Sex In The Northern Renaissance @ricardo114 - Tumblr Blog

Here's a video segment to better explain the backstory of Cupid and Venus in these Lucas Cranach works

Pressed.Printed.Porn: An early look at the Pornography of the Northern Renaissance

In comparison to Italian renaissance, the Northern renaissance is not as largely attributed to contents of sex and pornography. Albeit several artist engage in creation and distribution of the earlier forms of pornography. A substantial contributor to this northern renaissance pornographic sub moment. Many of Hans Sebald’s engraving have very conspicuous sexual imageries and messages. Temporly disregarding the chief focus and intent of Hans Sebald’s Death and Innocent pair, the main subjects are masturbating each other. Aside the female subject dominant grasp of the male’s gentails, the couple display intense stares with each other. The female is exhibiting a rather aggressive erotic, while in sharp contrast the male figure has very enamored mesmerized gaze towards the woman. In Sebald’s Cimon und Pero, there is also a strong pornographic imagery and content. The male figure is in a submissive position with his shackled feet and his seated position. Analogous to this other work the woman is again shown in dominance, with a controlling position that is almost lording over the male figure. Also the male subject seems to be subdued by suckling this woman. Albert Durer’s wood cut Men’s Bath can be also deemed as a pornographic work. With it aforementioned play on the bath pipe as a phallic symbol,the desiring gaze of the men, nudity, and effeminate poses of the men are all sexually suggestive with pornographic undertones.

With rise of engravings and print making, these works were being mass produced and distributed. It is almost certain that these images served as objects of arousal for its audience. By virtue of works like these erotic engraving being sold at public markets, who do think the target audience was ?

Phillips, Kim M., and Barry Reay. Sex before Sexuality: A Premodern History. Print.

Mens Bath. Durer(1496).

Bathing in Homosexuality: The Bathhouse Sagas

The Northern Renaissance did not have a substantial emphasis on homosexuality, but several artist and artworks played with the controversial topic. The bathhouse/bath setting has along since been a symbol and place for sexual exploration. With most of these bathhouses being segregated by gender, this exclusive setting galvanized and encourage interested in homosexuality. According to Kim Philps ” Sex before sexuality” due to the range of age groups, in many causes the older men would take advantage of the younger pubescent and adolescent boys.Many times these older perverse men would touch or fondle these boys, which interns introduces them to homosexuality and cause them to explore these sexual acts. She also notes that an experience of women is more based on intellect. In Lucas Cranach the Elder’s Fountain of Youth, sexual exploration and homosexuality is associated with young age and youthfulness. Although there are men present in the scene, it is only women that are pictured in the actual bath. The older women most placed towards the left side of the frame, creating an easy to follow timeline or events of occurrence ( old women goes into bath, engages in homosexual acts while growing young, come out youthful). Moreover the presence of Cupid and venus statues render the sexual undertones to be more pronounced. In Hans Sebald Women’s Bath scene, although these subjects do have homosexual association despite there minimal interaction. The two figures in the forefront are the best homoerotic embodiment, with younger voluptuous woman is shown either stroking or bathing the older more rotund woman. Durer’s Mens bath engraving is another work that associates the bath house setting with homosexuality. With its active imagery, play on the pipes of the house, he is able to further spotlight this homoerotic undertone.

Phillips, Kim M., and Barry Reay. Sex before Sexuality: A Premodern History. Print.

And thats a Wrap!! Thanks for being apart of this 2 part Met series. Stay tuned for other great content on the way

Sex Gods: The Lustful Twosome (Met Series pt. 2)

