Category Archives: European culture

Icons of erotic art #18

Via the newly discovered blog aileron comes the film The Lost Secret of Catherine the Great by Peter Woditsch and Sophie Schoukens.

I had first heard about the erotic furniture of Catherine the Great a couple of years ago and even traced the existence of the documentary by Woditsch, but had never actually seen the pieces of furniture that presumedly belonged to Catherine before the collection was destroyed during WWII. Catherine was a strong and independent woman (it helped that she was an empress) who throughout her long reign, took many lovers, often elevating them to high positions for as long as they held her interest, and then pensioning them off with large estates and gifts of serfs. She also cultivated Voltaire, Diderot and D’Alembert — all French philosophes encyclopedists who later cemented her reputation in their writings.

Note: In the erotic furniture category belong art works such as Chair, Table and Hat Stand by Allen Jones and Les Krims‘s Heavy Feminist with Wedding Cake [1] (1970).

Previous entries in Icons of Erotic Art here, and in a Wiki format here.

Icons of erotic art #17

Sensuality (1891) - Franz von Stuck

Sensuality (1891) – Franz von Stuck

Although a mediocre painter at best and deservedly one of the minor figures in European fin de siècle Symbolism, there are two paintings by Franz Von Stuck that I like: Salome, which I “exhibited” here, and Sensuality (pictured above) . In Sensuality, the image of the serpent as phallus is left in little doubt and shows an enormous python-like creature passing between the legs of a nude woman. The serpent’s head rests on the woman’s right shoulder; both the serpent and the woman gaze at the viewer. There are obvious connections to the tentacle eroticism trope.

Previous entries in Icons of Erotic Art here, and in a Wiki format here.

A reappraisal of Amélie

I had seen Le Fabuleux Destin d’Amélie Poulain in the winter of 2001 when it came out in theatres in Belgium and had not taken to it because of its faux happiness and its European hollywoodity. I’ve seen it again today and I think it is time for a reappraisal. This clever film shows a unique understanding of visual and auditory culture. It is told by an omniscient narrator* in an extremely writerly and accomplished style.**

The visuals and the score from Yann Tiersen are virtually symbiotic. One peep show scene features music from French house musician Alex Gopher‘s “The Child” (1999) (“them that’s got, shall get”). I wanted to give you the Kenny Dope remix (the one actually featured in Amélie). In stead, here Youtube is a slower version with many intrusive voices but interesting visuals (animation made out of typography by Antoine Bardou-Jacquet). If you badly need the Kenny Dope remix, buy Beats & Pieces vol. 2 on the highly recommended series out on BBE Records.

*On the omniscient narrator, see scenes in the recent film Stranger Than Fiction in which Dustin Hoffman teaches a whole seminar on the omniscient narrator phrase par excellence “little did he know”, illustrating the excesses of literary theory.

** Films such as Reconstruction (which I liked immensely) owe a lot to the Ameliesque aesthetic.

World music classics #23

In 1994 I was crazy about the “Wilmot” track (see clip below) by Andrew Weatherall‘s Sabres of Paradise project. I had since lost the record but the mesmerizing horns kept spooking through my head over the years.

Last week, I am listening with my children to a commercial radio station and I hear a track by Shantel Youtube, a Balkan artist in a “techno” remix. I recognize the mesmerizing horns.

Today, I am making my 1980s music page and re-discover the composition by The Sabres of Paradise, find its Youtube clip Youtube and discover that the original version of the horns dates back to 1931, is called “Black But Sweet”, and is composed by calypso artist Wilmoth Houdini.

Another case closed in the history of cultural appropriation in western music.

The beneficial side-effects of censorship

 

Cover of the 1937 guide book to the Degenerate art exhibition.

Cover of the 1937 guide book to the  Degenerate Art Exhibition.

Nazi Germany disapproved of contemporary German art movements such as Expressionism and Dada and on July 19, 1937 it opened the travelling exhibition in the Haus der Kunst in Munich, consisting of modernist artworks chaotically hung and accompanied by text labels deriding the art, to inflame public opinion against modernity and Judaism. The cover the 1937 guide book (illustration top) features a sculpture of unknown origin. It could be Polynesian or any other tribal art work, please help me out here.

The sculpture clearly links modern art with primitivism.

This exhibition is also a perfect illustration of the beneficial side-effects of censorship. Beneficial in the sense that any attempt at banning works of art, books or other cultural artifacts results in an aide to discerning culturati to seek out these artifacts with zeal. Such has been the case with Video Nasties, the Index Librorum Prohibitorum (the Catholic Index) and the Degenerate Art expo mentioned above.

