erotic

All posts tagged erotic

Gabriele D’Annunzio

Published March 8, 2013 by Tony

The aidoiomaniac D’Annunzio
An Intellectual More than a Playboy

Gabriele D'Annunzio

Gabriele d’Annunzio (1863 -1938), also known as “il Vate” (the prophet), was an Italian writer, poet, politician and journalist, who coming from a middle class family became a symbol of the Italian Decadence and famous for his compositions as well as for his particular sexual habits.
Porco alato e geniale” (Pig winged and genius), he described himself, while biographers addressed him as “Genius and recklessness“.  Among the aspects of the writer’s Decadence, there is aestheticism art, or art conceived as Beauty which must be above all; the practical aestheticism, according to which also the life must be realized in absolute freedom, outside and above every law and moral restraint; the panismo which is the tendency to surrender to the life of the senses and instincts, and finally the man as “superman“, the ruler of a world beyond good and evil, where instinct is the only truth because morality is a lie, and where the man that resembles the beast then outdoes man, beyond human becoming hero, while getting rid of the ethics that prohibits lust, he can dare everything that gives pleasure. A description, this, that is very close to the aberrant “Superman” concept conceived by Nietzsche.

Already in his youth, d’Annunzio showed an ambitious and uninhibited character and, in fact, at sixteen already had his first sexual experience. In Florence, during a school trip, he evaded janitor’s surveillance and with a gold wristwatch, a gift of his grandfather, paid a prostitute with whom he wished to have sex.
In 1881 he moved to Rome to continue his studies at the university, where,  trying to reach fame and glory, attended worldly circles of Roman salons, beginning to appreciate the sumptuous and scandalous lives of the rich bourgeoisie, through adventures and love stories. His exceptional sexuality blew and he will earn in emotions and sex delights, even if this entailed moral values violation. According to some biographers, his actual d'Annunzio at 10 yearsmistresses were hundred and fifty. Half a thousand for some, and even four thousand according to others, with the inevitable cocaine snorting.

As the biographers say, this “sex superman” really did not love all those women, except perhaps, a little bit, Maria Hardouin and Eleonora Duse. Maria Hardouin was the daughter of Giulio, Duke of Gallese, who d’Annunzio married at 20 years in 1883, probably for reasons of interest and because of noble rank. They had met a few years earlier and a love at first sight, but even though a minor, during a walk the lecherous man took her to a grove, on the outskirts of Rome, and deflowered her. Among the collection of poems “Intermezzo di rime” also is included “Peccato di maggio“, in which the writer described in detail what happened in the woods. The young Duchess soon became pregnant, raising a scandal. The Duke Giulio, furious, vetoed the marriage and denounced d’Annunzio for corruption of minors, despite his wife, Mary’s mother, called for a shotgun wedding. In response, the two lovers fled together and got married in a hurry, but without the consent of the duke, who did not want to see anymore both his daughter and the son-in-law.

A marriage that will last long but unfortunate for the young lady, also if from their union were born three children. “My dear Gabriele was a husband physically incapable of being faithful,” the Duchess bitterly confessed later, when after the third child will separate from him. In fact, the new series of post-marriage lovers began immediately with the journalist Olga Roman Ossani, then followed by Elvira Natalia Fraternali, estranged wife of Count Ercole Leoni, although in the meantime the writer were not shirking to his conjugal “duty”. Hard days for Elvira because meantime the “supreme Vate”  had already set his sights on the Sicilian Princess Maria Gravina Cruyllas Ramacca, which he called a “erotic nymphomaniac”. A good match! In a tormented relationship lasted three years, the Sicilian princess gave birth to two children, Ariel’s sons (the personal nickname of the poet), who legitimated only the first child. It was 1895 when he began his relationship with the famous actress Eleonora Duse, who was in search of a true love and believed to have found it by Ariel. And the illusion of love will cost her dearly, and not just for the money that the loved boyfriend snatched her by deception, but because while she was sacrifying her prestige, exposing herself to the audience boos, he already was enjoying with a new paramour, the young actress Juliet Gordigiani. Actress, young and beautiful, but poor and this was not good for him that needed rich women. “I forgive him to Maria Gravina with the daugtherhave abused of myself, ruined and humiliated me. I forgive everything because I loved him”,  Duse said when left him definitively.

