Giulio Romano

Giulio Romano was one of the most important, versatile, and influential artists of the Italian late Renaissance style known as Mannerism. As the primary protégé of Raphael, he inherited his master’s studio at the papal court following Raphael’s death in 1520 and initially continued to work in Raphael’s Roman High Renaissance style. But as his personal style matured, he became one of the great 16th-century Mannerist painters and architects. An artistic impresario in the service of Duke Federico Gonzaga in Mantua, Giulio built and decorated the Palazzo Te, one of the key monuments of Mannerism. His renown in the sixteenth-century was such that he was the only Italian Renaissance artist to be mentioned by Shakespeare, who called him “that rare Italian master.” Wikipedia

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Banquet of Cupid and Psyche, 1527-30

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The Sixteen Pleasures

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Wedding Banquet

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Sherwin Of Prague

Sherwin isn’t a professional artists. He simply enjoys his work. So do I.

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I like Sherwin’s drawings because he focuses on healthy, everyday men. His models are usually guys he knows and his friends. He gives us thoughtful images of men with that render the simple and complex nuances of the male body.

Sherwin O Prague

Sherwin was born in 1973 in Prague, where, after spending few years in south Bohemia, studied architecture at Czech Technical University in Prague. After graduating is when he discovered his love for figurative drawing.

He specializes in the male figure, finding the male physique very inspirational. Another reason he focuses on the male form is because he feels the female figure is explored and presented by many, many other artists.

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Chinese Artist Mu Boyan

Mu Boyan was born in 1976 in Jinan, Shandong Province of China. Mu graduated from the Sculpture Department of China Central Academy of Fine Arts with master’s degree in 2005. In 2003, Mu Boyan displayed his series work, “Bath Center” in the public bath house of the Central Academy of Fine Arts. It is said, that group of sculpture was accepted to make for a bath center a job for living. After that, Mu Boyan has concentrated continuously on portraying the images of a fat person.

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A Work of Art

Jean Delville was born in Louvain in 1867 and died in 1953. Delville considered art to play a key role in uplifting people from their blindness. He saw true artists as initiates who would present images which would teach and transform human nature. It is believed that Delville saw artists as priests and prophets.
The School of Plato, 1898

A beautiful work of art, no one could deny that. But is it also a statement?

Most of us have certain religious or spiritual beliefs. What many do not consider is that some of those beliefs are rooted in perspectives that were conceived in the minds of autocrats many centuries ago. We don’t think about what has been left out of the Bible, or what may have been altered to fit the dogma of those autocrats. That dogma included the notion that the human body, and intimate male interaction, was shameful.

Perhaps it’s time to contemplate a new perspective. Did Jesus see things differently from what we’ve been led to believe? I, for one, like to think so. The human body, in this case the male, is nothing short of miraculous creation. Is it possible Jesus saw it the same way, that He believed the body should be enjoyed and celebrated?

Here are closer views of the detail in Delville’s painting:

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Homoerotic Art

From HUFFPOST, by David Leddick

Do You Hate Homoerotic Art? Is It the Art, or Is It You?

Did you think homoeroticism in art was just a late-20th-century phenomenon, that artists like Robert Mapplethorpe, Bruce Weber, and many others were something new under the sun?

When the European publishing house Bruno Gmünder asked me to create a new book of art featuring male nudes, for my introduction I decided to search for surprising works by well-known artists of the past. My new book is called Gorgeous Gallery and features more graphic and edgy art than do any of my past collections. But now that the collection is finished and ready to be published, I got to thinking: is this art really that edgy, historically speaking?

By Robert Schrag

Maybe it only feels like it pushes the limits here in America, because of so much political hoo-ha from Mitt Romney, Newt Gingrich, Rick Santorum, Ron Paul, and their noisemakers, as they flood the airwaves trying to frighten us all. I don’t write political diatribes, but I am anti-prude.

If you follow my books and my blog, you know I am all about celebrating our new, 21st century — and rejecting those who want to pull us back into the past. I was born in 1930, and take it from me: we do not want to go back there. A lot of us over 65 don’t avoid sex as we get older. (I call our group the “sextennials.” Do you like my new term?) We don’t yearn for the past. If everyone else did the same, wouldn’t the world be better?

By Karl Pavlovich Briullov (1799–1852)

But are these “conservatives” really resisting a very modern trend, as they say they are? They should just forget it. We all might as well face it: homoerotic art did not break loose in the 20th century; it has been with us always, no matter how the art experts might choose to interpret it. Many in our society, and in the art world, do not like to admit that a work of art can be of a very high level and still be homoerotic — erotic, maybe, but homoerotic? Horrors! Sorry, we may be able to excuse those flat-fronted Egyptians, but all those Greek Eros representations created for centuries weren’t made to turn on the ladies.

