Canvas and Connection: A Dialogue Between an Art Historian and a ѕex Educator on the Interplay of Art and Intimacy

In discussions surrounding sexual, erotic, or nude imagery, there often exists a potential for confusion when determining whether an image falls within the realm of the erotic or crosses over into pornography. This confusion is, in part, rooted in the artist’s intention. “The Erotic harbors aspirations beyond mere desire [and] sexuality. The Erotic tends to be something that engages with morality, psychology, and the boundaries of permissibility,” explains Alyce. “On the other hand, the pornographic body is present purely as a sexual aid – something designed solely to arouse sexual pleasure.”

It is evident that Erotic art transcends mere depictions of sexuality; it delves into realms that go beyond overt manifestations. The twentieth century provides numerous examples of the intricate relationship between social movements, historical events, and artists’ representations of Eroticism. Some artists drew inspiration from their experiences during the First and Second World Wars, exploring what Alyce refers to as the ‘mechanization’ of the body for wartime purposes.

Throughout Western art history, Erotic subjects and imagery have often served as educational tools, promoting high moral standards and cautioning the public against indulging excessively in the temptations of the flesh.

“The idea might have been that you would give a painting of a Venus and Cupid to remind people watching it of the importance of not having unbridled passion or unbridled lust and the need to actually think about the mind and morality. And to think about virtue, rather than just vice,” says Alyce.

One can apply this moralistic interpretation to John William Waterhouse’s painting, “Hylas and the Nymphs,” portraying Hylas from the Greek story of Jason and the Argonauts surrounded by seven nude water nymphs. In the painting, his preoccupation with their beauty puts him at risk of falling into the water and drowning, establishing a direct connection between sexuality and potential peril.

In a painting from William Hogarth’s “A Rake’s Progress” series titled “The Rake at the Rose Tavern,” Hogarth depicts an orgy scene in a well-known London brothel. People are drunkenly strewn about the room, and the women are covered with sores caused by syphilis. This is one of eight paintings that served as cautionary tales, warning against indulging in vices, from gambling to sex.

This concept of morality in connection with sexuality pervades the history of art, leading to a distinct separation between art and pornography. In particular, during the nineteenth century, people sought to pinpoint clear definitions of ‘Eroticism’ and ‘pornography’ to clarify socially acceptable forms of imagery and materials. These discussions inevitably led to censorship, and the practice of censoring Erotic works extends back centuries, adapting to the tastes and fashions of each period. Censorship was sometimes even applied posthumously, as seen in the case of Michelangelo.

“There was a law issued at the time of Michelangelo’s death in 1564, stating that the genitals in his artworks – even if they’re referencing biblical subject matter or mythological subject matter – needed to be covered,” explains Alyce. “His famous statue of David depicting the battle between David and Goliath was adorned with a chastity girdle of twenty-eight copper leaves after 1564 because just the representation of genitals was seen to be something that was too Erotic.”

If Erotic art doesn’t always manifest explicitly with nudity and provocative gazes, you might be wondering how to recognize some of the more subtle Erotic iconography. Images of Venus are easy to spot, featuring reclined female figures like those seen in the works of Titian and Manet. The inclusion of a dog may symbolize fidelity, while a cat can represent passion. Even something as seemingly innocent as a painting of a young woman or girl with a dead bird or wilting flowers can connote the loss of innocence.

Advancing to more recent art movements, the Surrealists were a group that strongly believed that Eroticism played an essential role in art. This avant-garde movement began in early-1920s Paris and quickly spread across the world, lasting for decades. They explored Eroticism by engaging with imagery of the body but also delving into the realm of psychology.

Salvador Dalí made bold political statements through Eroticism in his work by exploring homoerotic desire at a time when the Nazis were gaining power and attacking homosexuality as ‘degenerate.’ “The idea of him exploring same-sex desire wasn’t just an exploration of his own self or an homage to what Surrealism was trying to do, but it was a very defiant political move,” says Alyce.

Dorothea Tanning takes yet another perspective in her “Eine Kleine Nachtmusik” by exploring the idea of burgeoning womanhood and being on the cusp of transitioning from a girl to a woman. This includes sexual awakening among other bodily and psychological developments. It also taps into the psychology of dreams, which was a recurring theme in many Surrealist works.

I entered this episode expecting to discuss what turns out to be a surface-level interpretation of Erotic art. It’s a varied and nuanced genre that evolves with new mediums and changing societal norms.

“While we can’t pin down Eroticism every decade, it is the idea that it arouses something in us, we identify with it or recognize it, at least, and there’s an element of pleasure,” says Alyce. “And that’s something that we find at the heart of all art and why we still need it.”

Listen to the episode via the player or links at the top of this story to get even more interesting details and examples of Erotic works. To learn more on this subject, you can pick up Alyce Mahon’s books, “Eroticism and Art” (Oxford University Press, 2005 & 2007), “Surrealism and the Politics of Eros: 1938–1968” (Thames & Hudson, 2005), and from 2020, the forthcoming “The Marquis de Sade and the Avant-Garde” (Princeton University Press).