Art Erotica Painting

[AndyRew]

Edouard Manet (1832-1883)
Lunch on the Grass
1863
Oil on canvas

' Manet painted Lunch on the grass for very different reasons to the earlier nudes in Art history. His nude paintings depicted 'prostitues' women who could be owned by men. Although one of his main reasons was to create controversy and to be noticed , he also was also exposing the reality of sleezy sexual pastimes of well heeled Parisian men. Here in Lunch on the grass the woman looks back at us looking at her. He forces the viewer to confront the sordid hidden truth'

This piece painted so many years ago speaks a vicious tone voiced so strongly, reciting the domestic situation we as civil human-beings are faced with in this country, in regard to over powering authority toward women

 

[AndyRew]

The Women of Algeria
Les Femmes d’Alger
Pablo Picasso

“Four women. Or perhaps three women, and a painting of another woman, pulse in a graphic field of interior space bracketed by black light on one side, curtains on another, tile floor and patterned carpet below, and coffered ceiling above. […]On the left is a giant, Cyprian-like seated woman. Her voluptuous breasts are corseted by some sort of laced red bodice that makes her a cross between a fertility figure, goddess, Medusa, caryatid, harem figure, and proprietor of this realm and the next. Her veil, headdress, or hair is a labyrinth of yellow, blue, red, and white intertwining coils.”

sold this year 2015 for US$179.4 million at auction......

It's truly beautiful​

 

[AndyRew]

The Great Masturbator
Salvador Dalí
1929

The center of the painting has a distorted human face in profile looking downwards, based on the shape of a natural rock formation at Cap de Creus along the sea-shore of Catalonia.[1] A similar profile is seen in Dalí's more famous painting of two years later, The Persistence of Memory. A nude female figure (resembling Dalí's then new muse, Gala) rises from the back of the head; this may be the masturbatory fantasy suggested by the title. The woman's mouth is near a thinly clad male crotch, a suggestion that fellatio may take place. The male figure seen only from the waist down has bleeding fresh cuts on his knees. Below the central profile head, on its mouth, is a grasshopper, an insect Dali referred to several times in his writings. A swarm of ants (a popular motif representing sexual anxiety in Dalí's work) gather on the grasshopper's abdomen, as well as on the prone face. In the landscape below, three other figures are arranged, along with an egg (commonly used as a symbol of fertility) and sparse other features. Two of the characters in the landscape are arranged in such a way as to cast a long single shadow, while the other character is seen hurriedly walking into the distance on the peripheries of the canvas.

One of my favorite Dudes...What a mad cat man

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[AndyRew]

' Creation of Eve '
MICHELANGELO Buonarroti
(b. 1475, Caprese, d. 1564, Roma)
1510

In response to the gesture and intense gaze of the Creator, Eve appears to rise from the rocks behind Adam rather than from his body, extending her joint hands. The bodies of the couple appear to be those of adolescents, in contrast to those depicted in the scene of the Fall and Expulsion. The figure of the Lord, wrapped in a voluminous violet mantle that only allows a glimpse of the red tunic he wears in the other scenes of the Creation, draws on an iconographic tradition dating back to Giotto and Masaccio, from which it is differentiated, however, by the blond hair and beard framing the face.

The Creation of Woman is a design cast in simple, powerful form that contains a certain demonic element. The God and Demiurge, as conceived in the earlier medieval tradition, fills the space between heaven and earth as if about to erupt out of it, lifting his arms with an incantatory gesture and a supernatural air. More is indicated here than mere physical creation: it is the conception of the female mirror-image drawn forth from the sleeping Adam, who is fettered to a stunted tree shaped like the Staurus, the Egyptian cross. Is he the archetypal son destined to become the Mediator and endure the Passion? The composition forms a right-angled triangle with Adam as the horizontal and God the Father the vertical element, and Eve, in an attitude of adoration, striving towards the hand of God as a diagonal hypotenuse. Theirs is a harmonious Pythagorean unity of spirits prior to their separation. This astounding fresco dominating the centre of the entire vault links Ezekiel and the Sibyl of Cumae, thus underlining the importance of the grand design of the law of polarity!

