Folies D'Amour : More Erotic Memoirs Of Paris In The 1920S

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Domínguez was a Spanish artist best known for his loosely rendered Surrealist paintings. Influenced by avant-garde European painters such as René Magritte, Giorgio de Chirico, and Yves Tanguy, he employed bizarre subject matter to great effect. Domínguez, like Max Ernst, used a technique called decalcomania, a technique used by some surrealist artists which involves pressing paint between sheets of paper. Hugnet, Georges. Le feu au cul / [Georges Hugnet]; [illustrations d’Oscar Domínguez]. Illustrated by Oscar Dominguez, [Robert J. Godet], [1943]. Archives of Sexuality and Gender, https://link.gale.com/apps/doc/GKUCFJ839309656/AHSI?u=omni&sid=AHSI&xid=be484433&pg=5 Hugnet, Georges. Le feu au cul / [Georges Hugnet]; [illustrations d’Oscar Domínguez]. Illustrated by Oscar Dominguez, [Robert J. Godet], [1943]. Archives of Sexuality and Gender, https://link.gale.com/apps/doc/GKUCFJ839309656/AHSI?u=omni&sid=AHSI&xid=be484433&pg=20 Illustration for plays The boys of today must be protected from the young girl vamp,” complained a New York mother to the New York Times in 1922. Five years later, a group of women and vice officers campaigned to end petting parties in the theater balconies of Kansas City. “We are working as much to improve the behavior of young boys and girls attending the picture shows as for the character of the shows themselves,” a reformer told Variety. And Topeka, Kansas, police told the Times in 1923 that they intended to break up petting parties to “clean up” college campuses. Bluefit the stereotype of the 1920s flapper to a T, chasing a lifestyle that would have been unthinkable just 20 years before. She drank alcohol, smoked cigarettes, and dabbled in bohemianism. She cut her hair short, wore dresses that showed off her fashionably slender figure, used daring slang and dated multiple men before marriage.

His drawings for Paris-Éros featured a combination of pencil and watercolour washes, depicting women and men in elegant attire and seductive poses. Aside from the titillating qualities of some of the illustrations, it is interesting to see the fashions of the period depicted. One such illustration shows two fashionably dressed ladies likely wearing corsets that gave their figures the wasp-waisted look that was in vogue. Dumont, Auguste. Paris-Éros Première série Les maquerelles inédites / Martial d’Estoc / dessins de Gaston Noury. Illustrated by Gaston Noury, Le Courrier littéraire de la presse, 1903. Archives of Sexuality and Gender, Jean Genet, (born December 19, 1910, Paris – died April 15, 1986, Paris) spent his early life as a petty thief and a vagabond, yet later became a writer, playwright and human rights activist. Genet was also openly homosexual, and many of his works explicitly portrayed themes of homosexuality and criminality, reflective of his own life journey. In 1947, Genet published La Galère ( The Galley), a poetic work about a virile murderer who is transformed into a tragic “queen” in a fantasy involv­ing a galley ship transporting prisoners to apenal colony in Guyana. While the production values of Xcitement might overstress the faux sophistication of the early 1960s, Greene was an impresario of the glamour industry in her own right, who along with Marks had created the massively successful ‘nude studies’ magazine Kamera in 1957, so she knew how to play to the camera and occupy the audience. And it’s with a natural adeptness for sinuous moves and peek-a-boo glances, as well as her straightforward charm, that she carries us along in a rare example of a striptease film living up to its title. Please be aware that this blog post contains content that may be offensive to some readers; the decision to read the post is at your own discretion.Right: https://link.gale.com/apps/doc/GDAAIR446444339/AHSI?u=omni&sid=AHSI&xid=9376408d&pg=45 The Novel de Flagellation Leonor Fini was an Argentine-Italian painter who spent much of her artistic career in France. Associated with the Surrealist movement, Fini’s self-portraits and mythological paintings focused on eroticism and dreams. “ Paintings, like dreams, have a life of their own and I have always painted very much the way I dream,” she once said. Genet, Jean. La galère/de Jean Genet.; [Eaux-fortes de Leonor Fini.]. Illustrated by Leonor Fini, Jacques Loyau, 1947. Archives of Sexuality and Gender, The boys call me a Sunday School girl because I will not smoke, drink or kiss,” said one anonymous participant. Much of the hand-wringing about petting parties focused on the supposed immorality of the young woman who attended them. Critics grumbled about flappers’ refusal to engage in traditional courtship and their flippant attitudes toward long-held social conventions. It was between the acts put on in Soho’s strip clubs that the short uncertified films Goodnight with Sabrina (1958) and Burlesque Queen (1961) would have been exhibited. With tassels twirling, over-elaborate dance steps and bodies swathed in voluminous gauze, these 8mm shorts are caught in time, oddly prim in routines that could have been choreographed by the Women’s Institute.

