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Fetish art can simply depict a person dressed in fetish clothing, which includes undergarments, stockings, high heels, corsets and boots. A common fetish theme is a woman dressed as a dominatrix. Many of the 'classic' s, s and s-era fetish artists such as Eric Stanton and Gene Bilbrew began their careers at Irving Klaw 's Movie Star News company later Nutrix , creating drawings for episodic illustrated bondage stories.
In fetish artist John Coutts a. John Willie founded Bizarre magazine. Bizarre was first published in Canada, then printed in the U.
In the s and s, fetish artists like Robert Bishop were published extensively in bondage magazines. In recent years, the annual SIGNY awards have been awarded to the bondage artists voted the best of that year.
Many artists working in the mainstream comic book industry have included fetishistic imagery in their work, usually as a shock tactic or to denote villainy or corruption.
The boost that depictions of beautiful women in tight fetish outfits give to the sales of comics to a mostly teenage male comic-buying audience may also be a factor.
In s America comics with bondage or fetish themes began appearing. Mainstream fine artists such as Allen Jones have included strong fetish elements in their work. An artist whose erotica transcends to mainstream collectors is found in the Shunga and Shibari style works of Hajime Sorayama. Taschen books included artist Hajime Sorayama, whom his peer artists call a cross between Norman Rockwell and Salvador Dali , or an imaginative modern day Vargas.
From Wikipedia, the free encyclopedia. Written in the flesh: a history of desire. University of Toronto Press. Slade Pornography and sexual representation: a reference guide. Greenwood Publishing Group. Modern Amazons: warrior women on screen. Hal Leonard Corporation. Bean Sexual fetishism. Book Category. Categories : Art genres Erotic art Fetish subculture. Namespaces Article Talk. Views Read Edit View history.
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Burt, Eugene C. Includes bibliographical references. ISBN softcover : 50 alkaline paper 1. Erotic art Dictionaries. E6B87 2. Artists Biography Dictionaries. British Library cataloguing data are available Eugene C. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher.
What is true is that many artists throughout history have addressed in their work aspects of human sexuality as an important part of the human experience. Most of these artists are anonymous to us, as their names have been lost to historyfrom ancient Roman fresco painters, to potters of preInca Peru, to sculptors of medieval Indian temples. Nevertheless, the names of some artists are available to us, primarily, but not exclusively, from the Western world in the last three centuries.
The Dictionary of Erotic Artists identies named individuals who are thought to have made some contribution to the history of erotic art.
There are literally hundreds of single- or multi-volume lexicons or dictionaries of artists that are a vital source of reference information for art researchers. While some attempt to be all-inclusive, most cover specic categories of artists, based on the content of their work i. Almost all such dictionaries have been compiled as a result of decades, if not centuries, of research by generations of scholars.
In contrast, relatively little serious research on erotic art has been conducted and published to date. With that situation in mind, the goal of the Dictionary of Erotic Artists is to stimulate the kind of research that will expand, clarify, correct, and rene our knowledge of the subject. There have been a few earlier published efforts to provide a reference resource on erotic artists.
The four volume Bilder-Lexikon: Literatur und Kunst Vienna: Kulturforschung, ; reprinted Hamburg: Kulturforschung, includes a signicant number of artists names, though few whose work is explicitly sexual.
Spread over several volumes of his catalogues of erotic art, Dominic Klinger in the s provided a more extensive KunstlerLexikon which provided information about many obscure European artists. Similarly, Eva Baurs Meisterwerke der erotischen Kunst Dumont, provides background to European artists of the last four centuries. Much of the information those earlier studies made available helped in compiling this volume. In addition, a growing number of online websites attempt to provide lists of artists, usually focusing on specic genres, such as artists specializing in agellation or transvestite images.
Any publication on erotic art brings together two audiences and two vocabularies. Introduction that rarely intersect. Sex and art each have their own specialized terminology that is not necessarily understood to those who have limited knowledge of them. The Dictionary of Erotic Artists has made an effort to use vocabulary familiar to as wide an audience as possible. Since sexual terminology can range from scientic to crude, it is a particularly sensitive issue. An effort has been made herein to use generally acceptable terms for the various sex acts.
For example, oral sex is utilized rather than the scientic oral-genital contact or the vernacular blow job. In some cases the titles of works of art or publication titles may include terminology that is crude or even offensive to some people, but are listed as they are provided by the source. A glossary is provided to help clarify the meaning of terms that might not be understood by those who are not art experts or who have limited familiarity with sexual lingo.
For the most part, portrayals of nudity alone does not qualify an artist for inclusion; the deciding factor is the explicit display of sexual features or an emphasis on provocative poses.
For centuries, Western artists have been trained with life drawing classes of nudes, the results of which are denitely anatomical renderings, but not necessarily to be considered erotic. Inclusion in erotic art surveys. If other researchers discussed or provided reproductions of works by artists because they considered them signicant to erotic art history, they were included herein.
