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as his self-portrait, as an "expression of my heterosexual anxiety", and said that "masturbation at the time was the core of eroticism." Dalí was very open in interviews and in his three autobiographies about his anxiety about genital intercourse as well as his preference for autoeroticism. A "panic fear of venereal diseases" began at a young age, when he saw medical photographs of the devastation they wreak in a textbook left by his father on the family piano. Dalí was also anxious about the size of his penis, which he felt was small compared to those of his classmates, and an account of an intimidatingly large member in a pornographic novel he had read led to his chronic impotence. He was still a virgin at the age of twenty-five (the time of this painting), when he met Gala Éluard, whom he married five years later. In fact, one chapter in a Dalí autobiography was entitled, "How to Become Erotic while Remaining Chaste"; but the artist said that his wife – who was ten years his senior – did help him to refine his masturbatory technique.
I do recall meeting a lady in her early sixties who suddenly discovered a passion for being spanked, but she was very unusual. She told me that she had been trapped in a stifling marriage for years, and after her divorce the need for spanking just burst out spontaneously in her fantasies. She had gone in search of experience and found a new partner, and a wonderful release from her frustrations. Erotic relationships in later life need to be flexible and caring – we all have a lot of history behind us, and must treat each other with special understanding. Sex has a quite different role to play at this time. A Georges Delfau illustration from L’invitation On Saturday at 2pm John will be exploring the significance and importance of transgressive art, from sado-masochism and the relationship of pain and sex, all the way to the contentious issue of children and sex. With examples from the illustrators of de Sade and Sacher-Masoch, to artists today who are exploring the boundaries of what is ‘acceptable’, this presentation explores why art is such an important medium for the examination of the dark side of the world of eroticism. After all, if imagination isn’t allowed free rein in art it will tend to find more dangerous channels of expression. Erotica can be digested in many forms depending on your comfort level and personal taste. It can be explored by: reading to one’s self, to a partner, a partner can read to you. For a true hands-free experience, you can listen to audio for yourself or with a partner(s). Fuseli, born Johan Heinrich Füssli, was a Swiss painter who settled in England following an extended sojourn to Italy, where he changed his name from the more Germanic Johann Heinrich Füssli. Drawn to subjects that ranged from the supernatural to the works of Shakespeare, Fuseli cemented his reputation with a painting of a prostrate woman attended by a wild-eyed mare and a grotesque little demon identified as an incubus. This painting, entitled
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Her reputation as a poisoner arose from several mysterious deaths that occurred around the Borgia family, including her own brother, Juan. It was rumoured she wore a hollow ring, containing poison, which she would deploy at parties.
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I wanted to create new Bodyscapes, focus more on the feminine, and have a closer look at nature. I began to study colour therapy, and extend my knowledge of Tarot symbolism. This opened up a whole new area of research into spirituality and esoteric subjects, and I found a limitless supply of inspiration there, which may sound surprising but it is not as incompatible as it might seem. To me these are all a natural extension of the same subject – what is the human experience all about? What is the powerful force that flows through all living things? ’The Pathway of the Lands’ Tarot card The second QM component is that you can respond to all physical sensory inputs (touches to the body). i.e. You know what feels good and where. Lucrezia Borgia, the daughter of Pope Alexander VI, is given particular attention. Lucrezia is accused of is committing incest with her brother Cesare, and with her father, but it is commonly believed that that was a slander by her first husband, Giovanni Sforza, whom she married in 1493. The marriage was a political one, helping Alexander forge powerful ties with his uncle, the Duke of Milan, and she was just thirteen while Giovanni was twenty-six. Enemies of the influential family lapped up the incest stories, and rumours about Lucrezia’s general sexual behaviour were rife. Purely for myself, I have chosen to paint women in an almost mythical setting – sometimes floating in the air, as I sometimes do in dreams. Trees have always turned me on, as I think has been reflected in a lot of my work to date. Any excuse and I bring a tree into the scene! More recently I have started to paint portraits of actual trees in my area. Some of the older specimens have a powerful presence, and I try to show my personal connection with them as well as revealing their radiance and majesty.