After a while, the tireless lover found another right woman, Alessandra Starabba Rudini, twenty-eight beautiful and rich, widow of the Marquis Carlotti.
His biographers say that in three years of living together, the great showman D’Annunzio got by the Marchesa Rudini amounts ten times higher than the one extorted to Duse in nine years. The last two years were very sad for the marquise because fell seriously ill, but meanwhile, the host had already a new mistress for giving vent to his inexhaustible lust, the Countess Josephine Mancini.
However, when he was no longer able to cope with the many creditors, decided it was time for a change of scenery and moved alone to Paris. The great seducer had already chosen the appropriate girlfriend to live and work peacefully in Paris, the Russian countess (French by adoption) Natalia de Goloubeff, 27, separated from her husband, who welcomed him at her home in Paris. The combination was perfect, he needed money and she sex.
Fool of the blackest Slavic massacre,” he said about her, as she considered him “crazy for sex and beautiful women, virile and perfumed as few“. But, as soon as her financial resources were lost, due to the Bolshevik revolution in Russia, Ariel left her. During the last of the five years spent in Paris, he had some French sex playmates, as Marie de Regnier and Amélie Mazoyer, his housekeeper nicknamed Aelis (24 years less than the prophet), who followed him in Italy, when he returned in 1915 to become a soldier, enlisting as a volunteer during the First World War.
Besides devotion, one of Aelis’s quality that d’Annunzio appreciated more, especially with the passing of years, was a not common skill for fellatio, hence her nickname Aelis from helice, “helix” in French. “She has a beautiful mouth, in addition to the hand that gives oblivion,” Gabriele said of her.
During the conflict he lost partial vision in one eye, but as a man of theater, he participated more in the war performing on the stage, representing his true and false war actions, rather than by real.
In 1921, in Gardone, in the picturesque scenery of Lake Garda, d’Annunzio found the house of his dreams: a large villa of 36 rooms, which he titled the “Vittoriale of the Italians”.  After the restoration work, carried out with the financial support of Mussolini, he made it a national monument, donating it to the Italian State for paying his debts.
Mussolini also gave him what the bourgeois writer always had dreamed, Eleonora Duseproposing him for a nobiliar title, then conferred in 1924 by King Vittorio Emanuele III, letting he became the Prince of Montenevoso.

In spite of his advanced age, in those years other lovers followed, as the writer from Trieste Olga Levi Brunner,  the Venetian pianist Luisa Bàccara, and a certain Leila, all younger than him.
In that palace-mausoleum, the Prince of Montenevoso spent the last seventeen years of his mad and adventurous life, with profound suffering for his physical decline, often expressed by behavioral oddities and excessive frugality or sullenness, but always obsessed by sex, by frantic search of pleasure, eroticism and lust, and now even devoting more himself in masturbation, despite the age.
The last two women that remained close to him, were the faithful Aélis and Bàccara, forced to watch also to his bleak and dismal degradation, like satyr erotic rites that the seventy year old man organized from time to time. Gabriele d’Annunzio, the magician of perversion, among other things also invented the macabre eroticism, while lying naked in a coffin some prostitutes, also naked, kissed him from head to toe. Although nothing is written about, it is said that the teacher did not disdained others pervy sex affairs like pissing, shitting, and that maybe took away two ribs to better practice self-fellatio, all things truly uncommon for that era.
Gabriele d’Annunzio died at 75 years for a brain hemorrhage, and at his funeral, as well as Mussolini, attended his wife with three children, Amélie Mazoyer and Luisa Baccara, (Duse had died 14 years before). As he had Amélie Mazoyerdecided, was buried in the small temple of the Holocaust, on top of the Vittoriale.

D’Annunzio was not handsome, neither rich, nor reliable, and for this arises the question, what did so many ladies, rich and beautiful, drive in his arms?!
Probably, the famous American dancer Isadora Duncan was right, saying about him, “a lover so great as to turn the most ordinary woman, and give her for a moment the appearance of a celestial being?”
The perverse lover designed by himself some clothes and then gave them to women, from time to time, to wear and represent the erotic scene that he had chosen. Clothes that transformed them in moths ready to burn devoutly wings to his flame. Only the sinuous and fatal painter Tamara de Lempicka was able to sneak out from the arms of the famous satyr.
In his house also special perfumes and incense were not lacking, as well as a well equipped wardrobe in which were found two hundred silk shirts, fifty hats  two hundred pairs among shoes and boots, three hundred pairs of socks, fifty silk pajamas and gowns, and boxes with vagina’s hairs that he kept in memory of his mistresses. Just “an animal of luxury” as he called himself.  “When D’Annunzio loves a woman, exalts and elevates the soul above the earth, to the divine regions where moves and shines Dante’s Beatrice. From time to time, he let women participate in the divine essence and leads so high as to cause them to imagine they are really on the same level of Beatrice… there was a time in Paris, where the cult of D’Annunzio touched dizzying heights and they were all famous beauties to love him. But when the whim of the poet ended, he abandoned his mistress on duty for another“, so Mrs. Duncan wrote in her memoirs, who had with d’Annunzio an intense but short relationship.
In fact, it was always him to tire of the most beautiful and passionate women.
His only fault, if it can be defined so, was the bad habit of wasting considerable wealth for voluptuous things, and for this he is often found in bad waters and full of debt,  for which in 1910, there will seizure and sale of his goods.

The women he met, young and old, were all at his feet, happy to be desired by the most famous “tombeur de femmes” of Italian literature, ready to give herself to him body and soul, and that in addition to opening their legs, also opened their bags to pay his debts.
If it is not for wellness or charm, then why that? This is a good reason to suppose that D’Annunzio was a gifted, moreover, in an old Italian porno film, during the pioneer and illegal pornography period, among other collaborators in the captions is also read the name of Gabriele D’Annunzio. Of course, besides the use of the word, he knew how to use his sexual organ that he called “gonfalon selvaggio” (wild flag), and his exceptional libido led him to have, evidently, sexual performance record, or more intercourse without long breaks, and not for nothing that he was labeled “thirsty for sex“, all things that, alas, ravish many women.