Without question the greatest artist known to Humanity and Mankind​

I quote:

' No painting nor sculpture now soothes the soul, that turns toward that Holy Light, where on the cross opened it's arms to take us '

If I had two options, one to have overwhelming millions of dollars and all I desire, or two to be part of Michelangelo's life and work as he did to understand his thoughts, I would choose the latter without hesitation or breath...
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There is no finer example of perfection
' I Love You '​

 

[AndyRew]

' Susanna and the Elders '
Tintoretto
1555-56​

Susanna and The Elders , Berger describes how Suzanna is viewing herself in the mirror 'picturing to herself how men see her. She sees herself first and foremost as a sight; which means a sight for men.' The painting also portrays the elders voyeuristically viewing Suzanna from a hidden place, just as the viewer of the painting does. This painting is a good example of the 'pornographic' function of art which was disguised by the male Art establishment as 'beauty'.​

 

[AndyRew]

Are you an artist?
Do you often dream about
making this world a better place?
And achieve that by
philosophising aesthetic grace......​

 

[AndyRew]

' De figuris Veneris '
On the figures of Venus
This is one of a series of 95 erotic sexual positions from De figuris Veneris (On the figures of Venus) was an anthology of ancient Greek and ancient Roman writings on erotic topics, discussed objectively and classified and grouped by subject matter. It was first published by the German classicist Friedrich Karl Forberg in 1824 in Latin and Greek as a commentary to Hermaphroditus by Antonio Beccadelli (i.e. Antonii Panormitae Hermaphroditus, an erotic poem sequence in renaissance Latin), though it was later also published as a separate work. It was later also translated into English (published by Charles Carrington in 1899 and again by Charles Hirsch in 1907), French and German (one French edition was illustrated by Édouard-Henri Avril).
Édouard-Henri Avril
(21 May 1849 – 28 July 1928)​

' Females performing cunnilingus‎ '

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[AndyRew]

Peter Fendi
(4 September 1796 – 28 August 1842)

Was an Austrian court painter, portrait and genre painter, engraver, and lithographer. He was one of the leading artists of the Biedermeier period.

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Fendi painted in oil and watercolours, as well as working with printing, etching, lithography and wood carving. Multicolored prints by Fendi are considered pioneering achievements in the field of lithography. Fendi is remembered for his genre scenes, influenced by Dutch painters such as Adriaen Brouwer, Adriaen van Ostade and Rembrandt. Other influences on Fendi's artistic development included the works of Italians such as Giovanni Bellini, Tintoretto, Titian, and Paolo Veronese, which he saw on a trip to Venice in 1821. He is also well known for his portraits of the aristocracy and his erotic paintings. His watercolors depict almost all possible sex positions.

Fendi engraved a series five of Austrian banknotes that were issued in 1841.

His works are preserved in the Albertina Museum, the Austrian Gallery in the Belvedere, Kunsthistorisches Museum, and in the collections of the Prince of Liechtenstein in Vaduz.

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[AndyRew]

' Beethoven Frieze '
(detail with the three Gorgons)

Gustav Klimt
1862 – 1918

The hostile forces. The giant Typhoeus, against whom even the gods battle in vain (the monster with mother-of-pearl eyes extending across the entire front wall with his blue wings and snake-like appendages); his daughters, the three gorgons (the three women standing to the left of Typhoeus). Sickness, madness, death (the mask-like female heads above the gorgon heads).​

 

[AndyRew]

' The Three Graces '
Lucas Cranach the Elder
1472 - 1553

This past November, the Louvre issued an appeal for donations of an unprecedented scale for the acquisition of a Renaissance masterpiece: The Three Graces, by Lucas Cranach the Elder. The rarity, beauty and exceptional condition of the artwork warranted such an outstanding effort from the museum.

