gri_2003_m_46_b05_f09_040
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Transcribers
- 68874123 - JanetCormack
- 69133201 - jesseytucker
- 69372928 - not-logged-in-c349e7749bd8c358e295
- WINNER - 69677400 - tinkapuppy
- 70062847 - Zooniverse2017
- 70955532 - glt
68874123 - JanetCormack
3I am not including modern art in this essay for two reasons. Those of you who do not understand modern art might be distracted from our theme. Those of you who do admire modern art should need no instruction as to its actual content. Sexuality is more easily detected in the original art of one's own period than in the art of the past is which it can be overshadowed by reverence, history and style(?)
II
The complexity of a work of art is one of its sources of satisfaction. Its origin in the artist's unconscious mind: it is radically modified by sublimation; and, in its sublimated form, the work will express a constellation of cultural ideas (as J. L. Lowes shows in the case of Coleridge in The Road to Xanadu). The multivalence of art ensures the presence of sexual meaning on more that one level, from the directly sensual appeal to remote allusion. Let us consider a series of examples of increasing complexity, starting with works designed for court patrons in the 16c who expected a measure of sexuality.
Classical mythology is rich in erotic occasions: Titian's Rape of Europa, 1559-62 (Boston), is one in which sexual activity is expressed magnificently from the female point-of-view. The bull (traditional symbol of virility) ploughs the sea (traditional female symbol) while Europa herself clings urgently, precariously, to his back. Her legs are parted and her hand clasps his horn. These rhetorical symbols are intentionally sensual and ardent. Correggio's Jupiter and Io, ca. 1530 (Vienna), also conveys the sexual experience from the woman's side: the sense of the tangible
69133201 - jesseytucker
3I am not including modern art in this essay for two reas-
ons. Those of you who do not understand modern art might be
distracted from our theme. Those of you who do admire modern
art should need no instruction in to its sexual content.
Sexuality is more easily detected in the
original art of one's own period than in the art of the past in
which it can be overshadowed by reverence, history, and style (?).
II
The complexity of awoked art is one of its sources of satisfaction.
Its origin is in the artist's unconscious mind: it is radically
modified by sublimation; and, in its sublimated form, the work
will express a constellation of cultural ideas (as C. L. Lowes
shows in the case of Coleridge in The Road to Xanadu). The
multivalence of art ensures the presence of sexual meaning on
more than one level, from the irectly sensual appeal to remote
allusion. Let us consider a series of examples of increasing complexity,
starting iwth works desinged for court patrons in the 16c. who
expected a measure of sensuality.Classical mythology is rich in erotic occasions: Titian's
Rape of Europa, 1559-62 (Boston), is one in which sexual activity
is expressed magnificently from the female point-of-view. The
bull (traditional symbol of virility) ploughs the sea (traditional
female symbol) while Europa herself clings urgently, precariously,
to the back. Her legs are parted and her hand clasps his
horn. These rehtorical symbols are intentinally sensual and ardent.
Crreggio's Jupiter and Io, ca. 1530 (Vienna), also conveys the sex-
ual experience from the woman's side: the sense of the tangible
69372928 - not-logged-in-c349e7749bd8c358e295
3I am not including modern art in this essay for two reas-
ons. Those of you who do not understand modern art might be
distracted from our theme. Those of you who do admire modern
art should need no instruction as to its sexual content.
Sexuality is more easily detected in the
original art of one's own period than in the art of the past in
which it can be overshadowed by reverence, history, and style (7).
II
The complexity of a work of art os one of its sources of satisfaction.
Its origin is in the artist's unconcious mind; it is radically
modified by sublimation; and, in its sublimated form, the work
will express a constellation of cultural ideas (as J.L. Lowes
shows in the case of Coleridge in The Road to Xanadu). The
multivalence of art ensures the presence of sexual meaning on
more than one level, from the directly sensual appeal to remote
allusion. Let us consider a series of examples of increasing complexity,
starting with works designed for court patrons in the 16c. who
expected a measure of sensuality.
Classical mythology is rich in erotic occasions: Titian's
Rape of Europa, 1559-62 (Boston), is one in which sexual activity
is magnificiently expressed from the female point-of-view. The
bull (traditional sybol of virility) ploughs the sea (traditional
female symbol) while Europa herself clings urgently, precariously,
to his back. Her legs are parted and her hand clasps his
horn. These rhetorical symbols are intentionally sensual and ardent.