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Greek Myths Sexuality

Published February 23, 2013 by Tony

Greek Myths Sexuality
Erotic fancy Scenario III

 Statue d'Apollon, Musée archéologique de Naples, Italie

Apollo, Zephyrus and Hyacinth

The god Apollo was the illegitimate son of Zeus and Leto (Latona), twin brother of Artemis.
When Zeus’ wife Hera discovered that Leto was pregnant and that Zeus was the father, she banned Leto from giving birth on “terra firma”. In her wanderings, Leto found the newly created floating island of Delos, which was neither mainland nor a real island. Here, she gave birth there, without infringing the provisions of the queen of Olympus, and was accepted by the people, offering them her promise that her son would be always favorable toward the city. Afterwards, Zeus secured Delos to the bottom of the ocean. This island later became sacred to Apollo.
Apollo, deity of ancient Greece, was the god of all the arts, medicine, music and prophecy, and its main symbol was the Sun. In Greek culture he was characterized by ineffability, by an androgynous figure and by a look of a hunter, wolf chaser (hence Apaliunas Lyceus).

Hyacinth, statue by François Joseph Bosio, Louvre
Apollo is usually depicted crowned with laurel, plant a symbol of victory, under which some legends says that this god was born. His typical attributes were the bow and the lyre. Animals sacred to him were swans (symbol of beauty), and the rooster as a symbol of homosexual love, since he fell in love with several men. Apollo had many epithets, designed to reflect the different roles, powers and aspects of his personality, like that of Phoebus, meaning “bright” or “shining” referring to its great beauty, of which he was proud, or its link with the sun. His bisexual nature, found in many other Greek mythological figures, led him to have numerous love affairs, with  women (Daphne, Cassandra, Marpessa, Melissa), and with men (Hyacinth, Zephyr, Licoreo, Asclepius, Admetus, Hymenaios).
Following what it is said about the relationship between Apollo and Hyacinth, also described by Homer,
here’s a personal  

erotic fancy scenario

(suitable for adults)

Apollo and Hyacinthus, 16th-century Italian engraving by Jacopo Caraglio

Apollo was madly in love with Hyacinth and just to be with him, he omitted all its major activities. They both spent hours in the woods where, in the stillness and to the shade of trees, were used to entertain and amuse themselves. Apollo loved to caress and kiss tenderly the companion, who felt attracted by The Sleep of Endymion by Anne-Louis Girodet (1818), Musée du Louvre, Paris.Apollo. However, the ambivalent character of Apollo led him to become often rude and quite violent, thing which did not like to the delicate and younger Hyacinth. Hugging each other, Hyacinth also liked caress and touch the more mature body of his boyfriend. A love really tender and intense. When the passion of Apollo was lit, he could not restrain himself and immediately asked the boy to suck his cock that in the meantime had become big and hard. While lying on the grass, his hands held Hyacinth’s head, driving its movements, but pushing to make sure that the boy’s mouth swallowed all the way down his cock, Apollon Embraces Hyacinthosbothering Hyacinth who felt to choke. Young and strong as he was, Phoebus was not satisfied by a simple suck and after having ejaculate for the first time, then asked the boy to squat onto his phallus, and holding with the hands his hips, brought him to come down until his cock was fully housed in the boy’s bowels. After a few moments of pain, Hyacinth enjoyed the penetration and gladly began to ride on the crotch of his tutor. After a while, the fatigue was not slow in coming, and to go ahead Apollo turned on his side, bringing the boy’s body, clinging to his, to lay on the ground, one behind the other. Through a slow and steady “to and fro” Apollo went on to fuck, savoring every inch of those tender Giulio_Romano_-_Apollo_Cyparissusinnards. Having nothing else to do and being so pleasant, they could remain for a long time to enjoy that carnal union. Only towards the end, when the second ejaculation was coming, Apollo gain the upper, and sprawling onto Hyacinth, completed the sexual act by violent and strong thrusts that forced the boy to sink his hands into the soil to keep himself firm on the ground.
They loved each other so, through a deep and passionate relationship, while time passed among games, jokes and sex.
One day Zephyr had to pass from there, and seeing Hyacinth alone playing in the woods, glided like a puff of air on the ground and began to speak with the guy. Although younger than him, Zephyr had fewer years than Apollo and it was love at first sight.