Painted on a small wood panel in 1531, this artwork depicts three female nudes with exquisite finesse. A theme that dates back to Antiquity, giving rise to a number of mythological variants, the Three Graces often personify mirth, abundance and splendor. Lucas Cranach the Elder intertwines the realism of Northern European painters and the softer, smoother imaginary realm of Italian painting, with a highly personal and deliberately ironic version.

A Renaissance masterpiece ' Priceless '​

 

[AndyRew]

' Frau bei Selbstbefriedigungder '
Gustav Klimt’s

The legendary Gustav Klimt produced this great image sometime in 1916 or 1917, just a year or two before his death. Entitled “Frau bei der Selbstbefriedigungder” (essentially, “Woman Self-Pleasuring”) and IMO quite remarkable for its loveliness while simultaneously being quite frank about what’s going on here.
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[AndyRew]

' THE SCREAM '
Edvard Munch
1863 - 1944​

The Scream was painted after the end of the photographic Realist era, when artists wanted to show off their technical skills. The Scream was also painted right before the Expressionists and other artists of the early twentieth century made it a trend to put a focus on the expression of their inner feelings and emotions through their art rather than displaying how realistically they could paint an image or object.

Yes I know its not erotic art, but no collection is complete without The Scream
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[AndyRew]

Japan Erotic Art Artist Paintings Images

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[AndyRew]

' The Rape of Europa 2 '
L'Enlévement d'Europe
François Boucher
(1703 - 1770)
1 of 69​

François Boucher born in Paris, the son of a lace designer Nicolas Boucher, François Boucher was perhaps the most celebrated decorative artist of the 18th century, with most of his work reflecting the Rococo style. At the young age of 17, Boucher was apprenticed by his father to François Lemoyne, however after only 3 months he went to work for the engraver Jean-François Cars. Within 3 years Boucher had already won the elite Grand Prix de Rome, although he did not take up the consequential opportunity to study in Italy until 4 years later. On his return from studying in Italy in 1731, he was admitted to the Royal Academy of Painting and Sculpture as a historical painter, and became a faculty member in 1734.

He was perhaps the most celebrated painter and decorative artist of the 18th century.

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[AndyRew]

Erotic Scene
(La Douceur)

Pablo Picasso
(Spanish, Malaga 1881–1973 Mougins, France )

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While the subject of this canvas is unique in his painted oeuvre, Picasso made dozens of explicitly sexual watercolors and drawings in his early years, especially between 1902 and 1903. As a young man he did not hide his promiscuity and he frequently depicted himself in the company of showgirls and prostitutes. This painting, however, remains unusual for its patent lack of erotic intensity, which is surprising coming from a young man of such extensive sexual experience. Even Picasso himself-for that is indeed the artist on the bed-does not look at the woman; instead he lifts his head with both hands to see himself reflected in a mirror across the room, adopting the pose of Goya's paintings of majas at the Museo del Prado, Madrid.

When shown a photograph of this painting in the 1960s, Picasso denied that he had made it and dismissed it as a "bad joke by friends." Recent research has shown, to the contrary, that it was one of two paintings purchased in Barcelona in 1912 by Picasso's dealer, Daniel-Henry Kahnweiler, from Benet Soler, whose clothing shop Picasso frequented. Hence it is quite likely that Picasso had exchanged the painting for clothes about 1903. After it was sold in the 1923 Kahnweiler auction in Paris, it was purchased by the American publisher and collector Scofield Thayer for his collection of erotica.

I find this one very erotic, reminds me of possibly my first sexual encounter. With my best mate.​

 

[AndyRew]

' Woman with Black Stockings '

Egon Schiele
1913​

The reason his nude and semi-nude portrayals of his models and lovers are so beguiling is quite simple – they have a filthy quality. Schiele, who got arrested for what he was up to, depicts women with not only lust and adoration but a dirty-minded frankness that transports his art from the merely beautiful to the wildly erotic.

And i can't stop loving you, And I wont...

