Erotic depictions of women in drawing, painting, sculpture and photography from the dawn of man to the present.

Tuesday, November 25, 2008

Hungarian Venus:Fürdő nő by Károly Lotz.




This is Fürdő nő (bathing woman) by Károly Lotz. Agent Triple P bought a nice reproduction of this, printed on canvas, at the National Gallery in Budapest where the original is on display.





Lotz (1833-1904), studied at the school of Karl Heinrich Rahl in Vienna after private studies with Marastoni and the workshop of Henrik Weber. As a talented pupil he was quickly given the opportunity to take part in the execution of Rahl's monumental fresco commissions and fresco painting became his speciality. Many of these can still be seen today in places like the Academy of Sciences, the Opera, the Casino, the Supreme Court and the Parliament building in Budapest.





Most of his nudes, like this one, After the Bath (1880), were done earlier in his career but Fürdő nő was painted in 1901. A late but very welcome addition!











He also produced this trio of ripely abandoned bacchantes.

There was a fine tradition of nudes in late nineteenth and early twentieth century Hungarian painting and we will return to look at some other painters shortly. Agent Triple P would venture that this was no doubt down to the very fine potential material you can still find wafting around the streets of Budapest on a fine summers evening.






Monday, November 24, 2008

Long Haired Venus: Susie Scott


Perhaps a better modern interpretation of Mitchell's painting of Hypatia would be the delightful Susie Scott who was Playmate of the Month for May 1983. A computer programmer from Alabama living in Salt Lake City when she was discovered by photographer Stephen Wayda she is now president of the Worldwide Foundation for Mercy and Sharing and organises the building of hospitals in places like Mongolia and Haiti.


Splendid!

Part Cherokee Venus: Hyapatia Lee



Only one vowel separates Hypatia from our subject here, Hyapatia Lee, a part (one quarter)Cherokee model and ...er, actress. Indeed, for some of the time she was known as Hypatia anyway so easily fulfills the tenuous link to the previous entry.


You'd think the photographer would have moved the manky plastic bottles!


Miss Lee (real name the rather less exotic sounding Victoria Lynch) was born in Indiana (appropriately!) in 1960. She made 70 "artistic" films and also sang in a number of bands. Here she is in her prime displaying her neat little 5'4" body. Whilst her hair is not as long as Mitchell's Hypatia it is still quite impressive.




She appeared in Penthouse magazine in September 1984 which is the issue that is now impossible to find as the Pet of the Month was Traci Lords. Ms Lords was later discovered to have been under sixteen when she posed and so, as a consequence, it is illegal to buy this edition in most countries.





Very plastic looking "pearls"! Her bust looks delightfully natural, however!




We very much like Miss Victoria Lynch, who looks suitably dark and obvious for our tastes!

Classical Venus: Hypatia by Charles William Mitchell



Two years before Hacker’s 'Pelagia and Philammon' was exhibited at the Walker gallery Charles William Mitchell's painting, 'Hypatia' had caused a sensation at the Grosvenor Gallery. Hacker has been accused of cashing in on Mitchell’s earlier work in delivering another sensuous nude in the guise of a story with a religious motif.


Hypatia as depicted by Julia Margaret Cameron in 1867. The model is Mary Spartali

Hypatia, the heroine of Kingsley’s novel, was a real person. She is not a well known figure these days (except, perhaps, with feminists and atheist philosophers ). Hypatia was a mathematician, astronomer, and Platonic philosopher born in Alexandria around either 355 or 370 AD, depending on whose arguments you believe. Her most notable work related to conics and she edited the work On the Conics of Appollonius in a form which explained and popularised the work, with its important ideas on hyperbolas, parabolas, and ellipses, ensuring its survival through the centuries. Unfortunately, she was independent (she dressed as a male teacher not in women’s clothes and drove her own chariot), a thinker, female and a pagan in an increasingly Christian environment. Added to this she was friends with the prefect of Alexandria, Orestes, who was engaged in a bitter conflict with Cyril, the Christian Bishop of Alexandria. In the spring of 415 AD a group of Coptic monks pulled her from her chariot, beat her, stripped her, dragged her to a church and mutilated her (flayed with ostrakois -literally, "oyster shells", though generally accepted to refer to roof tiles or broken pottery) body before burning her (while still alive in some accounts). Early Christians, such a liberal, understanding bunch.