Louis_De_Boulogne_-_Zephyr_Crowning_FloraNot a day passed that Zephyr not return there to spend time with the boy and since a caress leads to another, it happened that the two had sex. Zephyr’s love was more platonic and sensual than Apollo, thing which appealed more Hyacinth, who preferred  sweetness more than spirited passion. When the boy saw that the story could not continue, tried to talk to Zephyr, but he was now too much in love to give up and maybe it was even the same Hyacinth to felt Apollo e Giacinto, dipinto a olio di Méry-Joseph Blondelsweetness towards Zephyr.
It was to be expected, and one day Apollo saw the two together and threw violently against Zephyr threatening and forbidding him to meet Hyacinth again and to never return in that place.
Zephyr could do nothing but retreat in good order but, blinded by jealousy swore to himself that he would avenged. Time passed and one day, while Apollo was playing at the discus-throw together Hyacinth, Zephyr was watching them from a distance, and decided to act quietly without being seen. Jealousy had clouded his mind and repeating “nothing for me nothing for nobody” blew on the discus that the two lovers had launched into the sky, forcing it to turn and come back at high speed, hitting mortally the head of the poor Hyacinth. Apollo barely managed to grab the boy’s body, while helplessly witnessed his death.
The_Death_of_HyacinthosBoth slumped to the ground, with Hyacinth lifeless in his arms, while Apollo were weeping and despairing.  Apollo tried to save the young man striving every known medical art, but nothing to do against the fate. Not being able to do anything else, then he decided to turn his beloved friend in a flower with an intense purple color, like the color of the blood spilled on the ground and on which even his tears were falling. Then, before going back to Heaven, leaning over the flower just created, Apollo with his tears drew on the petals the letters άί (ai which in Greek is an exclamation of pain), as a sign of undying grief felt for so much misfortune, which had deprived him of love of his young friend.
Flower that still bears the name of hyacinth.

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Hyacinthus_'Red_Magic'

 

 

PORNO CARTOONS

Published February 12, 2013 by Tony

EROTIC TOONS


It was to be expected that pornography would invade the world of cartoons, with satire towards some famous characters. Since characters toons aren’t associated with any actor, cartoonists and illustrators feel even more free to create pervert scenes. From Mickey Mouse to Homer, the web is full of characters cartoon naked and very often engaged in hardcore scenes, sometimes through entire comic books series even.
To be targeted are obviously the more recent cartoons like Simpsons, Family Guy and Futurama.
I realize that drawing Donald Duck naked while having sex with Daisy may seem irreverent and insane but, licentious representation or not, is funny for me, and I have found some for you.
Unless nudity and sex are still taboo and a shameful for you, these images will make you laugh and maybe excite too.

Please, note that these images are suitable for an adult audience.

[click to magnify]

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Aladdin

ALADDIN

Aladdin
Alvin

ALVIN

Alvin
Archie

ARCHIE

Archie
Batman

BATMAN

batman
Betty Boop

BETTY BOOP

Betty Boop
Bugs Bunny

BUGS BUNNY

bugs bunny
Calvin & Hobbes

CALVIN & HOBBES

Calvin & Hobbes
Charlie Brown

CHARLIE BROWN

Charlie_Brown
donald-duck

DONALD DUCK

Donald Duck
flintstone

FLINTSTONE

flintstones
Futurama

FUTURAMA

Futurama
Futurama Futurama
Futurama Futurama
futurama futurama
Garfield

GARFIELD

Garfield
goofy

GOOFY

Goofy
griffin

FAMILY GUY/GRIFFIN

family guy
griffin-family guy griffin
griffin Family guy
hulk

HULK

hulk
Jughead

JUGHEAD

jughead
Looney tunes

LOONEY TUNES

looney
mickey mouse

MICKEY MOUSE

mickey mouse
Pikachu

POKEMON/PIKACHU

Pikachu
pokemon pokemon
popey

POPEY / OLIVE

popeye
Popeye popeys
Richie Rich

RICHIE RICH

Richie Rich
scooby_doo

SCOOBY DOO

Scooby Doo
Shaggy

SHAGGY

Shaggy
Shrek

SHREK

Shrek
simpson

SIMPSON

simpson
simpson simpson
simpson simpson
Simpson simpsons_fucking
simpsons simpsons
simpsons-porn simpson
the_simpsons_sex the-simpsons
Smurf

SMURF

smurf
spider

SPIDERMAN

spiderman-sex-
south_park_nude

SOUTH PARK

south park
south-park-porn south park porn
superman

SUPERMAN

superman
Wile E. Coyote

Wile E. Coyote

Wonder Woman

Wonder Woman
Winnie the Pooh

WINNIE THE POOH

Winnie the Pooh
Dragon-Ball DRAGON BALL dragonball

Greek Myths Sexuality

Published August 10, 2011 by Tony

Greek Myths Sexuality
Erotic fancy Scenario II

[for “Erotic fancy Scenario I” click here ]

Greek was one of the most important civility in the world and some country, as the southern Italy, is lucky to have had such ancestors. Greek deeds and culture were significantly influenced by their Mythology whose history is full of licentious relationships and considering my prior post “Pornography” I now will linger on this aspect and taking cue from the various love affairs and intercourse among the Olympus deity, through a simple flight of fancy – that in the light of the fact could be very plausible – I will describe an erotic situation.
Just a likely story you don’t find around because the border between eroticism and pornographic is so feeble and doing it with the great historical characters – we study at school – is not affordable to everyone.
I think a lot of people as me – while reading a story or a tale – often would like to know the details, the background or just what the same story presumes but that is hided, not mentioned or lacking as in the case of the ancient citations about the Myths intercourse.
Anyway, I hope to give back an exciting model not so abstract.
Good reading and enjoy!

