowski, J. (ed.), 1970, E. J. Bellocq: Storyville Portraits: Photographs from the New Orleans Red-Light District, circa 1912, (New York: Museum of Modern Art) [Δ]
Bill Brandt
Brandt, Bill, 1961, Perspective of Nudes, (London: The Bodley Head) [Δ]
Brandt, Bill, 1980, Bill Brandt: Nudes 1945-1980, (London: Gordon Fraser) [Δ]
Frantisek Drtikol
Farova, Anna, 1993, Frantisek Drtikol: Photograph des Art Deco, (München: Schirmer / Mosel) [Δ]
Lee Friedlander
Friedlander, Lee, 1991, Lee Friedlander: Nudes, (Random House UK) isbn-10: 0224032178 isbn-13: 978-0224032179 [Δ]
Friedlander, Lee, 2013, Lee Friedlander The Nudes: A Second Look, (D.A.P./Distributed Art Publishers, Inc.) isbn-10: 193892200X isbn-13: 978-1938922008 [Δ]
George Platt Lynes
Crump, J., 1993, George Platt Lynes, Photographs from the Kinsey Institute, (Boston: Bulfinch Press) [Δ]
Kirstein, L., 1960, George Platt Lynes Portraits 1931–1952, (Chicago: Art Institute of Chicago) [Δ]
Woody, J., 1981, George Platt Lynes: Photographs, 1931–1955, (Pasadena, CA: Twelvetrees Press) [Δ]
Manassé Studio (Vienna)
Faber, Monika, 1998, Divas and lovers: the erotic art of Studio Manassé, (Universe) isbn-10: 0789302349 isbn-13: 978-0789302342 [Δ]
Robert Mapplethorpe
Danto, A. C., 1996, Playing With the Edge: The Photographic Achievement of Robert Mapplethorpe, (Berkeley, CA: University of California Press) [Δ]
Mapplethorpe, Robert, 1980, Robert Mapplethorpe: Black Males, (Amsterdam: Galeria Jurka) [Text by Edmund White] [Δ]
Mapplethorpe, Robert, 1983, Lady: Lisa Lyon, (New York: St. Martins) [Δ]
Mapplethorpe, Robert, 1999, Pictures: Robert Mapplethorpe, (New York: Arena Editions) [Edited by D. Levas] [Δ]
Marshall, R.; Howard, R. & Sischy, I., 1988, Robert Mapplethorpe, (New York: Whitney Museum of Art) [Δ]
Morrisroe, P., 1995, Mapplethorpe, (New York: Papermac) [Δ]
Mary Ellen Mark
Mark, Mary Ellen, 1981, Falkland Road: Prostitutes of Bombay, (New York: Knopf) [Δ]
Susan Meiselas
Meiselas, Susan, 2001, Pandora’s Box, (London and New York: Trebruk) [Δ]
Meiselas, Susan, 2008, Carnival Strippers, (Steidl) isbn-10: 3882439548 isbn-13: 978-3882439540 [2nd revised edition] [Δ]
Boris Mikhailov
Mikhailov, Boris, 1999, Boris Mikhailov: Case History, (Scalo Publishers) isbn-10: 3908247098 isbn-13: 978-3908247098 [Δ]
Nancy Newhall
Newhall, Nancy, 2007, Edward Weston's Book of Nudes, (Oxford University Press, USA) isbn-10: 0892369035 isbn-13: 978-0892369034 [Δ]
Helmut Newton
Newton, Helmut, 1976, White Women, (London: Quartet Books) [Δ]
Newton, Helmut, 1981, Big Nudes, (Paris: Xavier Moreau Inc.) [Text by K. Lagerfeld] [Δ]
Newton, Helmut, 2000, Sumo, (Cologne: Taschen) [Δ]
Irving Penn
Hambourg, Maria Morris, 2002, Earthly Bodies: Irving Penn's Nudes, 1949–50, (New York: The Metropolitan Museum of Art; Boston: Bulfinch Press) [Δ]
Larry Sultan
Sultan, Larry, 2005, The Valley, (Scalo) isbn-10: 3908247799 isbn-13: 978-3908247791 [Δ]
Miroslav Tichý
Tichy, Miroslav, 2012, L'homme a La Mauvaise Camera, (Presses du Reel) isbn-10: 2916067655 isbn-13: 978-2916067650 [French] [Δ]
Walery
Laryew (Stanislaus Walery), 1924 (ca), Nus - Cent photographies originales de Laryew, (Paris: Librairie des Arts Decoratis) [Δ]
Edward Weston
Conger, Amy, 2006, Edward Weston: The Form of the Nude, (Phaidon Press) isbn-10: 0714845736 isbn-13: 978-0714845739 [Δ]
Newhall, Nancy, 2007, Edward Weston's Book of Nudes, (Oxford University Press, USA) isbn-10: 0892369035 isbn-13: 978-0892369034 [Δ]
If you feel this list is missing a significant book or article please let me know - Alan - alan@luminous-lint.com
Resources
Frank Rodick: Sub Rosa series of nude studies.
http://www.frankrodick.com ...
| Robert Farber
http://www.farber.com
| Eric Boutilier-Brown
http://www.evolvingbeauty.com
This site has two sections a free site and a patron site with an annual subscription that allows access to a far larger resource of images.
| Robert Mapplethorpe: Male Nudes
http://www.mapplethorpe.org ...
| Sexist/Girlie
http://www.geh.org ...
| Robert Mapplethorpe: Female Nudes
http://www.mapplethorpe.org ...
| Art Forum
http://www.art-forum.org
Hans de Roos has put together a site with high quality scans of work exploring the relationship between the nude and art.
| Robert Mapplethorpe - the Cincinnati case
http://www.enquirer.com ...
The showing of photographs by Robert Mapplethorpe and legal case that was bought against Dennis Barrie and the Contemporary Arts Center in Cincinnati. The argument concerned the right to use photographs that were deemed by some to be offensive. Although the jury affirmed the right to show the work it did affect public funding for the arts in America.
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