By William Willes

Sure, fine art can come under the heading of pornography if your definition of pornography is “sexually arousing.” That’s hard to deal with in the ever-so-repressive United States. Now porn is something that comes in a plain wrapper and that, more and more, you search for on your computer. Well, pre-Internet, you used to find these things on the walls of famous museums (you still do) and in public statues. Are you going to try to tell me that Michelangelo’s “David” is not sexy in all that nakedness? Come on.

Since it is dawning on us that fine art can be sexy, and because we are in such a hyper-political frenzy, soon Republicans are bound to start demanding yet again that certain kinds of art be taken out of exhibits, claiming that the art is “offensive.” The Smithsonian in Washington went through this song and dance not too long ago, and it just made them look silly and out of it.

By DUNCAN GRANT (1885-1978)

 Homoerotic Art Through the Ages

Certainly way back when, the ancients knew that art could turn you on. Of course, they probably didn’t think of “fine art” and “popular art.” They probably didn’t even think of it as “art.” The statues of naked young men that must have been everywhere in public places were certainly to honor the beauty of these young men. And in addition to their beauty, they were also sexual. Beauty and sex operate in the same area and on the same plane. And certainly we know that Greek men much admired the beauty and sexiness of younger men. Their pottery reveals that fooling around was an essential part of their culture. The Greeks, and later the Romans, did not, of course, have our contemporary notion that there is something wrong with sex and that it is inextricably locked in with feeling guilty. The fact that they had all those athletic meets where men wandered about naked tells you that the public liked to take a look — the public that did not include any women, who were all at home. However, the female nude was equally displayed in public as statuary, and certainly for the very same reasons. Sex was in the air, and all the time.

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Depicting hot guys went very much out of style with the fall of the Roman Empire and those dark, dark ages that pretty much lasted until the Renaissance. But when in the 1400s in Italy they began to dig up those sexy statues, art got a whole new head start. Artists not only copied the work of the past but sometimes imitated it and tried to pass it off as from the earlier time. Michelangelo was much inspired by the classic period, and anyone who has closely observed the Sistine Chapel can see that it is jammed with paintings of very hot guys (and the women look very much like men). Art historians excuse this by saying women were not available to pose nude. I wonder.

History seems to repeat itself, because after all those male nudes were on view, both in art and around town, suddenly the Catholic popes insisted that a lot of fig leaves be painted over the offending male regions. Some popes even sent off crusading mobs to chop off the winkies from sexy statues. But it is still obvious that these men were supposed to be sexy. They didn’t all have to have their clothes off. Anyone who has read the graphic novels of Teo Jodorowsky has seen that he imagines an affair between the pope of that period and Michelangelo, even depicting the two men in bed repeating the pose of God creating Adam with a touch of his finger.

By Jacob Collins

When we move on to the period of Peter Paul Rubens, who painted a ton of work with the assistance of helpers, we see religious paintings still offering us homoerotic titillation. In his “The Enthroned Madonna Surrounded by Saints” there is a near-naked saint in the foreground being given some special attention by an admirer/persecutor in black armor. The saint seems to be relishing it. This kind of naked image was certainly to show off somebody with a great and sexy body. And again, I don’t think it was for the ladies of the time.

The French Revolution brought another burst of interest in naked men in paintings, harking back to the distant Greek past. The men who led the revolution loved being likened to those long-ago heroes. Painters like David and Girodet and Girard created a large number of works for public view with lots of naked guys. Girodet’s “Revolt in Cairo” has a central figure of a splendid, nude Egyptian guard defending his swooning leader, almost every square inch of his fabulous body on display. Most of the artists of that time were trained in Rome, and their training included much viewing of the male nude (which is rumored to have taken place in their homes quite often).

By Giovanni Battista di Jacopo

In the 1830s, during the Romantic period, the female nude came to occupy a much more Continue reading

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Imagination, Darkness and Fear … Ryohei Hase

If art is imagination, Ryohei Hase’s mind is a mountain of it. His imagination goes beyond comprehension. Harnessed, it would light an entire city.

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Ryohei is telling us that art can be your darkest dreams. It is sadness and fear, paranoid and absurd, yet beautiful and bold with whispers of sensuality. If insanity were a vast foreboding lake, Ryohei is allowing you to stick your toe in. His astonishing images are real and surreal at the same time, illusions most of us could never dream.

To see more of Ryohei’s work or buy a print visit his website.

Ryohei Hase dot com

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