ACHILLES and PATROCLUS

Achilles

Achilles, known as quick-foot or speedy, in the Greek mythology was the son of the nymph Thetis and Peleus, the king of the Myrmidons. He was the central character and the greatest warrior of Homer’s Iliad.

During his childhood, while learning the art of the war, Achilles had Patroclus as intimate friend who then became his henchman, and though even Patroclus was older than him, he couldn’t boast about a higher strength or higher-born.

Patroclus, instead, was the son of Menoetius, grandson of Actor, King of Opus, and cousin, beloved comrade and brother-in-arms of Achilles. As recorded in the Iliad, he was depicted as a very sweet and good will figure, just a novelty in the world represented by Homer where, for any hero, strength and crudeness had more importance than other virtue. Patroclus

During his childhood, while learning the art of the war, Achilles had Patroclus as intimate friend who then became his henchman, and though even Patroclus was older than him, he couldn’t boast about a higher strength or higher-born.

The relationship between Achilles and Patroclus, whose deep and loyal friendship is mentioned explicitly in the Iliad, is a key aspect of Achilles myth. However, its exact nature has been a subject of dispute in both the classical period and modern times because Homer never hints at any romantic or sexual approach between each other.

Achilles devotion to Patroclus is an archetype rapport easy to find between many others characters as for example:  Damon and Pythias, Orestes and Pylades, Harmodius and Aristogeiton, couples of comrades facing together danger and death, willingly.

Oddly, Achilles who usually is insensitive high-and-mighty, became tender towards Patroclus only.

In 5th-century BC Athens, their relationship was commonly interpreted as pederastic as some modern authors believe. In fact,  Aeschylus, in his tragedy ‘The Myrmidons’, considers the relationship as a sexual one, then unusually assigning Achilles the role of erastes (or protector) and of eromenos to Patroclus. In Plato‘s Symposium, written around 385 BC, Achilles and Patroclus were viewed as lovers. When later Alexander the Great and his intimate friend Hephaestion passed through the city of Troy, Alexander honoured the sacred tomb of Achilles and Patroclus in front of the entire army, as a clear declaration of their own love. Besides, William Shakespeare‘s play ‘Troilus and Cressida’ depicts them as lovers.

Patroclus death

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Different contemporary readers interpret the two heroes either as relatives or close friends, as “war buddies”, as being in a teacher/student relationship, or in love with each other as an egalitarian homosexual couple.

Anyhow, because this deep relationship, Patroclus death becomes the main reason why Achilles returned to fight even if – as gods had informed him – that cost him own life.

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Back to their youth, here’s now my ‘erotic fancy scenario’.

Coming back from the forest, Achilles found Patroclus waiting for him while walking around.

achilles & patroclus“Hey, welcome! Do you need something, perhaps?”, the man said.

“Really tired now but you are so tender as usually.  If you want, could massage my shoulders, just so numbed.”

Patroclus approached him while the boy laid down the sword and took off his chlamys, then knelling down Patroclus put away his greaves too.

“My dear, relax here on the grass so I can entertain you.”

Achilles laid down with the man sat close to his naked body trying to massage his hairless chest.

After some minute a hand of Achilles seized the man’s head driving it towards his crotch. achilles & patroclus

Without other words Patroclus understood what he had to do and his lips soon mouthed the flabby cock hanging on the turgid sack.

The sturdy man started a hot blowjob while the cock got bigger in a while. Achilles stretched the arms on the grass giving a deep sigh. 

Now, both relaxed and with a so erect and stiff penis in his hands, Patroclus could do his best, licking around, sucking deeply glans and balls and swallowing the trunk. A so wonderful blowjob that brought the young to cum soon and copiously in his friend’s mouth.

Excited, the man squeezed the penis more times till to get the last drop of sperm, then leaning the head on the friend’s pubis.

After some minutes Achilles stood up and before dressing, embraced Patroclus then giving him a warm French kiss.

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The Nude in the Art

Published April 28, 2011 by Tony

NUDITY

Adamo e Eva, Michelangelo Buonarroti, Cappella Sistina, Firenze

Adamo e Eva, Michelangelo Buonarroti, Cappella Sistina

Human being born naked and it is a fact as the natural situation that he originally lived without clothes. Throughout human history, garments come later and had, in the beginning at least, a symbolic and decorative function eventually, becoming necessary to protect from the cold.

