Born by Aphrodite

Рождение Афродиты

Born by Aphrodite

Евгений Роик

Eugene Roik

SERIES FOUNDED IN 2009

In defense of erotica in general, 

and erotic art in particular, 

that saved my life.

ILLUSTRATED 

HISTORY OF EROTIC 

ART

Афродита Милосская. Статуя ок. 130-100 до Р. Х.

© Eugene Roik. 2015 

© Lisa Snegireva. The English text. 2015

Man was created by Nature

for the world – not for war?

He was born for joy, for delight

by all fruits and plants.

Francois Rabelais

FOREWORD

Why and what for?

Let me start by saying that I do not know how to define the series of essays I plan to present to inquisitive readers. Perhaps, as an amateur art collector I can give it the title: Basic instinct in the world of art.

The very existence of such a phenomenon as life is fully represented by the reproduction capacity of species. The reproduction mechanism is based on what we call love – a notion so all embracing, that we cannot even fully define it. All living organisms are prone to it, this way or other, and this notion in our multi-gendered world encompasses also attraction and delight. Nikolay Berdiayev wrote: Gender defines humans in their comprehension of the world. Gender is the source of living, and gender polarity is the basis of any creation. The understanding of being alive and its intensity are deeply rooted in gender identification. Everything in the animal world, and in human comprehension of gender polarity is defined as basic instinct, the latter is being brought into full light by erotica art.

Erotica as love itself is multi-dimensional. I was captivated by it, and I share David Samoylov’s idea that: Every human being possesses three spheres. The sphere of brain (or intellectual sphere) is the assessment sphere. The sphere of feelings and emotions is the so-called memory of the heart. And the sphere of flesh (sexual life) is the sphere of lust. It is indeed a happy occurrence when these spheres exist in equilibrium. There are people, though, who are totally devoid of emotional, sensual sphere. They do not have any past. They are brutal natures. People stripped off sexual sphere are typically rather opaque and incapable of artistic creationism. They do not possess the necessary roughness resulting from lust. Those stripped of intellectual sphere are sometimes charming, romantic, kind, and worthless of any trust (Diary, April 1987).

Eros is the source of creative work (I personally subscribe to this point of view!). It is to jet-start the rich artistic potential (indeed so!) that I initiated my series of essays, containing factual data on the development of erotic art in different epochs and with different peoples. It would be a great shame to waste all the information I managed to accumulate up until now.

I hope that the prospective series could help reveal the following:

— erotic art is natural to humans, as it accompanies humankind for as long as people live;

— erotic art was duly recognized and praised by many renowned artists (Rafael, Leonardo da Vinci, Carracci, Rubens, Bouchet, Somov...), writers and poets (Juvenal, Ovid, Boccaccio, Goethe, Maupassant, Balzac, Bunin...);

— all successful social and political transformations were accompanied by bloom of erotic art – ancient democracies, the Renaissance, the Great French Revolution, scientific and technical revolution of 1960-70s in Europe and the USA;

— totalitarianism regimes were always banning any reproduction of naked human body and erotic art as such – fascism in Germany, and socialism in the Soviet Union;

— erotic art works by the greatest masters were always increasing artistic potential of not only individuals, but even nations;

— comprehension and appreciation of erotic art, apart from deepening our general knowledge on the nature of humans, also serves the purpose of providing new insight (especially for the FSU peoples) onto the general historic line of human development.

Erotic art, as indeed any other art, does affect the psychological and behavioral spheres, and may be of both constructive and destructive nature. The outcome depends on the general behavior of the authorities, on the general cultural background in a given society, and on the very awareness and knowledge of the particulars of the given art.

When authorities prefer talking to doing necessary things, it is the manifestation of hedonism – indulgence in pleasures and satisfaction of personal ambition. When authorities stimulate artistic work, independence and self-respect, and fight dependencies of all kinds, then erotic art produced by the best masters becomes the creative and evocative force, bringing to life all artistic forces and constructive energy.

Some comments seem to be necessary.