A continuation of the two part met series is my piece on sex gods. Often associated with sex and sensuality are the Roman Gods Cupid and Venus. Lucas Cranach the Elder in all of three of these works he actively involves the corresponding myth and relationship of the two. With the use of these pagan figures he conveys messages of the by products and ramification of lust,sex, and desire. In his Venus and cupid scenes he depicts Cupid yearning and begging for Venus’s attention. However, Venus is neglecting his cry for attention, while fixing her stare on the viewer. Venus is shown as an ideal 16th century German woman, being characterized by a slim and elongated figure, with subtle curves and modest breast. With her nudity and her suggestive stance, Venus is almost attempting to allure and seduce her viewer. In the second rendition of the Venus and Cupid, Cupid being stung by a swarm of bees and is pictured in anguish and pain, while begging for Venus's attention. Through out this piece there are sharp sexual symbolism, aside from the figures themselves. The presence of a red apple( in this case a red apple tree) is an embodiment of sexual desire and sin. Furthermore Venus's playful tantalizing interaction with the fruits themselves, is another push for sexual enticement to the viewer.Also the tree branch in between Venus's leg has somewhat of a serpentine characteristic to it, which could be a subtle ploy to reference Satan. The Latin inscription at the top corner of the work roughly translates to " with pleasure comes pain". This is the central message being conveyed through this work. The theme best seen when Cupid attempts to satisfy his Desire with honey, but is met by territorial unforgiving bees.

Citation:

Phillips, Kim M., and Barry Reay. Sex before Sexuality: A Premodern History. Print.

Moore, Clifford H. "Greek and Roman Mythology. William Sherwood Fox. Vol. I of The Mythology of All Races (12 Vols.), (Louis Herbert Gray and George Foot Moore, Eds.) Marshall Jones Co." Harvard Theological Review10.03 (1917): 310-11. Web.

#cupid #venus #sex

Nip Slip: Virgin and Child from a perverse lens( Met Series pt.1)

Virgin and Child, what is the first idea that come to mind? Yes, readers SEX ( in some cases a before and after juxtaposition). With that said the motif and concept of Virgin and Child is not conventionally connoted with ideas of sex and erotic notions. This particular theme always is in reference to the Virgin Mary and Jesus Christ (the child). As the general public are already cognizant of the backstory this theme, I will refrain from reiterating it in detail. With that said the crux of the story and theme is that Mary bore Jesus from what is known as the “Immaculate Conception”. In that Jesus was not born out conventional intercourse, but out of divine impregnation. This biblical scene has long since been revered as pivotal instance and symbol in the bible. Furthermore translated into northern renaissance art, portrayed by several artists has also been marked in religious prominence.

Even so with this popular motif they are still fragments of sexual elements that can gleaned from its many renditions. Portrayed in several styles, two main styles of the Virgin and Child best support this notion. In the early to mid15th century period, the Virgin and Child subject was done in a more conservative fashion and devoid of any sexual implications or undertones. Often referred to as the “Elesua Icon” or the tenderness icon, Christ is seen nestling the cheek of Mary. This pose was a rather subtle attempt to display the nurturing maternal relationship between Jesus and Mary. This nestled position, absence of halos, and the doting gaze of Mary that is casted upon the baby Christ, suggests elements of humanism and common worldly sentiments. Roiger van der Weyden’s rendition of the Virgin wand Child is a great example that captures this notion. With this move toward a more secular representation of religious figures, more artists decide to push the envelope. Hans Memling and the Master of Saint Ursula Legend renditions of the Virgin and Child were two the earliest works to feature Christ suckling the breast of the Virgin Mary. Many would speculate that this was an overt attempt to highlight Mary’s maternal connection to Jesus. Furthermore this can be interpreted as an attempt to remind viewers that Jesus was still a man/ human and to paint Jesus in a worldly fashion.

With that said artist like Joos van Cleve played with this novel depiction of the Virgin and Child even further. Aside from the obvious symbolism to backstory of the Virgin and Child, Jesus predetermined fate, and the fall of man, Cleve’s renditions exhibit the most sexual undertones. In Cleve’s The Holy Family, Jesus is seen suckling Mary’s rather round voluptuous bountiful breast and holding a red apple. In comparison to other works(USE WORK) that feature Mary Breast feeding, there seems to been an active effort to make Mary’s breast seem more attractive. Moreover Jesus holding the apple is an obvious representation of the Garden of Eden and the fall of man. Even so, just as much as the red apple represents these things, it is also an active representation of sexuality. Shifting focus to the other figure in the work, Joseph is always referred to and deemed as the Jesus’s earthly father. Although his inclusion in this piece was intended to depict his loving parental connection for Jesus and the notion of a sacred family, Joseph has an ostensibly perverse gaze. He looks as if he is an old perverse man, being intrigued and aroused by the sight of Mary’s youthful breast. In his other rendition of the Virgin and Child, there is seemingly a larger focus on Mary’s breast as oppose to his Holy Family. Not engaging in any act of breast feeding, there seems to be no active purpose for Mary’s breast to be displayed. With the absence of a maternal action actively associated with her breast, sexual can be implied here as well.