Nudity itself wasn’t the original sin because Adam and Eve were naked before it, but some people correlated it to the original sin, perhaps to explain the ban, and from that moment on the sexual organs started to be demonized and execrated progressively, Masolino, "Adamo e Eva nell'Eden" 1424-25, cappella Brancaccio, Firenzebringing the future generations to consider them as parts to hide, getting more and more discomfort and shame in showing genitals. Hence, as a general rule, the nudity today is not accepted in most modern society, except some circumstance in which nudity – with the usual inconsistencies that drive the civilized human being –  is somewhat tolerated and accepted (locker-rooms, steam-rooms, operating rooms, nudists areas, etc.)

Some narrow interpretations of Islamism require that women cover the whole body
including the face, while some tribes of Togo and Ethiopia (e.g., Suri) commonly live without clothes. Covering sex organs by thong, leather or cases, in the few cases of primitive people still living in the world, is a way to underline their sexuality and not
to hide it. Lots of tribes, from long, are used to cover their nudity as result of the continuous interference by the church’s missionaries that from age to age have handed down their own shame of the western world.

We-all, who are civilized and advanced, lay down the law even if anthropological evidences show the absence of so-called “sexual deviations” afflicting modern society, just among those populations we consider primitive.

Long ago, in New Zealand the photographs of naked children (once considered as asexual creatures) were socially accepted, but now they would induce outrage and disgust if published, as well as a parent will be accused of pedo-pornography if showed a nude portrait of his child.

Anyway, the human body always had a great significance in Arts, specially in ancient times, and it
cannot be considered an aesthetic phenomenon only but, represents custom, concepts, practices, stele Qehrituals, life and mentality of people who made
​​use of it.

We could do a short excursion through the most important civilizations starting
from the ancient Egyptians who, because some religious prejudice, put the nudity in the background, though even they knew the structure of body through the art of mummification.

In fact, in funerary depictions they considered more important the features of the face so that, after the death, the souls easily could recognize their own
bodies. For this reason, the depictions of nudes are rare in the Egyptian art also if, because of the hot climate, their clothing was quite scanty so, it should not be so unusual or abnormal to glimpse genitals.

  For Sumerians and Babylonians the female nude was more accepted as sign of fertility, and the representations of the Mother Goddess demonstrate it. The nudity was generally considered a condition of submission and shame and for this reason, prisoners and killed enemies ritually were exposed naked in public.

Not even Minoans came to the complete representation of nudity, though they made use of more succinct clothing than Egyptians, with men wearing only a narrow inguinal band and women with a corset that left their breast free. However, women usually showed themselves completely nude during acrobatics games.

In Crete, women role sometimes gained in importance and nudity wasn’t aimed at enhance athletic aspect of the figure as for Grecians. During Greek time, the full nudity appeared for both warriors and other characters. Greek art sought in the man the ideal type of the divine beauty, transferring the nakedness from the reality to a heroic and universal level.

   rilievo greco, V sec. a. C. Barberini, FaunoBronzi di Riace

For Grecians the concept of beauty was central according to the equation beautiful=good. The naked statues considered as a glorification of life, beauty and perfection where nudity was the rule, as for the athletes that, engaged in the Olympic Games, got rid of the clothing hindrance.  The Greek word gymnasium just meant “place to stay unclothed”.

Ganimede e ZeusStatua di giovane kouros, ca. 590–580 b.c.Aphrodite, The Metropolitan Museum of Art

The female nude is found mainly in the Archaic period by Corinthians painting with erotic content. On the other hand, just the study of the male body led Greeks to be the first creating three-dimensional pictorial representations, with perspective and depth. During the Hellenistic period, the nude portrait, from juvenile to decadent old age one, acquired delicate fleshy softness, representing it by a realistic virtuosity.  

Lakonia (Sparta). Bronze, 550-525 BC. Getty Villa, Museum.Soldato spartano

 

The complete female nudity was, instead, considered only in relation to the ethereal sphere and feast, thence with a material and sensual value. It is said that the Spartans were the first to show themselves naked, to appear publicly without clothes and rub oil onto their skin for the competitions, because the Donna nuda con uominiconception of the athletic nudity was more suitable to their customs and austere mentality as warlike people. 

In Sparta, the ritual nudity was common for men and women during some celebration, as well as to see the soldier with armour but showing their crotch in the depictions.

While trying to imitate the Greek motifs, Etruscans revealed their barbaric dislike towards nudity and required the use of the loincloth to their athletes.

As the Etruscans, Romans also come to be portrayed by borrowing naked bodies models of the great Greek art, but the classic Roman portrait remains the one with the toga.

Anyway, we have to point out that these populations, from which most of our knowledge and culture comes – even barbarians unwilling to accept public nudity – did not condemn or demonize it, as
at the present time. In particular, the genitals were considered a normal part of the body and not an evil or sinful organs and showing them could be a sign of inferiority or poverty, for lack of rank or
garment.

Marco Claudio Marcello, 1 sec. a.C. – Louvre, ParigiEros, FarneseGaio Vibio Treboniano Gallo

In the next decadent era of the late empire, the increasingly strong and authoritative voice of the Church, in the name of the new religion, condemned with no concessions the nakedness of the human body, even ordering to cover any naked artworks concerning the Old and New Testament.