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[AndyRew]

' Jupiter and Io '
(c. 1530)

Antonio Allegri da Correggio
(August 1489 – March 5, 1534)​

Antonio Allegri da Correggio (August 1489 – March 5, 1534), usually known as Correggio (Italian: [korˈreddʒo]), was the foremost painter of the Parma school of the Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the 16th century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Rococo art of the 18th century.

The scene of Jupiter and Io is inspired by Ovid's classic Metamorphoses. Io, daughter of Inachus, the first king of Argos, is seduced by Jupiter (Zeus in Greek), who hides behind the dunes to avoid hurting the jealous Juno (Hera in Greek). Jupiter was often tempted by other women and took on various disguises in order to cover his various escapades, one time taking the form of a swan, another time of an eagle, and in this painting he is not becoming something else so much as enveloping himself in a dark cloud, even though it is bright daylight. He is embracing the nymph, his face barely visible above hers. She is pulling Jupiter's vague, smoky hand towards herself with barely contained sensuality; this is a sensual painting, depicting one of the many loves of the god. Indeed, the Duke of Mantua, Federico Gonzaga, wanted to place the painting and its companion pieces in a room dedicated to the loves of Jupiter.

Noteworthy is the contrast between the evanescent figure of the immaterial Jupiter, and the sensual substance of Io's body, shown lost in an erotic rapture which anticipates the works of Bernini and Rubens.

Absulutly exquisite, beautiful, very erotic, so very soft​

 

[AndyRew]

' Danaë with Eros '
Titian
1544
Danaë was seen in the Middle Ages and Renaissance as a symbol of the corrupting effect of wealth, which could taint even feminine beauty or moral virtue.​

The first version, now in Naples, was painted between 1544-46. Titian executed a later version on commission from the art-loving Spanish monarch Philip II. Titian and his workshop produced at least five versions of the painting, which vary to degrees. The dog resting at Danaë's side is absent in some versions, while her companion is a god in some and a haggish nursemaid in others. In all, Danaë is depicted as a voluptuous figure. Her legs are open in all, with her left leg arched; this being a central painterly motif in each.

I have no wording to put the enthusiast on
taking the time and follow the link to discover this man, any words of mine would surely be fruitless and without zest.

Please do you'll be completely amazed.

https://en.wikipedia.org/wiki/Danaë_(Titian_series)
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[AndyRew]

' Venus of Urbino '
Titian
(1536-38)

No one has ever painted naked women as gorgeously as Titian did. His ravishing Venus is a lover laying her beauty bare, and the recipient of her optical largesse is anyone who happens to stand in front of this painting in the Uffizi gallery in Florence, Italy. Titian creates with mind-boggling skill the lavish presence of this nude: the rapture of her carnal glory. There's something divine about such beauty. Some people find profundity in religious art, in abstract art, in conceptual art. For me, there's nothing more moving in art than the breasts of the Venus of Urbino.​

 

[AndyRew]

' The Birth of Venus '
Sandro Botticelli
(c 1484)
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Botticelli revived the love goddess Venus in the Renaissance, posing her in the modest manner pioneered by the ancient artist Praxiteles, as he sets out not to titillate, but philosophise. According to Plato and his followers the contemplation of physical beauty can lead the mind to heavenly truth. Botticelli's Venus is not a sex object. She is a divine teacher of spiritual enlightenment. Hers is a beauty that heals the world.

You can never have to much Botticelli in your life, it is without question the beauty that heals the world, I can feel her heart beat...​

 

[AndyRew]

"L'Origine du monde (The Origin of the World)"

Gustave Courbet's
1866​

It is a close-up view of the genitals and abdomen of a naked woman, lying on a bed with legs spread. The framing of the nude body, with head, arms and lower legs outside of view, emphasizes the eroticism of the work.

Well very little more can be said, it only goes and I might clear my throat here, to once again teach us a very simple lesson. Even right back in 1866 the Vagina needed no Introduction.
I do like its Title....​

 

[AndyRew]

“The high brow peep show is divided thematically into depictions of religion, mythology, athleticism, homosexuality, and shifting notions of manliness. Wandering the Musee’s grand halls you will see rippling Greco-Roman Apollonian gods, Egon Schiele’s finely rendered, debauched self portraits and David LaChapelle’s 90s macho-kitsch celebs. Edward Munch’s hazy, pastel bathers mingle with Lucian Freud’s grossly erotic fleshy animals and reverent depictions of Christ and Saint Sebastian, showing the many ways to interpret a body sans outerwear.”

