Eroticism and Female Imagery in Nineteenth Century Art

Eroticism and Female Imagery in Nineteenth-Century Art

When comparing erotic material of today from that of the nineteenth century, they are placed at either ends of the spectrum. In today's world, almost everything is sold by sex appeal. Sex is not a clandestine topic anymore, like it was in the nineteenth century. When looking into the subject matter of erotic imagery, the main difference is the erotic material that is for men versus women. In Linda Nochlin's essay, "Eroticism and Female Imagery in Nineteenth-Century Art," she makes many points on how erotic imagery of that time was merely for men's enjoyment, and not for women. This essay not only explains how mostly all of exotic imagery was meant for men, Nochlin takes it a step further to show how women were not even meant to dream of anything erotic. Through examples, quotes and comparisons, Nochlin is able to prove her claims thoroughly and comprehensively.

The essay was written in order to show how erotic images were used and created in the nineteenth century. Paintings and photographs intertwining metaphorical reasoning, allowed men to enjoy a woman's body in the privacy of their own home. Nochlin states that "'erotic art' is understood to imply the specification Ð''erotic-for-men.'" Meaning erotic images and men go collectively with one another. The article points out reasons why there were no images meant for women's enjoyment as well as stating that women were not suppose to even think in an erotic way. Painted lesbian scenes were not meant for women to enjoy. Instead, they were custom painted for a man to enjoy. For example, Nochlin points out the painting, "Sleep," which was painted by Courbet for a Turkish ambassador, Khalil Bey. The painting is of two women enjoying each other's company on a bed fully in the nude. These types of paintings are what bring up questions in favor of the women. Question such as: Why are there no exotic images for women? Has this changed at all throughout the years? Nochlin states that even today there are hardly any erotic images for women and that women are the strengths for erotic play, not the men. Men are usually secondary objects when it comes to erotic art. Nochlin addresses the issues of images with women as well as men with women, saying that they are all meant for the male audience. Nochlin states that erotic imagery was "created about women for men's enjoyment, by men." The main problem in which she addresses in her essay is that women do not have the equal freedom to enjoy erotic imagery. Nochlin backs up her information by using supporting images with supporting quotes from other scholars. By doing this, all of the points she is making are explained thoroughly to be able to get to the reading audience.

The significance of her main issues is that erotic imagery is meant mainly for men's pleasure, and that in all of the examples in which Nochlin has given, none of them have to do with the interest of the female. Instead, she gives one example of a nude male holding a tray of bananas, which is a male version of a black and white photograph, "Achetez des Pommes." By having the man hold the tray of bananas, the metaphorical relationship between the man and the fruit is degrading unlike the metaphor of the woman with the apples. Nochlin seems to argue that all imagery from the nineteenth century of men in erotic imagery was not for pleasure for the women, yet instead it was meant to degrade and belittle the man in the photo or work of art. This comparison that Nochlin includes in her essay is very important when one thinks about erotic imagery. This type of comparison raises questions such as; "Is it more shameful to be a woman in erotic art by always being looked at in a sexual way or is it worse to be a male in erotic art and always looked down upon?"

When someone thinks of erotic art, some may say that this subject matter is not important. However, the way that Nochlin directs her argument would make anyone feel strongly toward the types of erotic material that is circulating the world. She makes this material important and worthy of attention, because she takes a subject that relates to anyone and turns it into an essay that anyone can relate to.

In order to support her argument of erotic art being only for men, she makes a few claims in which she proves her argument. First, she claims, "As far as one knows, there simply exists no art, and certainly no high art, in the nineteenth century based upon women's erotic needs, wishes, or fantasies." This claim is supported with Nochlin stating that no matter what part of a woman's body was used for the erotic image, the image was still produced by men and for men. She states, "Man is not only the subject of all erotic predicates, but the customer for all erotic products as well, and the customer is always right." Her other main claim is that paintings of women bare-chested holding fruit and flowers by their breasts were metaphorical, yet they still were serving the purpose of erotic art. Nochlin used the example of Gauguin and his images of Tahitian girls in order to show how the metaphorical meanings of the girls vs. the fruit, still held the erotic notion of the sexual tension in which