With that understanding, one follow the progressive change and shifts in the Virgin and child motif. Its representation transitioned from innocent motherly nestling to breastfeeding/ nursing to a focus on Mary’s womanly features. As mentioned before in this particular post, I am by no means attempting destroy any icons or insinuate any idea of iconoclasm. The sole purpose of today’s post is to challenge my audience to explore all perspectives when viewing a work of art.

Citation:

Phillips, Kim M., and Barry Reay. Sex before Sexuality: A Premodern

History. Print.

#sex #northern renaissance #virgin

Virgin and Child.Joos van Cleve(1525).Oil and Wood. Overall 28 3/8 x 21 1/4 in. (72.1 x 54 cm); painted surface 27 3/4 x 20 3/4 in. (70.5 x 52.7 cm)

The Holy Family.Joos van Cleve(1512- 1513). Oil on Wood. 16 3/4 x 12 1/2 in. (42.5 x 31.8 cm)

Virgin and Child. Hans Memling(1475-80). Oil on wood. Overall, with integral frame, diameter 9 3/4 in. (24.8 cm); painted surface diameter 6 7/8 in. (17.5 cm)

Virgin and Child

Master of the Saint Ursula Legend (Netherlandish, active late 15th century)

Date: 1475–99 Accession Number: 17.190.16

Virgin and Child. Rogier Van der Weyden ( 1454). Oil on wood. 31.9 cm × 22.9 cm (12.6 in × 9.0 in). Museum of Fine Art Houston, Texas.

Here are some tantalizing images of the Metropolitan Museum Of Art, to get us started.

Exciting News readers! I will be visiting the Metropolitan Museum of Art, located at the edge of Central Park in New York City. A two part series will come of this trip. Stay Tuned !

Fountain of Youth. Lucas Cranach the Elder

Sex At First...

Bella Heures of Jean de France , Linmbourg Brothers. Commissioned by Jean de France, Duc de Berry, this particular scene of the manuscript embodies much of the early public sentiments towards sex and sexuality. In that much of the pieces of that time period reflected shameful outlook on such topics, while concurrently promoting and urging chastity and holiness. In this scene from the Belles Heures , we see a couple ( well a man and woman) in the foreground, and another man watching them from the background. The couple in the front seems to have a rather intimate moment and connection, while the elderly man in the back ground looks on in despair. The actual background story of this piece is that Paul the Hermit witnesses a young Christian man being tempted by the devil in disguise. The young man is said have been resisting the devil, however the devil has him pinned down and is fondling him. If one looks very closely you could see that the young Christian man bit his tongue off, in an attempt to resist the devil. This is just one the many 15th century religious perspectives that governed the art produced then. Moreover sex and sexuality is introduced as a sin and a shameful act. This notion can be traced back to what is known infamously as the “Fall of Man” and the earliest experiences of sexuality between Adam and Eve. Nonetheless as time passes, notions and artwork regarding sexuality becomes more accepting and progressive. References: http://youtu.be/xSTd6HlQ494 Phillips, Kim M., and Barry Reay. Sex before Sexuality: A Premodern History. Cambridge, UK: Polity, 2011. 10+. Print.

Paul the Hermit Sees a Christian Tempted, The Belles Heures of Jean de France, Duc de Berry, Herman.Paul and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416), French, 1405–1408/1409. Tempera and gold leaf on vellum. Single leaf, 23.8 × 27 cm. The Metropolitan Museum of Art, The Cloisters Collection, 1954

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