Jean Delville
(19 January 1867, Leuven – 19 January 1953, Forest, Brussels)
was a Belgian symbolist painter, author, poet, polemicist, teacher, and Theosophist. Delville was the leading exponent of the Belgian Idealist movement in art during the 1890s. He held, throughout his life, the belief that art should be the expression of a higher spiritual truth and that it should be based on the principle of Ideal, or spiritual Beauty. He executed a great number of paintings during his active career from 1887 to the end of the second World War (many now lost or destroyed) expressing his Idealist aesthetic. Delville was trained at the Académie des Beaux-arts in Brussels and proved to be a highly precocious student, winning most of the prestigious competition prizes at the Academy while still a young student. He later won the Belgian Prix de Rome which allowed him to travel to Rome and Florence and study at first hand the works of the artists of the Renaissance. During his time in Italy he created his celebrated masterpiece L'Ecole de Platon (1898), which stands as a visual summary of his Idealist aesthetic which he promoted during the 1890s in his writings, poetry and exhibitions societies, notably the Salons d'Art Idéaliste.​

École de Platon
(School of Plato)
1898

School of Plato, a decoration intended for the Sorbonne but never installed there, is a striking work in many respects. Its monumental size and its ambitious message – an interpretation of classical philosophy seen through the prism of the symbolist ideal – set it apart. The manifesto makes no secret of its references, from Raphael to Puvis de Chavannes, but envelops them in the strange charm of a deliberately unreal colour range. The ambiguity emanating from this fin de siècle Mannerism knowingly blurs the borderline between purity and sensuality.
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A minute of your time if you will, Id like to share with you the thoughts of mine. We must never make the mistake of disadvantaging and limiting our experience in this world. Beauty must never be denied in any shape or form. Whether it be a painting, sculpture, the male and female forms or nature itself, enclosing all of life. If we are to deny such beauty for fear or reappraisal or retribution. We loose the magic of life and living and not long after everything will cease to exist, because you fail to see the beauty around you, because that pleasure is the very magic that gives you life.
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[AndyRew]

' Nymphes et un satyre '
(Nymphs and Satyr)
William-Adolphe Bouguereau
1873

oil on canvas

Nymphs and Satyr was exhibited in Paris in 1873, a year before the Impressionists mounted their first exhibition. Purchased by the American art collector and speculator John Wolfe, it was displayed in his mansion for many years alongside other high-style French academic paintings. It was sold at auction in 1888, after which the painting was displayed in the bar of the Hoffman House Hotel, New York City until 1901, when it was bought and stored in a warehouse, the buyer hoping to keep its 'offensive' content from the public. Robert Sterling Clark discovered the piece in storage and acquired it in 1942. The piece is currently on display at the Clark Art Institute located in Williamstown, Massachusetts.
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According to the Clark Institute, in the painting "a group of nymphs have been surprised, while bathing in a secluded pond, by a lascivious satyr. Some of the nymphs have retreated into the shadows on the right; others, braver than their friends, are trying to dampen the satyr's ardor by pulling him into the cold water -- one of the satyr's hooves is already wet and he clearly wants to go no further. Bouguereau’s working methods were traditional; he made a number of sketches and drawings of carefully posed human figures in complicated interconnected poses, linking them together in this wonderfully rhythmical composition."
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[AndyRew]

' Two Women Embracing '
Egon Schiele
1915​

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Egon Schiele was an Austrian painter. A protégé of Gustav Klimt, Schiele was a major figurative painter of the early 20th century. His work is noted for its intensity and its raw sexuality, and the many self-portraits the artist produced, including naked self-portraits. The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of Expressionism.