in which the man’s prone form is very similar to that of the above watercolor, show explicit coupling and, like the watercolor, have an indeterminate purpose. Were they objects of exchange among Fuseli’s peers, or were they for private consumption, to be used for the purpose of self-pleasure? Fuseli inscribed the sketch with a line from Aeschylus’s tragedy hardly raising eyebrows these days. But what about those works whose subjects slid right past first base (and sometimes even second and third)? These ten head-scratching artworks, excerpted from Phaidon’s new In common with many of Germany’s avant-garde artists, Dix’s social consciousness was aroused when confronted with the sordid realities of the Weimar Republic. Having served as a soldier in the First World War, he yearned for a better society in which men could transcend their social levels. His moral outrage at the grotesque and decadent decay of post-war Europe became the defining subject of his paintings, and he honed in on the prostitutes, pimps, profiteers and beggars who had emerged in the intervening years. His anger at the victimization of the war wounded, who had been left half-starved and unable to support themselves, was represented unsparingly, contrasting the suffering of the unfortunate with the monstrous greed of the rich. Perhaps I had been inclined to suppress my feelings in the pursuit of adventure. The other day I came across an old interview I did in the eighties. The young me said, ‘I was consciously trying to discover what sex was when it is completely separated from love’. How odd that sounds! No doubt it was a rebellion against the prevailing view that no decent woman could possibly enter into a sexual liaison unless she was deeply in love. This didn’t mean I wasn’t looking for love – everybody needs love – but I wanted to learn to make the distinction in my relationships between lust and love. ‘Floating Lovers’found illicit interest across Europe and continued to be revived whether in the form of direct copying, as in the set of sixteenth-century woodcuts, or by exerting influence as in the erotic engravings of Agostino Carracci (see below). An eighteenth-century text entitled in which Klein painted naked women with his distinctive International Klein Blue paint and made imprints of their bodies on large sheets of paper. which he made in 1814. The book begins with a picture of a beautiful woman, and each scene thereafter depicts her in various states of passionate arousal with a lover, until the final picture focuses on a close-up of her genitals. in which he emphasizes and repeats the words “very hard,” perhaps with the intention of increasing the eroticism of the piece. How erotic, or not, the experience may be, though, is of course entirely down to the individual participant.
was devised by the Italian engraver Marcantonio Raimondi, who based his designs on sixteen images of sexual positions reputedly drawn by Giulio Romano, court artist to the duchy of Mantua. Romano also designed and decorated a new pleasure palace, Palazzo Te, filled with a number of erotic frescos, for his patron Federico II Gonzaga on the outskirts of the city. He is also believed to have painted for the same ruler the enigmatic Over the last fifteen years most of my work has come from commissions. I have designed numerous bookplates for private collectors. This was a world I knew nothing about. Who these days thinks of commissioning their own little bookplate to paste into the frontispiece of a cherished book? Now collectors go to world-wide Ex Libris gatherings where they buy, sell or swap to enhance their own collections. As far as I know, no one puts them into actual books any more. Tree Meditation Sardax started his illustration career drawing fairly conventional erotica, but by the late 1990s was firmly established as a femdom artist, working for publications including The Governess and the American fetishist magazine Leg Show. Commissions from Japanese magazines also took him down the path of oriental femdom, and one of his inspirations is the Japanese femdom artist Namio Harukawa. Once Monthly, a typical Sardax image from the early 90s He suggests that these themes show our interest in exploring sexuality differently than the learned norms of our upbringing. By breaking past our familial, cultural or religious beliefs, our fantasies can add MORE to the mind stimulation. Many of our visitors today are viewing Maximum Erotica on their smart phones or tablets and because of this, we have made sure that your viewing experience is maximised and so most of the videos here work just as well, no matter what screen your on.
Duchamp’s ideas join with conceptual and performance art in Nauman’s work, and the latter created several videos and photographic series in the 1960s and 1970s in which he is shown performing simple actions. These are usually centered on the
body, and on the physical experience. Some—such
as In a career spanning more than four decades, the London-based artist Sardax has earned a well-deserved reputation as one of the world’s best-known contemporary illustrators of what has become known as femdom, short for female dominance. Though the term was only first recorded in 1986, the concept and practice are as old as human imagination, where mistresses, madams and dominatrixes are a constant theme in erotic literature and illustration. He is best known for his illustrations for the French editions of the children’s books of Roald Dahl, James et la grosse pêche ( James and the Giant Peach) and Charlie et la chocolaterie ( Charlie and the Chocolate Factory), but his output included covers for Arthur Conan Doyle, George Orwell and Aldous Huxley, several of which are still in print using his artwork. Together with psychologist Robert Ariel, he also produced an illustrated guide to the work of Freud, L’aventure psychanalytique – une évocation en images de la vie et de l’oeuvre de Sigmund Freud ( The Psychoanalytical Adventure – An Evocation in Pictures of the Life and Work of Sigmund Freud). How has getting older and becoming more mature influenced your thoughts about what older people can usefully learn and experiment with in the area of intimacy and the life erotic? are salacious and outrageous, sure to even make the most open-minded Casanova blush. Take a peek, and if you're at work, make sure your boss isn’t standing over your shoulder!
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