Erotic Drawings Page 4: The Rest of Volupté François Boucher, 1748 Designed by: Baseline Co Ltd 19-25 Nguyen Hue District 1, Ho Chi Minh City Vietnam ISBN : 978-1-78042-090-5 © Confidential Concepts, worldwide, USA © Sirrocco, London, UK (English Version) © Masson Estate / Artists Rights Society, New York, USA / ADAGP © Munch Estate / Artists Rights Society, New York, USA / BONO © Bellmer Estate / Artists Rights Society, New York, USA / ADAGP © Dubuffet Estate / Artists Rights Society, New York, USA / ADAGP © Picasso Estate / Artists Rights Society, New York, USA © Berthomme de Saint-André Estate / Artists Rights Society, New York, USA / ADAGP © Freud Estate © Hockney Estate © Kirchner Estate © Schlichter Estate © Vertès Estate © Lobel-Riche Estate All rights reserved. No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyrights on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case we would appreciate notification. 2 Foreword “Eroticism has its own moral justification because it says that pleasure is enough for me; it is a statement of the individual’s sovereignty.” – Mario Vargas Llosa 3 4 Contents Beardsley (1872-1898) . . . . . . . . .83, 85, 87, 89, 91, 93, 95, 97, 99, 101, 103, 105 Bellmer (1902-1975) . . . . . . . . . . . . . . . . . .207, 209, 211, 213, 215, 217, 219, 221 Boucher (1703-1770) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Berthomme de Saint-André . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169 Degas (1834-1917) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55, 57, 59, 61, 63, 71, 73 Dubuffet (1901-1985) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201, 203 Freud (1922) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193 Füssli (1741-1825) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 Gauguin (1848-1903) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79 Géricault (1791-1824) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 Hockney (1937) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205 Ingres (1780-1867) . . . . . . . . . . . . . . . . . . . . .19, 21, 23, 25, 27, 29, 31, 33, 35, 37 Kirchner (1880-1938) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133 Klimt (1862-1918) . . . . . . . . . . . . . . . . . . . .111, 117, 135, 143, 145, 147, 157, 159 5 6 Laszlo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197 Lobel-Riche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195 Masson (1896-1987) . . . . . . . . . . . . . .175, 183, 191, 225, 227, 229, 231, 233, 235 Michelangelo (1475-1564) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Munch (1863-1944) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81 Pascin (1885-1930) . . . . . . . . . . . . . . . . . . . . . . .163, 171, 173, 177, 179, 181, 185 Picasso (1881-1973) . . . . . . . . . . . . . .187, 189, 223, 237, 239, 241, 243, 245, 247 Rembrandt (1606-1669) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11, 13, 15 Rodin (1840-1917) . . . . . . . . . . . . . . . . . .43, 45, 47, 49, 51, 53, 75, 107, 109, 121 Rops (1833-1898) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65, 67, 69, 77, 113 Schiele (1890-1918) . . . . . . . . . . . . . . . . . . .123, 125, 127, 129, 131, 137, 139, 141 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149, 151, 153 155, 161 Schlichter (1890-1955) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165, 167 Von Bayros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 Vertès . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165 7 The term “Erotic Art” is surrounded by a halo of hypocritical, misleading and dis- simulating concepts. Art or pornography, sexu- ality or eroticism, obscenity or originality: all of these attempts of distinction and determination are so meddled that it seems almost impossible to reach an objective definition. From what point can one speak of “erotic art”? Scherzo Michelangelo, c. 1512 Doria-Pamphili Collection, Rome 8 9 Every collector of erotic art has been at some point presented with works esteemed as insufficient from every point of view, while he expected something better. Still, the seller would affirm that he had found an important object of the erotic genre. But sometimes it seems that the eye becomes stupefied when in contact with this free subject. Joseph and Potiphar’s Wife Rembrandt van Rijn, 1634 etching, 9 x 11.5 cm 10