' Two Woman '

' Kneeling Girl, Resting on Both Elbows '
1917

I Like them, portraying veracity and a trashy truth, masterpieces indeed​

 

[AndyRew]

' Lovers In a Park '
Mihály Zichy
Hungarian, 1827–1906

1865 ​

Mihály Zichy was a significant representative of Hungarian romantic painting. During his law studies in Pest from 1842, he attended Jakab Marastoni's school as well. In Vienna he was Waldmüller's pupil in 1844. "Lifeboat", his first major work, comes from this time. On Waldmüller's recommendation, he became an art teacher in St. Petersburg. He swore allegiance to freedom by painting the portrait of Lajos Batthyány, the first Hungarian prime minister, in 1849. From 1850 onwards, he worked as a retoucher, but he also did pencil drawings, water colours and portraits in oil. The series on the Gatchina hunting ordered by the Russian tsar raised him to a court artist. He founded a society to support painters in need. "Autodafé" on the horrors of Spanish inquisition was painted in 1868. He travelled around Europe in 1871, and settled down in Paris in 1874.​

Sold at Sotheby's, London (May 29, 2012)
$ 67,534 USD​

 

[AndyRew]

' The Last Judgement '
Images of a Masterpiece
(1536–1541)

Michelangelo di Lodovico Buonarroti Simon
​

' What spirit is so empty and blind, that it cannot recognize the fact that the foot is more noble than the shoe, and skin more beautiful than the garment with which it is clothed? '

Last Judgement
noun
noun: Last Judgment

1. the judgement of humankind expected in some religious traditions to take place at the end of the world.

It is a depiction of the Second Coming of Christ and the final and eternal judgment by God of all humanity.​

The Last Judgement by Michelangelo covers the wall behind the alter in the Sistine Chapel. The work depicts the second coming of Christ and, although the artist is clearly inspired by the Bible, it is his own imaginative vision that prevails in this painting.The picture radiates out from the center figure of Christ, and Michelangelo has chosen to depict the various saints included in the work holding the instruments of their martyrdom rather than the actual scenes of torture.When executing his "Last Judgement" it would seem that Michelangelo had been given artistic licence to paint scenes, not only from the Bible, but also from mythology. This shows great faith in the artist by his patron, Pope Paul III. Unfortunately it was decided that works of art in sacred places had to be modest and a pupil of Michelangelo, Daniele da Volterra, was commissioned to cover the figures nakedness with loincloths and veils. Originally all the figures were naked but da Volterra's intervention earned him the nickname of the maker of breeches. Other over painting was added in the next two centuries and for the same reason.With the restoration of the chapel in the 1980's and 1990's only Daniele da Volterra's additions have been saved as part of the history of the painting, all other additions have now been removed.

"Se nella mia giovinezza mi ero reso conto che lo splendore di sostegno di bellezza con cui ero innamorato sarebbe un diluvio giorno di nuovo nel mio cuore , lì per accendere una fiamma che mi tortura senza fine, come volentieri avrei messo fuori il luce nei miei occhi . "
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[Mrs Langtrees]

Thank You I just had an enjoyable browse through your thread some great pieces, and for some reason i can still not like the scream.

 

[AndyRew]

Very exuberant of the private collector parting with $179 million, if I had the coin I to would buy it...without question

 

[AndyRew]

Thank You I just had an enjoyable browse through your thread some great pieces, and for some reason i can still not like the scream.

According to Munch’s personal diaries, the idea for the modern art painting The Scream came to him while looking down over the Norwegian landscape from an elevation. While a mountaintop or a scenic view from a summit might sound like a beautiful natural landscape to paint, Munch’s personal interpretation of “nature” below was very different than you might imagine.

' I was walking down the road with two friends when the sun set; suddenly, the sky turned as red as blood. I stopped and leaned against the fence, feeling unspeakably tired. Tongues of fire and blood stretched over the bluish black fjord. My friends went on walking, while I lagged behind, shivering with fear. Then I heard the enormous infinite scream of nature.'

 

[AndyRew]

Mmmmmm......art I suppose​