Golcman G

Language: Spanish
References: 14
Page: 102-118
PDF size: 937.55 Kb.

ABSTRACT

Sexuality and art have been used as instruments of social domination but, at the same time, as tools for subversion and challenge towards the rules imposed by the hegemonic discourse. That is the reason why erotic art has been a transcendental entity in the struggle for power. In opposition to the sexual and cultural subjugation which the Church had tried to impose through the middle ages, the Renaissance will conceive the first artistic vanguards, moving away from the religious spirituality in order to link up with the human nature and his surroundings. The lying nude, which defies the spectator, starts a long process, from the subtlety needed during the 15th century, to paintings with great destabilizing power during the 20th century. All this, strongly linked to the sexual evolution and liberation. The character, who looks to the spectator with nothing else than its naked body, turns then into a true reflection of what the author tries to express, the spectator accepts or rejects, and the sociocultural precepts approve or condemn in every historical moment.

REFERENCES

1. Bataille G. Breve historia del erotismo. Montevideo: Ediciones Calden; 1970. p. 22.

2. Mahon A. Eroticism and Art. New York: Oxford University Press; 2007. p. 13. [Traducción propia].

3. Ob. cit. 2:12.

4. Sanabria C. El desnudo y el voyeur en la plástica: la movilización del deseo. Escena. 2009;32(65):61-73.

5. Paz O. Apariencia desnuda. La obra de Marcel Duchamp. Madrid: Alianza; 2008. p. 128.

6. Val Cubero A. La percepción social del desnudo femenino en el arte. Siglos XVI-XIX. Pintura, mujer y sociedad [tesis doctoral]. Madrid: Universidad Complutense de Madrid; 2001. p. 373.

7. Foucault M. Historia de la sexualidad. I: La voluntad del saber. Madrid: Siglo veintiuno; 1998. p. 22.

8. Ob. cit. 6:194.

9. Elliot A. Sexualidades: teoría social y la crisis de identidad. Sociológica. 2009;24(69). Disponible en: http://www.scielo.org.mx/scielo.php?script=sci_arttext&pid=S0187-01732009000100009

10. Ob. cit. 6:199-200.

11. Ob. cit. 6:381-2.

12. Ver https://www.artehistoria.com/es/obra/moderna-olimpia

13. Citado por Totoki M. Estética erótica: lenguaje y significados hasta el arte actual [tesis doctoral]. Madrid: Universidad Complutense de Madrid; 2001. p. 212.

14. Jacobs J. In the galleries: Mel Ramos. Arts. 1966;41(3):56.