Mitchell’s painting shows her facing the mob before the altar of the Caesarium Church in Alexandria . It illustrates, precisely, a passage from Kingsley’s novel:

"On, up the nave, fresh shreds of her dress strewing the holy pavement--up the chancel steps themselves--up to the altar--right underneath the great still Christ: and there even those hell-hounds paused.

She shook herself free from her tormentors, and springing back, rose for one moment to her full height, naked, snow-white against the dusky mass around--shame and indignation in those wide clear eyes, but not a stain of fear. With one hand she clasped her golden locks around her; the other long white arm was stretched upward toward the great still Christ appealing--and who dare say in vain?--from man to God."



Of course it is probable that Hypatia was around sixty (or at least forty-five) when she was murdered and so Mitchell’s painting is another example of a Victorian artist producing a gratuitous nude with classical justification. And why not?

Mitchell (1854-1903) was a bit of a one-hit wonder and never again produced such a popular painting. The picture is in the Laing Art Gallery in Newcastle.

Monday, November 17, 2008

Mythical Venus: Syrinx by Arthur Hacker

Triple P has decided to move some of the appropriate entries from the Adventures of Triple P to this site. This also gives us the chance to expand on the originals somewhat. Firstly, we look at Arthur Hacker's Syrinx painted in 1892.

Hacker (September 25, 1858–November 12, 1919) was French trained and, like Herbert Draper, was very influenced by Waterhouse. Later in his life he eschewed the biblical and mythological pictures which had made his name in favour of much more impressionistic work, such as his diploma work for his election as a Royal Academician in 1910, A Wet Night in Piccadilly Circus (which was not well received at the time). Towards the end of his life he rturned to the themes for which he was better known.



Syrinx was a water nymph pursued by the God Pan who had dubious intentions towards her. She called for help from the other water nymphs who, rather unhelpfully, transformed her into reeds which gave forth a haunting sound when Pan breathed across them. So he cut some of these reeds and made the original Pan pipes from them. Symbolically odd, in all sorts of ways, but then that's the ancient Greeks for you. I would have thought that however much she valued her chastity being ravished by Pan would have been a lot better than being turned into a bunch of reeds and then cut up to form pipes so a Romanian could produce an annoying soundtrack to an arty Australian film of the seventies.


Anyway, all this classical inspiration obviously did the stuff for Arthur, or maybe it was the model, who is rather fine and was used by Hacker in several other paintings, notably The Annunciation (also 1892) and The Temptation of Sir Percival (1894). We saw the original painting of Syrinx in the Manchester Art Gallery several years ago.


Hacker painted some other fine nudes but none as good as Syrinx one, we feel.


One notable example, however, is Circe (1893). Sadly we could only find a black and white reproduction of this, but even in this she looks suitably tempting. Certainly Odysseus' crew look quite agonised.

This one has no mytholgical pretensions or justifications; it is simply called Nude woman at her toilet and was painted in 1918, the year before his death.

This painting, Daphne (1895), can be seen as a companion to Syrinx in composition as well as Classical subject matter.


The Sea Maiden (1897), was exhibited at the Royal Academy in 1898.

Finally, we have the rather bizarre earlier painting Pelagia and Philammon (1887). This is based on a scene from Charles Kingsley's (The Water Babies) novel Hypatia about the Alexandrian scholar who was murdered by Coptic monks in the early fifth century AD. In the book Pelagia and Philammon are sister and brother, who are separted at childhood. Philammon becomes a monk, Pelagia a dancer and courtesan. They are reunited in Alexandria but get separated in the chaos following Hypatia's murder. Twenty years later Philammon discovers his sister has become a Christian hermit in the desert but when he finds her she is at the point of death. He gives her the sacrament only to be found later dead next to his sister's grave having kept the vultures at bay whilst he dug her grave. Hacker had just returned from a visit to North Africa, hence the interest in painting a desert setting. The vultures he drew from ones in London Zoo, however.

We will return to Hypatia herself shortly.

Tuesday, November 4, 2008

English Rose Venus: Kate Winslet


Agent Triple P has always liked Kate Winslet and feels that her new picture for Vanity Fair is particularly fine. She looks very effectively tousled.

There is all the usual nonsense in the press about to what extent it was Photoshopped etc. Good grief, you are in the press you all know that every editorial and advertising image is processed to within an inch of it's life. It's not excatly unusual practice. What does it matter, anyway? It's a lovely picture!