The planned series of essays reflects solely the author’s viewpoint onto the history of the erotic art. This viewpoint was developed following the study of many various sources including those in the Internet (over 15 years of surfing the net). Many texts have no references. I hope the Internet forgives me this oversight. At the same time let me provide references to the basic information sources below:

— Eduard Fuchs – 6 volumes History of morals (three private ones) – Eduard Fuchs Illustrierte Sittengeschichte. Albert Langen, Munchen; — The history of erotic art in 3 volumes – Geschichte der erotishchen Kunst Albert Langen, Munchen (1908, 1923, 1928); European peoples caricatures in 2 volumes. – Die Karikatur der europaischen Volker, A. Hofmann & Comp. Berlin.

— Wilhelm Yfusenstein Naked human body in the art of all times and nations. – Wilhelm Yfusenstein. Der Nackte mtnsch in der Kunst aller Zeiten und Volker, Munchen, 1913.

— Illustrated dictionary of erotica, volume Literature and Arts. – Bilder-Lexikon der Erotik, Literatur und Kunst. Verlag fur Kulturforschung, Wien,1929.

— Dr I.Bloch The History of Prostitution. – St Petersburg, K.L.Rikker’s printhouse. 1913.

The Ancient Rome section includes several references to the article by A.I.Piotrovkiy (1898-1938) The Book of the Madaurus Sorcerer.

Eugene Roik

Jupiter and Thetis. Jean-August Domonique Ingres (1780 – 1867)

MYTHOLOGY

Hellenic myths take a very special place in historic development of erotic art. Their plots gave impulse to creative works of all great masters, practically without exception, and this is true for the art of writing, painting, and sculpture. It is indeed Hellenic myths that led to rediscovering of ancient Greek culture in the Renaissance times. And it was Hellenic myths that helped Leonardo da Vinci, Michelangelo Buonarroti, Boticelli, Titian, and others to restore admiration of the naked female body in Western Europe, the ancient cult established and worshipped by the Greek and Roman artists long ago. Life itself called for such a renaissance, and myths made it possible to satisfy European nobility searching for playful plots.

Nine Muses. Anonymous French engravings, 1790

For many centuries there was a multitude of various descriptions of Hercules frolics with Hebe, of Mars’s seduction of Venus, and Jupiter’s visits to virtuous Callisto, to Danae, to virgin Europa, and to other beauties olf Olympus and Earth. Such plots remain popular and attract interest nowadays as well, and one examples of such everlasting interest is the story about Leda and the Swan, already interpreted by many artists, and continuing to receive various interpretations by modern painters. The hero of this myth is the father of Gods and people Zeus (Jupiter).

The deeds of this supreme deity, referred to as clear skies in Greek mythology, became the foundation of many artistic works, both in literature and painting (Leonardo, Correggio, Rembrandt, Lemoine, Picasso, Serov).

Zeus’ amorous wantonness was indeed prolific, and history provides interesting illustrations to the above. Dalliance with Mnemosyne, daughter of Ouranos and Gaia, and Goddess of memory, resulted in 9 Muses given to humankind. Each of the Muses is a patroness of a certain art. One of the Muses is Erato – the muse of Love Poetry, and is seen with a lyre. Another muse is Terpsichore ruling over Dance, seen with a lyre and a plectrum. Yet another muse is Calliope, the beautiful-voiced, the muse of Heroic Poetry and Knowledge, seen with a scroll and a stick for writing (the mother of Orpheus, poet and singer)¹.

The Mount Parnassus was the home of the Muses and Apollo. At the foot of the Mount Parnassus there was a Castle spring, and the of the fountain on Mount Helicon was Hippocrene. The Muses granted poetic inspiration to those who drank from these magic waters.

Europa, daughter of the Phoenician King Agenor, was so beautiful that could rival even goddesses. Little wonder that when Zeus saw her for the first time, he immediately fell in love with her and decided to abduct her. Zeus turned into a niveous bull with sparkling wool and rounded horns, resembling a crescent moon. He then arrived at the meadow where Europa and her friends were gathering flowers. Having given fair judgment to the mighty and beautiful bull, lying quietly at her feet, the maid plunged into a brave deed.

This deed was then praised over centuries by artists and poets.

Europa got onto the bull, little knowing what she was doing.

The deity took small steps towards the water, and a second later took to waters.