Correggio's Jupter and Io, ca. 1530 (Vienna), also conveys the sex-
ual experience from the woman's side: the sense of the tangible
WINNER - 69677400 - tinkapuppy
3I am not including modern art in this essay for two reas-
ons. Those of you who do not understand modern art might be
distracted from our theme. Those of you who do admire modern
art should need no instruction as to its sexual content.
Sexuality is more easily detected in the
original art of one's own period than in the art of the past in
which it can be overshadowed by reverence, history, and style. (7)
II
The complexity of a work of art is one of its sources of satisfaction.
Its origin is in the artist's unconscious mind: it is radically
modified by sublimation; and, in its sublimated form, the work
will express a constellation of cultural ideas (as J.L. Lowes
shows in the case of Coleridge in The Road to Xanadu). The
multivalence of art ensures the presence of sexual meaning on
more than one level, from the directly sensual appeal to remote
allusion. Let us consider a series of examples of increasing complexity,
starting with works designed for court patrons in the 16c. who
expected a measure of sensuality.
Classical mythology is rich in erotic occasions: Titian's
Rape of Europa, 1559-62 (Boston), is one in which sexual activity
is expressed magnificently from the female point-of-view. The
bull (traditional symbol of virility) ploughs the sea (traditional
female symbol) while Europa herself clings urgently, precariously,
to his back. Her legs are parted and her hand clasps his
horn. These rhetorical symbols are intentionally sensual and ardent.
Correggio's Jupiter and Io, ca. 1530 (Vienna), also conveys the sex-
ual experience from the woman's side: the sense of the tangible
70062847 - Zooniverse2017
3I am not including modern art in this essay for two reas-
ons. Those of you who do not understand modern art might be
distracted from our theme. Those of you who do admire modern
art should need no instruction as to its sexual content.
Sexuality is more easily detected in the
original art of one's own period than in the art of the past in
which is can be overshadowed by reverence, history and style(7).
II
The complexity of a work of art is one of its sources of satisfaction.
Its origin is in the artist's unconscious mind: it is radically
modified by sublimation; and, in it sublimated form, the work
will express a constellation of cultural ideas (as J. L. Lowes
shows in the case of Coleridge in The Road to Xanadu). The
multivalence of art ensures the presence of sexual meaning on
more than one level, from the directly sensual appeal to remote
allusion. Let us consider a series of examples of increasing complexity,
starting with works designed for court patrons in the 16c. who
expected a measure of sensuality.
Classical mythology is rich in erotic occasionas: Titian's
Rape of Europa, 1559-62 (Boston), is one in which sexual activity
is expressed magnificently from the female point-of-view. The
bull (traditional symbol of virility) ploughs the sea (traditional
female symbol) while Europa herself clings urgently, precariously,
to his back. Her legs are parted and her hand clasps his
horn. These rhetorical symbols are intentionally sensual and ardent.
Correggio's Jupiter and Io, ca. 1530 (Vienna), also conveys the sex-
ual experience from the woman's side: the sense of the tangible
70955532 - glt
3I am not including modern art in this essay for two reasons. Those of you who do not understand modern art might be distracted from our theme. Those of you who do admire modern art should need no instruction as to its sexual content. Sexuality is more easily detected in the original art of one's own period than in the art of the past in which it can be overshadowed by reverence, history and style (7).
II
The complexity of a work of art is one of its sources of satisfaction. Its origin is in the artist's unconscious mind; it is radically modified by sublimation; and, in its sublimated form, the work will express a constellation of cultural idaeas (as J. L. Lowes shows in the case of Coleridge in The Road to Xanadu). The multivalence of art ensure the presence of sexual meaning on more than one level, from the directly sensual appeal to remote allusion. Let us consider a series of examples of increasing complexity, starting with works designed for court patrons in the 16c. who expected a measure of sensuality.
Classical mythology is rick in erotic occasions: Titian's Rape of Europe, 1559-62 (Boston), is one in which sexual activity is magnificently expressed from the female point-of-view. The bull (traditional symbol of virility) ploughs the sea (traditional female symbol) while Europa herself clings urgently, precariously, to his back. Her legs are parted and her hand clasps his horn. These rhetorical symbols are intentionally sensual and ardent. Correggio's Jupiter and Io, ca.1530 (Vienna), also conveys the sexual experience from the woman's side; the sense of the tangible