Throughout the 1920s and 30s so-called ‘propaganda films’ about birth control or the dangers from sexually transmitted diseases, such as The Uncharted Sea (1928) and The Irresponsibles (1929) were refused film certificates by the BBFC. This is surprising since neither of these two films depicts how such diseases are actually caught, only that they seem to occur outside “marital relationships”. On the subject of study, Enfer provides us with many opportunities to explore art and social history in a wide variety of imaginative works. While some of the books simply offer flights of fancy, erotic fantasies to titillate and arouse, many of the works in Enfer offer social commentary and criticism. After exploring the fantastic imagery in texts from the seventeenth to nineteenth century, I was intrigued to continue my search and explore how imagery developed in the late nineteenth and twentieth century, when authors and artists were often at the forefront of the social and cultural movements of their time.The first known example of British ‘cheesecake’ top ends The Pleasure Principle, a new collection on BFI Player exploring the history of British film erotica. Appropriately shot on a Kinetoscope or ‘peepshow’ camera, the Brighton-based pioneer Esme Collins’ A Victorian Lady at Her Boudoir (1896) is, in effect, a three-minute long stripshow in which the leading lady stops short in her shift, appears confused by the camera and tousles her hair by way of a wink to the audience. Out of this collection, however, one genuine curio from the striptease era does stand out. Probably made for strip clubs and the 8mm home movie market, Harrison Marks’ Xcitement (1960) once again features his favourite model, Pamela Greene. From its very first shot of a slightly decrepit putti overlooking a divan adorned in fake leopard skin, Marks announces that this is going to be a strip show imbued with neoclassicism and culture. In the interest of exploring art and social history in twentieth-century erotica, let us descend into the fabulous, scandalous, and enticing digital collection of L’Enfer de la Bibliothèque nationale de France. Erotic Courtesan Fantasy Right: https://link.gale.com/apps/doc/GDTLVQ153556106/AHSI?u=omni&sid=AHSI&xid=32b93350&pg=74 Homosexual Erotica

Georges Hugnet (11 July 1906 – 26 June 1974) was a French graphic artist. He was also active as a poet, writer, art historian, bookbinding designer, critic and film director. According to one source, Hugnet’s early rebelliousness eventually developed into a combative, stubborn nature causing quarrels with publishers, other artists, poets, friends, and family throughout his life. In the 1940s, Hugnet was part of the French Resistance in German-occupied France. In 1943, Hugnet collaborated with Spanish surrealist Óscar Domínguez to create Le feu au cul, a term generally used with someone who is on the lookout for sexual liaison opportunities. The book of art and poetry was published secretly during the wartime occupation. Hugnet’s erotic poetry was well paired with Dominguez’s overtly sexual artwork, which, “ demonstrated an unceasing preoccupation with the subconscious, with automatism and with unfettered spontaneity.”Not all petting parties were intentional affairs; some broke out spontaneously in dance halls, cars or secluded places. And to some, the very thought of a party devoted to sex—even a relatively chaste version—was cause for outrage. Right: https://link.gale.com/apps/doc/GEILBK698847083/AHSI?u=omni&sid=AHSI&xid=eafc0675&pg=31 Delve into the fascinating lives and histories of the authors and artists in Enfer Paris-Éros is a work of erotic courtesan fantasies written by Auguste Dumont under the pen name Martial d’Estoc. It is set in Paris and offers a fictional, yet historically accurate, view of the society and culture of the city in the early twentieth century. The stories involve what one would expect in an erotic novel, such as prostitution, lesbian sex (likely driven by male fantasy), fashionable courtesans, passionate orgies and erotomania. While the book may or may not stand on its own literary merits, the included illustrations are beautifully rendered.

The censors’ no nudity rule persisted in the coming decades, and curiosities such as Action in Slow Motion (1943), which feature nudes in action (albeit shot at a distance), would not have not been seen in cinemas. By the beginning of the 1960s, however, one man was determined to find a way to put naked bodies on the British screen. In the summer of 1960 the pin-up photographer Harrison Marks told the head censor at the BBFC: “I’m going to be waving the banner for British nudists.” The censor was not impressed. But he knew that the board would have to pass Marks’ intended film, Naked as Nature Intended (1960), provided “the film’s setting is recognisable as a nudist camp or nature reserve”. The Uncharted Sea, meanwhile, warns young men of the dire consequences that will arise from licentious living, and the price is not left in doubt. “I’ve paid heavily for one night out,” bewails our hero, George. “I’ve lost my job, and now I have gonorrhea.” Le Cinglant Argument is one of the books in a sub-collection of Enfer known as Flagellation. Between the 1880s and the 1930s, an editorial subgenre flourished in France: the novel de flagellation, a specialized branch of erotic literature. In this context, “passionate flogging” is a sexual act consisting of experiencing an erotic pleasure to be whipped. The Flagellation books in Enfer consist of literary works on spanking, caning, and whipping.Some of the erotic literature and art in Enfer, published between the sixteenth to twentieth centuries, was created for sexual gratification, titillation and amorous fantasies. The descriptions and depictions of sexual escapades and episodes can be arousing, humorous and sensual, or display the darker aspects of human desire. Enfer is more than just erotica; many of the works in the collection offer intriguing social commentaries and criticisms, and the opportunity to delve into the fascinating lives and histories of the authors and artists themselves, as well as the social and cultural movements they represented. Don’t be afraid to venture beneath the book covers and read between the lines; you never know what you will find in Enfer! But not everyone approved of the fashions and fads of these newly liberated young women. To many Americans, petting parties epitomized everything that was evil about the Jazz Age. These parties took on different forms, but they all had the same goal: physical pleasure.