Herrmaphrodite MARCO AURELIO E FAUSTINA

In Imperial Rome, in fact, prisoners were often stripped of their clothes as a form of humiliation.

In Western Europe, until the early eighth century the Christians were baptized naked, emerging from the water like Adam and Eve but, during the Carolingian era the nudity acquired a connotation too
sexual and such a practice was abolished, as well as the representation of any naked Christ on the cross.
During the long and dark years of the Middle Ages, most statues of nudes (considered Crocifisso, Michelangeloblasphemous) were destroyed or damaged and female images underwent such iconoclastic fury mainly. Only later, the artists exceptionally could portray female nude in the case of biblical representations. Well-known is the “campagna della foglia di fico” (fig-leaf campaign) that Roman Catholic Church organized to cover the nudity in art, starting from Michelangelo works. 
Up to nineteenth century, public nudity was considered obscene and it was necessary wait until Renaissance for the studio of the nude to restart and revive a sensuality so long repressed.

Today, in a world that defines itself advanced, democratic and free, nudity in art
(we call artistic nudes) – even in public – is accepted luckily, but it is always forbidden to show ourselves undressed, generally punishable by law. 

The thing that let me puzzled is why many people easily accept
the vision of an “artistic nude” (any statue, painting or photo), in a public place, while can’t stand an actual naked person.
Evidently, the art that becomes here a screen for bias and hypocrisy.

Given that silence becomes acceptance, we could say that everyone deserves the society which he is living in.

David di MichelangeloGli ignudi, Michelangelo "Sleeping Shepherd Boy", Adolf von Hildebrand

Apollo, Giacinto e CiparissoCorreggio, "Danae"Caravaggio, "amore vittorioso"

Morte di GiacintoTrionfo di Venere, BronzinoGrien Hans Baldung, "La Musica"

Gioacchino_Pagliei, "The_Naiads""Rêverie d'enfant", Jean-Charles ChabriéFirst secret confidence to Venus

Bouguereau, "Nascita di Venere"Guerin P. Narcisse, Morpheus and IrisAristeo

"Prince Paris", BissenCanova, "Amore e Psiche"Peel Paul, "The Little Shepherdess"

Mapplethorpe, nudeWilhelm von Gloeden, "Amore e arte""15 year old girl from Vienna", Carl Heinrich Stratz

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Wilhelm von Plüschow

Published March 26, 2011 by Tony

Mediterranean trait

Note, anybody who doesn’t like nude photographs and of young people mainly, ought to stop looking at this post.

Accidentally I hit on some picture of Wilhelm von Plüschow a German photographer (1852 – 1930) who stayed in Naples from the early 1890s. He became known for his nude photos of local youths, predominantly males (but also females) like his cousin Wilhelm von Gloeden (1856-1931) who spent many years in Taormina and became a famous photographer for the nude photos of Sicilian people, instead. He came to Naples more times to meet Plüschow and so, among his archive there are some portraits of Neapolitan people too. Anyway, they both also took many landscapes that helped popularize tourism to Italy and that today have their importance under a historical aspect, also if there are other photographers specialized in this genre that I intent to find and see their old landscapes about Naples and surroundings.

The images they produced are considered to be a landmark for the beginning of the homosexual photograph. Pluschow pictures are more erotic than the ones shot by Baron von Glœden who was more an aesthete and whose works suggested a setting in the Greece or Italy of antiquity. Timeless and enticing images in search of a sublime beauty in the Mediterranean world he felt allured.

Apart from nudity – that could nettle someone – I was interested to see the models feature because any population has its own physical characteristic and it is interesting to check as they change in the time.

In Italy – divided by different regions – there are different lineages and it is amazing to see as some of them still are clearly visible nowadays – as a stereotype characterizing a region or a country.

This post started deliberately by the word “accidentally” because this blog is dedicated to Neapolitan culture priory while one of the last post concerned a tour in Sicily and – strangely enough – I found something about Naples and Sicily at the same time and looking at the different portraits I often were able to set who was Sicilian and who Neapolitan. Undoubtedly Sicilians have very strong and unmistakable feature but we anyhow are considering two populations of the Mediterranean area in southern Italy that had many things in common. Among the numerous photos of Gloeden I chose the one took in Naples or those whose people feature had some ‘Parthenope’ distinctive trait.

A boy

A boy – Wilhelm von Plüschow, Boy as a saint portrait – no date – 19th-century.
Nino_Cesarini

Nino_Cesarini – Portrait of Nino Cesarini by Wilhelm von Plüschow.
Male nude

Male nude – Wilhelm von Plueschow, Male nude, Naples, 1890-1900 nearly. Catalogue: 36.117.
Vincenzo_Galdi

Vincenzo_Galdi – Wilhelm von Pluschow, Nude portrait of Vincenzo Galdi (1895 ca.), at Posillipo, Naples, ca. 1895.
Male nude

Male nude – Wilhelm von Plüschow, Male nude. Naples earlier than 1907.
Boy and girl