Named artists. Only artists whose names have been identied are included. When possible, the real, full name of the artist has been used, but in many cases only a pseudonym, just a surname, or even just initials are known. The artists listed herein include both the famous and the obscure.
Names such as Rembrandt and Picasso are known to everyone and the available information about them is indeed extensive. The vast majority of artists in this dictionary are little known and, in many cases, virtually nothing more is known about them than a name and evidence of the existence of some of their work. The names themselves can be problematic as the use of pseudonyms has been common among artists of erotica for centuries.
In this volume only painters, sculptors, printmakers, graphic designers, illustrators, and the like have been included. Photographers, cinematographers, and videographers have not been included, as they deserve their own similar dictionary. No list can be all inclusive, especially in a topic like erotica. Future research ndings should rene the list, adding more names as previously considered anonymous works have their artists name revealed, removing some.
Scope It is hard to imagine a more controversial topic in art history than erotica. Subject to condemnation, suppression, censorship, and avoidance by society in general and academia in particular, erotic art has not been the focus of the research it deserves. Simply dening the topic is, of course, difcult, but necessary to determine the scope of this volume. Certain principles were utilized in deciding on the inclusion of names for this dictionary.
Artists whose work unambiguously display sexual behavior are considered primary candidates for inclusion. The main exceptions to this principle involve the inclusion of artists from the Renaissance to the 18th century whose work may not be immediately perceived as sexual by modern standards, yet in their time pushed the envelope of acceptability or were criticized in their age for being too sexual.
The other exception is the inclusion of pin-up artists whose works may be more. Introduction erotica production.
But it is the 20th and now 21st centuries that have seen the greatest proliferation of artists who seek to create sexually oriented work. In fact, the last few decades have seen an explosion of the production and availability of erotic art around the world. Therefore, living artists constitute the largest portion of individuals named in this dictionary. They may specialize in only a limited range of sexual content i. About 10 percent of the artists are women and a considerable portion of the male artists produce homoerotica.
Although Europeans and Americans form the vast majority of the names listed, artists from Asia, Australia, Latin America, and Africa are included. Denition What makes an artist an erotic artist? A list of artists who have made the production of erotic art their main oeuvre would be quite short. More common are artists like Picasso who produced a considerable quantity of erotica; however, this formed only a small part of his creative output.
The majority of individuals listed in this dictionary may have only produced a small amount of erotica, compared to their total output, in some cases only a single work of art. Future research by scholars should further rene the denition of who should be considered an erotic artist.
The artists listed in this dictionary fall into a number of categories. The earliest named artists are from Ancient Greece. These vase painters are known to us because they signed their works or a name has been assigned to them by modern art historians and archaeologists.
Renaissance to Baroque artists only on rare occasions produced overtly sexually explicit works, but many of them pushed the envelope beyond the strictures of medieval Christian art to further the development of erotic art in the West. In a sense those artists began the trend to the erotic which has inuenced our own time. During the 18th century, largely due to the Rococo era, there was an explosive growth in erotica, from suggestive to fully explicit imagery.
An art historical term, sujet galante, indicates the preference for images of the sex lives of the upper class common to that era. Painters, printmakers, and reproduction artists producing erotica were numerous, as were illustrators of erotic literature. It is in this period that there is evidence of artists who fully specialized in producing erotica. That trend ripened in the 19th century, when entire artistic careers were based on. Publications Hundreds of illustrated books on erotic art have been published.
Prior to the s such books were few and far between and were usually released in restricted limited editions. Fewer still were serious scholarly texts; the outstanding exception was the pioneering multivolume surveys of erotic literature and art by the German sexologist Eduard Fuchs rst appearing in Later, it was the so-called Sexual Revolution of the s that released a virtual oodgate of publications.
Most are little more than picture books with reproductions of artworks, with any text or image captions generally of questionable validity and rarely with supporting evidence. There is, however, a small but growing body of schol-. Introduction arly research on erotic art which began about twenty years ago. Hall by this compiler was published. Art historians and archaeologists like John Clarke at the University of TexasAustin and Catherine Johns, formerly of the British Museum, have written on the sexual art and culture of ancient Greece and Rome and are among the best representatives of this research trend.
This same period has seen a worldwide proliferation of erotic art exhibitions, festivals, galleries, and museums that have produced accompanying catalogs. Erotica collectors like Charles G. Martignette in the United States and Hans-Jrgen Dopp in Germany have researched their collections and made them public via publications and gallery or museum showings.
The publications listed in the bibliography of the present volume are the source for most of the specic works of art referenced in the artist entries and some of the information on the individual artists. Names are listed in inverted format surnames followed by a comma and then given names. At the main entry, the variant names and the pseudonyms are listed. Vital dates and places.
Following the artists name, the vital dates and places are listed in parentheses. In many cases only a birth date or only a death date are known or neither. Places of birth and death are given when they could be identied. In some cases the vital dates are unknown, but the time period when the artist was active is provided.
National identity. Following the dates, again in parentheses, are listed the nations most associated with the artists life and career. The description of the artist is intended to be cursory but useful.