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.

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. There is no specific reaction recorded to this particular painting, but it set me wondering if this had been a common occurrence in galleries throughout the land. At the core of everything we do is our reproductive drive. It's primitive. It makes men want to be powerful to get women and women want to be beautiful so they can get men. That's why we want to take lots of pictures." With life this pleasant, it's no wonder that nobody was smiling in the creepy pictures taken in the Victorian era. Everybody looks so severe that it seems as if people in the 1800s just didn't have the time, or strength to have fun. But as these rare vintage photos prove, that wasn't always the case. Right: https://link.gale.com/apps/doc/GDAAIR446444339/AHSI?u=omni&sid=AHSI&xid=9376408d&pg=45 The Novel de FlagellationAs one would hope from an artist with integrity, he refused to censor or change his vision and so the work was placed above the entrance of the library where it remains today. Perhaps some kind of brief would have been useful...

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.” 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. 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. 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, If you enjoyed reading about the images in nineteenth and early twentieth texts in L’Enfer de la Bibliothèque nationale de France, you may enjoy Phil’s discussion of images in earlier works from the seventeenth to nineteenth century. You may also be interested in reading about another module in Gale’s Archives of Sexuality and Gender series, Sex and Sexuality, Sixteenth to Twentieth Century, in Sex! … and Sexuality, and Gender which discusses the Private Case from the British Library, materials from the Alfred C. Kinsey Institute for Sex Research and the New York Academy of Medicine.

Unknown Victorian In Mid-jump

The caption contest at RetroRaunch rivals the New Yorker's for wit; here's a favorite (NSFW). (Oh, and this one (NSFW).)