Boy and girl –Boy and girl at Posillipo (Naples). Photo by Wilhelm von Plüschow, dating from the 1890s, from the book Der Körper des Kindes und seine Pflege by Carl Heinrich Stratz.
A girl

A girl – 1909 (Publication) – 10-year old girl with mamma areolata. Photo by Wilhelm von Plüschow from the book Der Körper des Kindes und seine Pflege by Carl Heinrich Stratz.
Italian girl

Italian girl – 13-year old italian girl. Photo by Wilhelm von Plüschow from the book Der Körper des Kindes und seine Pflege by Carl Heinrich Stratz.
A boy

A boy – Picture by Wilhelm von Plueschow. Naples or Rome, before 1907.
couple

Couple – Picture by Wilhelm von Plueschow. Two nudes.
On a terrace

On a terrace – Five youths on a terrace. Naples and Mount Vesuvius in the background were painted into the picture by von Gloeden (or an assistant). Kiermeier-Debre/Vogel: Wilhelm von Gloeden – auch ich in Arkadien (Cologne 2007), p. 111. Barandum cat. #151, reg. #45.
A boy

A boy – Wilhelm von Gloeden, “A boy“. Catalogue number: 52. Francesco Gallo, W. Von Gloeden. Fotografie originali, Comune di Taormina (Tipolitografia Pino,Catania) 1981, p. 23.
Two naked boys

Two naked boys – Wilhelm von Gloeden, Two naked boys, one with an amphora, the other one wearing a Passion-flower. Catalogue number: 79. Around 1895.
Ahmed

Ahmed – Wilhelm von Gloeden, “Ahmed“, Picture number 227 (1899) – Italo Mussa, (Malambrì, Taormina 1980, p. 39.
Italian boy

Italian boy – Wilhelm von Gloeden, “Italian boy posing as Bacchus“. Catalogue number: 299.Janssen, Volker (editor), Wilhelm von Gloeden, Wilhelm von Plüschow, Vincenzo Galdi. Italienische Jünglings-Photographien um 1900, Janssen Verlag, Berlin 1991.
Boys

Boys – Wilhelm von Gloeden, “Love and Art”, catalogue number: 0941. Gloeden, Wilhelm von, Amore e arte, Nino Malambrì, Taormina 1999, p. 70.
boys in Pompeii

Boys in Pompeii – Wilhelm von Gloeden, “Neapolitan boys in Pompeii“. Catalogue number: 1052. The photo was taken during a visit by Gloeden’s cousin, Wilhelm von Plueschow, in Naples, evidenced by the fact that the model on the right is Vincenzo Galdi, who was model to, as well as the lover of Plueschow. “deponiert 11-3-1899”, but earlier. Source: Giovanni Dall’Orto.
boy at Pompeii

Boy at Pompeii – Wilhelm von Gloeden, “Neapolitan boy at Pompeii“. Catalogue number: 1074. source: Online auction (ebay).
Love and Art

Love and Art – Wilhelm von Gloeden, Catalogue number: 1121. from “Love and Art” (Amore e arte), Nino Malambrì, Taormina 1999, p. 77.
Portrait

Portrait – Wilhelm von Gloeden, Catalogue number: 1185. From Love and Art (Amore e arte), Nino Malambrì, Taormina 1999, p. 91.
Boy in the cloister

Boy in the cloister – Wilhelm von Gloeden, male nude in the former cloister of what today is Hotel San Domenico in Taormina, in Sicily, around 1899. source: Sicilia mitica Arcadia, p. 52.
Three nude boys

Three nude boys – Wilhelm von Gloeden, Three nude boys. The picture was shot on Gloeden’s cousin Wilhelm von Plueschow’s terrace in Posillipo (Naples) in the first stage of his work (1890-1900).
Pietro

Pietro – Wilhelm von Gloeden, Picture number 434. From album “Pietro. Farewell to Naples“.Source – Janssen, Volker (editor), Wilhelm von Gloeden, Wilhelm von Plüschow, Vincenzo Galdi. Italienische Jünglings-Photographien um 1900, Janssen Verlag, Berlin 1991, p. 9.

Here’s now some images where we can see the strong and unmistakable trait of Sicilian guys.

Siclian boy
Siclian guy (note the distinctive Sicilian trait)
 
sicilian boys
Sicilian boys

At the end I want to add two pictures of Giorgio Sommer (1834-1914). Born in Germany, became one of Europe’s most important and prolific photographers of the 19th century. Active from 1857 to 1888, he produced thousands of images of archeological ruins, landscapes, art objects and portraits.

Spaghetti eaters

Spaghetti eaters – Giorgio Sommer, Spaghetti eaters, before 1886. Photograph, albumen print, 22.8 x 18.4 cm. Numbered #6444.
 
Famille napolitaine

Famille napolitaine – Giorgio Sommer, Famille napolitaine (neapolitan mother searching for lice in her son’s hair).

This last few lines have been added recently because, long since, this post is the most visited page of my blog and I would like to know the real reason. Thus, I will be glad if any visitor could leave a short comment (also if anonymous) explaining the (real) reason of his/her visit. Thank you a lot!

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