Ovid,Metamorphoses

Having crossed thesea and brought his captive to the isle of Crete, Zeus took Europa to bed.Their union gave birth to several sons: Minos,Sarpedon, and Rhadamanthys... Later on, Europa married the childless Cretan King Asterius, who adopted and raised her sons by Zeus.

Minstrels of female beauty could not have possibly overcome such an exciting mythological plot as the Judgment of Paris.

Paris was the son of Hecuba and Trojan King Priam. At the King’s order, immediately after being born, Paris had to be abandoned in the mountains to be eaten by wild beasts. This cruel order resulted from the oracles prophecy that Paris would bring destruction to his own birth-town. But Gods guarded Paris, and he was found in the woods, and then raised by some shepherds. When the boy grew up he helped his rescuers in their work in the outskirts of Troy. It was there, in the mountains, that Paris had to play the role of a judge in the case of three goddesses and the apple of discord. The golden apple had for the fairest written on it, and was cast at the wedding table of the sea-nymph Thetis and the King Peleus by Eris, the Goddess of Discord, who had not been invited.

The right to own the apple was contested by Hera, Athena, and Aphrodite. Failing to reach any consensus, the Goddesses turned for judgment to Zeus. Zeus commissioned Hermes to bring Goddesses to Paris. Each Goddess wanted to win Paris’ favour: Hera offered Paris her power and riches, Athena promised him wisdom and martial glory, and Aphrodite promised Paris to have the most beautiful woman. One does not have to be a rocket scientist to guess whom did Paris granted the apple.

From that moment onward Aphrodite became Paris’ patroness: she revealed the secret of Paris’s birth to King Priam, and the young man returned to the palace. It was again with the aid of Aphrodite that Paris abducted Helen of Troy. The Greeks took this daring move as an offence to all of them, and started the war against Troy. This was the beginning of the Trojan War.

And gradually she lost her fear, and he 

Offered his breast for her virgin caresses,

His horns for her to wind with chains of flowers 

Until the princess dared to mount his back 

Her pet bull's back, unwitting whom she rode.

Then – slowly, slowly down the broad, dry beach —

First in the shallow waves the great god set 

His spurious hooves, then sauntered further out 

'til in the open sea he bore his prize 

Fear filled her heart as, gazing back, she saw 

The fast receding sands. Her right hand grasped 

A horn, the other lent upon his back 

Her fluttering tunic floated in the breeze.

*Ovid, Metamorphoses ²

The Abduction of Europa. Simon Voyie (1590-1649)

EUROPA

Agenor, the King of the rich Phoenician town of Sidon, had there sons and one daughter, who was as beautiful as immortal goddess. The young beauty was named Europa. Once she had a dream. And in the dream she saw two women. One of them was Asia, and another woman was the continent, separated from Asia by the sea. Both these women were fighting to have her, Europa.

Asia, who raised and bred Europa, lost, and had to give up Europa. Frightened, Europa woke up, and vainly tried to decipher the meaning of this dream. Europa humbly turned to gods, praying to divert misfortunes from her, if that was the meaning of her dream. Then,having put on purple robes trimmed with gold, she took her friends and went to a sea-side green meadow full of flowers. There the girls merrily picked flowers into their golden baskets. The girls were picking fragrant white narcissuses, particoloured cowslips, violets, and lillies. Agenor’s daughter, in the glory of her shining beauty, resembled Aphrodite surrounded by Charites, and her basket was filled solely with scarlet roses. Having picked enough flowers, the girls started a merry round-dance. They laughed and sang, and their youthful clear voices were heard over the whole meadow and far into the blue sea, pacifying winds and the sound of waves. It was not for long that Europa enjoyed her careless life. She was noticed by Zeus – Cloud-Assembler, the son of Khronos, who decided to abduct her. Not to frighten young Europa with his mighty looks, Zeus turned into a wondrous bull. It had sparkling golden wool, and a silvery spot was glowing in his forehead. His golden horns were arched like a new Moon lurking in the purple skies at sunset. The wondrous bull appeared at the meadow, and with a light step, hardly touching any flowers, approached the girls.

Sidonian girls, unperturbed, surrounded the glorious animal and caressed it