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Victorian Erotic Photography

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Cross, J.M., PhD (2001-02-04). "Nineteenth-Century Photography: A Timeline". the Victorian Web. The University Scholars Programme, National University of Singapore . Retrieved 2006-08-23. {{ cite web}}: CS1 maint: multiple names: authors list ( link) C. Baudelaire, ‘Photography’ (1859), in Photography: Essays & Images, ed. B. Newhall, London, 1980, p. 112. Fernande 1910s Nude Model". Paper Icons. Archived from the original on 2013-06-05 . Retrieved 2014-01-25. Schaaf, Larry (1999). "The Calotype Process". Glasgow University Library. Archived from the original on 2006-06-19 . Retrieved 2006-08-23. A case for the Gallery’s work being part of the tradition of études académiques could be made on the basis of both the woman’s ‘aesthetic’ pose and the relatively discreet fashion in which she is lying. By placing the model on her side with her pubic area and genitals hidden, the photographer has ensured that these ‘forbidden’ body areas are not revealed and that this photograph could, if desired, be included in exhibitions such as those held by the Société Française de Photographie.

The respectable pioneers of French photography, Auguste Belloc and Felix-Jacques Moulin for example, ran lucrative occult trades in pornography. Often these pictures were described as "artistic nudes" and were registered at the Bibliotheque Nationale as study materials for painters. Delacroix himself used Eugene Durieu's nude photographs.

Although the woman in the Gallery’s photograph is not identified as an individual, with a name and life history, there is the tantalising knowledge that some time around 1852 she entered the studio of a French photographer, took off her clothes and spent a few hours arranging herself in a series of rather uncomfortable positions. No matter how willingly or not she undertook this job, the way that she did so makes the sublimation of this woman into the generalised and impersonal framework of the ‘aesthetic’ difficult to sustain. 15 This is not only the case with photography. Perhaps the most obvious parallel case in painting is Manet’s Olympia, 1863 (Musée d’Orsay, Paris), where the artist has painted a woman in a manner that transforms an academic nude into a study that is confrontingly personal.

Nude photographers of the mid-20th century include Walter Bird, John Everard, Horace Roye, Harrison Marks and Zoltán Glass. Roye's photograph Tomorrow's Crucifixion, depicting a model wearing a gas mask while on a crucifix caused much controversy when published in the English Press in 1938. The image is now considered one of the major pre-war photographs of the 20th century. With the Gallery’s photograph, however, there is no mistaking that what we are looking at is a naked body. The intensely voyeuristic experience of viewing this image is apparent from the moment we see it as the photographer intended it to be seen, that is, through the lenses of a stereoscopic viewer. This apparatus combines the two images into one and focuses our gaze unremittingly on the body of a naked young woman who appears almost alarmingly lifelike. Stereoscopes produce a three-dimensional effect similar to the simulacra created by holograms or virtual reality games.

Essays

Marshall, Peter. "Nude 101: A Beginners Guide to Nude Photography, Part 3: Finding Models". About: Photography. The New York Times Company. Archived from the original on 2007-06-04. Erotica may form a substantial sub-category in photographic history, but there has been relatively little critical recognition of that fact. One aspect of the problem may lie with the nature of erotica, which insistently involves the viewer in a dynamic of looking that can be confronting and uncomfortable. Perhaps because of this, and because of the sometimes transgressive nature of these photographs, mainstream photographic critics have largely excised them from their histories. 3 Traditional photographic histories (for instance Beaumont Newhall’s The History of Photography) mention early photographic nudes only if they seem securely located in the tradition of the académie, or academic nude study. For an excellent select bibliography of literature dealing with mainly modern erotic photography, see J. H. Pearson, ‘Erotic and Pornographic Photography: Selected Bibliography’, History of Photography, vol. 18, no. 1, Spring 1994, pp. 47–9. The photographer has also emphasised other sexually charged aspects of the young woman’s body, such as her hair, which has been untied and falls over the body in a manner traditionally associated with wanton abandon. The whiteness of the body has been accentuated as a result of the placement of the model on a bed of dark floral material that has been delicately hand-coloured. This environment of sensuous tactility suggests that the woman is as soft and yielding as the cushions on which she lies.