I once again repeat my question to you, dear reader: what is the origin of the statue depicted in the picture above. I thank  you beforehand for a reply.

Icons of erotic art #16

Frontispiece by Fernand Khnopff for Joséphin Péladan’s Istar (1888)

Frontispiece by Fernand Khnopff for Joséphin Péladan’s Istar (1888)

Istar is a novel by Joséphin Péladan first published in 1888 with a frontispiece by Fernand Khnopff, depicting a woman, head thrown back in ecstasy and completely devoid of surrounding except for a phallic tentacled plant that grows toward her pubic area.

Eroticism 4/5, because of its “his hands were all over me” thematics first celebrated in icons #12 and 13.

Previous entries in Icons of Erotic Art here, and in a Wiki format here.

Eye candy #6

Pinson, Femme Assise, on the cover of Monsieur Vénus by Rachilde

I had been intrigued by this cover of French decadent author Rachilde’s Monsieur Vénus for a while, and I always wondered what the cover was, even asking the blog Morbid Anatomy, which specializes in this kind of material, what it was.

Pinson, Femme Assise

It turns out that this is the origin of the photograph. The anatomical sculpture was produced by André Pierre Pinson (1746-1828), a French ‘medical artist’, who made the sculpture called La Femme assise (the seated woman). Voila. Case closed.

Previously on Eye Candy.

Icons of erotic art #13, 14 and 15

Grand bath at Bursa (1885) by Jean-Léon Gérôme

Grand bath at Bursa (1885) by Jean-Léon Gérôme

 

The Turkish Bath (1862) - Jean Auguste Dominique Ingres

The Turkish Bath (1862) – Jean Auguste Dominique Ingres

In the Tepidarium (1881) - Sir Lawrence Alma-Tadema
In the Tepidarium (1881) by Sir Lawrence Alma-Tadema

I quote from my text on Ingres’s Turkish Bath, but the validity is for all three paintings:

When Jean Auguste Dominique Ingres, director of the French Académie de peinture painted a highly-colored vision of a turkish bath, he made his eroticized Orient publicly acceptable by his diffuse generalizing of the female forms, who might all have been of the same model. If his painting had simply been retitled “In a Paris Brothel,” it would have been far less acceptable. Sensuality was seen as acceptable in the exotic Orient.

Most of my renewed interest in these painting has been thinking about books such as the Pre-Victorian British erotic literature epistolary novel The Lustful Turk and reading Turkish author Bedri Baykam’s pamphletish but nonetheless thought provoking history of modern art Monkeys’ Right to Paint , which contends that modern art (he means modernist art) is largely influenced by non-Western arts. Baykam takes the 1984 MoMA exhibition Primitivism in 20th Century Art as a starting point for his rant against the art establishment.

See also

Previous entries in Icons of Erotic Art here, and in a Wiki format here.

Belgian bloggers #1

Rafaela
Rafaela by carmendevos

I met Rafaela in January 2005. That was before she became SensOtheque. She blogged as Bitterzoet [1], a very personal blog about here sexual encounters, fantasies, likes and dislikes. It featured some of the best writing in the Belgian blogosphere at that moment.Since then, Rafaela has become a name in the world of Belgian erotomania, she launched SensOtheque; a website dedicated to eroticism, was featured in Feeling and De Morgen, and contributed to the most recent issue of TicKL Magazine [2] [3], a Belgian magazine launched by carmendevos [4].

I remember quite clearly what I liked about Rafaela. She managed to physically visualize a space hitherto primarily mental. She fleshed out this pornotopia as Le Château d’O[5].

“The Château d’O features erotically decorated bedrooms with luxury bathrooms, but also houses common lounge spaces with a cinematheque, a print cabinet, a sens’Othèque where one can use sex toys, a well-furnished library and a atmospheric bar and restaurant, a bathhouse with sauna and a BDSM attic.” [6]

Later, after she’d launched the SensOtheque “a guide to refined Literotica, Cinerotica & Bedroom Arts” [7], she incorporated these early comments into her mission statement.

“The sensOtheque is a dream that comes true, an empire of kinky chic, with an air of boudoir romanticism, of the voluptuous and the sumptuous. The sensOtheque represents a passion for far-off, more glorious days: the times of the courtesans and the distinguished geishas, the red velvet atmosphere of The Story of O and Venus in Furs, the decadent world of the 18th century Salons, where women were educated in the field of sexual pleasure.”

TicKL 2 can be ordered here. It includes the only and very short piece of fiction I have ever written, called “Brahms II“, version homme, inspired by Brahms I, by Rafaela.

This post is the first of a new series on blogs from Belgium