Pleasures of the male gaze; and in other words: men like looking at women. No surprise there. For males, the eye is the primary sense organ when it comes to appraising feminine beauty. Looking at members...
Pleasures of the male gaze; and in other words: men like looking at women. No surprise there. For males, the eye is the primary sense organ when it comes to appraising feminine beauty. Looking at members of the opposite sex is, for the male, an instinctual act connected to the sexual pleasure that comes with the necessity to ensure the survival of the species through reproduction. In the pursuit of pleasure, the male’s scrutiny of the female is the preliminary step in an erotic dance. The next step, often criticized by the woman being “checked out” by a male, is the imaginative undressing of the female, revealing the pleasure to be had in her naked form.
Looking steadily, intently and with fixed attention at a fellow human being of the opposite sex with the effect of raising the emotion of desire is a motif that has been very popular in western art. The strength of emotion is a factor of cultural norms. Thus peeping or taking a longer and broader, forbidden look at a clothed or unclothed female, is for males a highly stimulating activity. In art, the eroticism of the illicit act of gazing becomes a visual stand-in for the act itself. A male looking at a picture like Alessandro Allori’s Susanna and the Elders puts himself in the position of the elders and in doing so achieves a measure of pleasure. The biblical event represented in this work is the failed blackmailing of Susanna by two lustful elders who have been driven wild to have sex with her. Their lust was raised by secretly observing her bathing in her garden.
The arousal of male sexual desire through surreptitiously or accidentally observing, a naked female body was a subject of an understandably popular ancient Greek myth. The story tells how chaste goddess Diana bathing in a spring with her attendant nymphs was unintentionally seen by the mortal, hunter Actaeon. The sight of her naked form raised Actaeon’s lust. Diana, anticipating that he would be unable to control himself, dampened his ardour by splashing him with water. The magical treatment was very effective at “cooling his jets” because he was turned into a deer and torn to shreds by his own hunting dogs. The cautionary moral of this tale: don’t look at a naked female, especially if she is a goddess; does nothing to deter males from illicitly or accidentally gazing at females. It merely raises the stakes, adds danger to the act which ups the power of peeping to elevate lust.
A specific kind of painting in western art that had the purpose of arousing male lust became popular from the 15th century on. Clothed in the garb of legitimacy by representing select, mythological and historical events, these pictures work because they simulate situations that are not dissimilar to those in the male imagination, where the thought of gazing at a female body may be almost as stimulating as the act itself. This suggests that erotic male pleasure and consequently the male obsession with the female body is entirely a mental construct. A work by the French 19th century painter Gérôme, is an example of pictorial stimulation of the male mind.
The artist portrayed the trial for the impiety of the Athenian, courtesan Phryne. It is intended to act as a pleasurable reflection on the effects of intent looking at a naked female body. In summing up the case for the defense, Phryne’s lawyer pulled off her robe exposing her to the eyes of the judges. They were, so the story goes, driven to pity by the sight. They did acquit her but it was probably not on account of pity but out of fear of condemning a rare beauty to death and thus depriving themselves of the potential of a lustful encounter with the courtesan.
Don’t look at a naked female, especially if she is a goddess.
The excuse or narrative camouflage employed to legitimize pictures of a male gaze at nude females has varied over time. In the early 20th century ancient myths were replaced by a number of pictorial fictions that reflected contemporary life. One of the most popular of these involved the kind of legitimate, concentrated looking at a nude model in the socially acceptable environment of an art class.
Erotic in the male gaze still depends on notions of chance.
With the evolution in sexual mores in the last half of the 20th century, the requirement for a narrative context in the portrayal of a nude female in art disappeared. The ubiquity of representations in moving images, photography, painting and sculpture of the unclothed female body, however, has not meant the end of storytelling in erotic image-making. In large measure, the erotic in the male gaze still depends on notions of chance and illicit or secret peeping. Hence the male gaze and delight in the interplay between concealing and revealing in fashion photography. The erotic intensity of this teasing of the male gaze is increased by role-playing. This is thoroughly understood by women themselves who have since antiquity assumed roles as “vamps”, in effect, asserting their sexual power by working with the predilections of the male gaze.
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