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Leila's Books
Naughty Pictures by the Old Master
Naughty Pictures by the Old Master
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FOREWORD
Erotic art can be viewed in two ways. Either it can xbe viewed by a dirty minded uneducated Neanderthal-like character with respect to the art as pornographic or it can be viewed by a high minded, well-adjusted person who can appreciate that aspect of the art as truly great workmanship. No matter how tastefully the artist presents his erotic subject, the narrow minded will always see it as indecent and oblivious to the message the artist is conveying. This type of thinking is too impractical to use as a valid barometer. One should never use this mode as a criterion to measure the true value of the work as valid art!
The workmanship of great art is expressed not only in its beauty and how pleasing it is to the eye of the viewer but how successful the artist incorporated elements in opposition to one another to produce a tension that elevates that art beyond just being merely pretty and make it a timeless classic.
Rembrandt is famous for often adding insightfully brilliant and humourous commentaries about the subjects of his artwork. For example, in his etching titled Monk in the Cornfield, 1646 he depicted a scene whose participants are engaging in an act as old as the human race. It’s an old scenario that had its origin during Medieval times but it is in the way he has depicted that scene that shows his genius. As the title suggests we have a monk doing-it with a milkmaid undercover in the cornfield while a man far away in the background waves a scythe. With incredible drawing skills, he renders details so crisply and accurately with just an economy of line. The monk is seen from his backside obscuring the milkmaid’s face. They are both anonymously portrayed. The pious man sucumbing to his carnal desires with a married woman, probably to the man in the background.
Rembrandt has made a satirical comment about the hypocrisy of the Roman Catholic Clergy and it was a sentiment shared by many in the Netherland regions of Europe living during the Reformation period.
Erotic art can be viewed in two ways. Either it can xbe viewed by a dirty minded uneducated Neanderthal-like character with respect to the art as pornographic or it can be viewed by a high minded, well-adjusted person who can appreciate that aspect of the art as truly great workmanship. No matter how tastefully the artist presents his erotic subject, the narrow minded will always see it as indecent and oblivious to the message the artist is conveying. This type of thinking is too impractical to use as a valid barometer. One should never use this mode as a criterion to measure the true value of the work as valid art!
The workmanship of great art is expressed not only in its beauty and how pleasing it is to the eye of the viewer but how successful the artist incorporated elements in opposition to one another to produce a tension that elevates that art beyond just being merely pretty and make it a timeless classic.
Rembrandt is famous for often adding insightfully brilliant and humourous commentaries about the subjects of his artwork. For example, in his etching titled Monk in the Cornfield, 1646 he depicted a scene whose participants are engaging in an act as old as the human race. It’s an old scenario that had its origin during Medieval times but it is in the way he has depicted that scene that shows his genius. As the title suggests we have a monk doing-it with a milkmaid undercover in the cornfield while a man far away in the background waves a scythe. With incredible drawing skills, he renders details so crisply and accurately with just an economy of line. The monk is seen from his backside obscuring the milkmaid’s face. They are both anonymously portrayed. The pious man sucumbing to his carnal desires with a married woman, probably to the man in the background.
Rembrandt has made a satirical comment about the hypocrisy of the Roman Catholic Clergy and it was a sentiment shared by many in the Netherland regions of Europe living during the Reformation period.
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