Playboy magazine, founded in 1953, achieved great popularity and soon established the market for men's and lifestyle magazines. Erotic photography soon became closely associated with it and gained increasing public attention. By means of these two different views of an object, the mind, as it were, feels round it and gets an idea of its solidity. We clasp an object with our eyes, as with our arms, or with our hands, or with our thumb and finger, and then we know it to be something more than a surface. 14 O. W. Holmes, ‘The Stereoscope and the Stereograph’ (1859), in Newhall, p. 56. The audience for the Melbourne daguerreotype is difficult to establish, but the fact that the woman is posed in a manner reminiscent of poses in classical art allows us to assume that it was created for clients who were aware of art history or that the photographer intended it for public display. Most critics now consider that the major audience for, and collectors of, nude photographs were artists, who saw them as an alternative to the traditional académies, or academic nude studies. These photographs were an important aid for artists, who used them instead of hiring a studio model. In France, the tolerance of nude photography in the early 20th century coincided with the popularity of stereo photography. Stereo photography experienced a revival with the introduction of the compact and affordable Vérascope stereo camera by Jules Richard in 1893. Viewing erotic stereoscopic images through a stereoscope provided an intimate viewing experience. Charles Baudelaire, 1859 1 C. Baudelaire, ‘Photography’ (1859), in Photography: Essays & Images, ed. B. Newhall, London, 1980, p. 112.a b c d Chris Rodley, Dev Varma, Kate Williams III (Directors) Marilyn Milgrom, Grant Romer, Rolf Borowczak, Bob Guccione, Dean Kuipers (Cast) (2006-03-07). Pornography: The Secret History of Civilization (DVD). Port Washington, NY: Koch Vision. ISBN 1-4172-2885-7. Archived from the original on 2010-08-22 . Retrieved 2006-10-21. It is important to be aware that the three categories of erotica outlined here are by no means independent of each other, and it is a notable aspect of this type of work that many photographs – the Gallery’s among them – fluctuate for the viewer between an academic nude and an image with more obvious sexual intent. The visual rhetoric of both the ‘erotic’ and the ‘pornographic’ can be remarkably similar and this makes clear definitions of either problematic. It can be argued that the decision about what constitutes an acceptable or unacceptable image is provisional, and is intrinsically connected to shifting social mores and, ultimately, to the opinions of the viewer. The instability of these classifications has led Solomon-Godeau to suggest that, rather than designating the content of the photograph as ‘permissible’ or ‘offensive’, we should examine the relationship of subject to object. She argues for a feminist analysis of the so-called deep structures of nineteenth-century erotic/pornographic photography, whereby the ‘systemic quality of objectification and fetishism in the representation of women … [can reveal] the complex network of relations that meshes power, patriarchy and representation’. 10 Solomon-Godeau, p. 236. Parallel to the British printing history, photographers and printers in France frequently turned to the medium of postcards, producing great numbers of them. Such cards came to be known in the US as " French postcards". [11] French influence [ edit ] A little later a thousand hungry eyes were bending over the peep-holes of the stereoscope, as though they were the attic-windows of the infinite. The love of pornography, which is no less deep-rooted in the natural heart of man than the love of himself, was not to let slip so fine an opportunity of self-satisfaction.

Traditional photographic histories (for instance Beaumont Newhall’s The History of Photography) mention early photographic nudes only if they seem securely located in the tradition of the académie, or academic nude study. For an excellent select bibliography of literature dealing with mainly modern erotic photography, see J. H. Pearson, ‘Erotic and Pornographic Photography: Selected Bibliography’, History of Photography, vol. 18, no. 1, Spring 1994, pp. 47–9.Founded in 1965, Penthouse magazine went a step further than Playboy and was the first to clearly display genitals, initially covered with pubic hair. The models looked usually directly into the camera, as if they would enter into relationship with the mostly male viewers. Tallulahs Classical Nude Poses; Classical Nude Poses of Julian Mandel". Archived from the original on 2006-07-16 . Retrieved 2006-10-05. In common with the ‘peep-shows’ that developed around the mid-1850s, the stereoscope creates a disarming illusion of visual and psychological intimacy that heightens the viewer’s sense of voyeurism. Although the metallic finish of the daguerreotype somewhat distances the woman from her flesh and blood origins, the illusion of a palpable corporeality is still strong. The third category is that of the more overtly sexual image, whether heterosexual or homosexual in nature. Such images use similar stylistic codes to those found in the other two types of photograph but are more explicitly concerned with ‘transgressive’ behaviour. These illicit images were not distributed openly through studios but formed part of an underground market, being either sold privately to wealthy clients or, more commonly, mass produced as paper stereo cards or prints for ‘under-the-counter’ distribution.

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