By Alan Moore
With every one new technological increase, pornography has proliferated and degraded in caliber. at the present time, porn is in all places, yet the place is it artwork? 25,000 Years of Erotic Freedom surveys the historical past of pornography and argues that the good fortune and vibrancy of a society pertains to its permissiveness in sexual matters.
This historical past of erotic artwork brings jointly the most provocative illustrations ever released, showcasing the evolution of pornography over various cultures from prehistoric to fashionable occasions. starting with the Venus of Willendorf, created among 24,000-22,000 bce, and book-ended through modern images, it additionally encompasses a timeline masking significant erotic works in numerous cultures. 25,000 Years of Erotic Freedom ably captures the traditional and insuppressible artistic force of the sexual spirit, making this booklet a treatise on erotic artwork.
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Additional resources for 25,000 Years of Erotic Freedom
Fabius Rufus (VII 16, 22). MANN, inv. nos. 153652 and 153651 (Photo: SAP). 22 Jessica Powers painting on the west wall consists of a central red panel ﬂanked by two yellow panels above a red socle; a rectangular painting that once adorned the red panel is no longer legible. A similar scheme of alternating red and yellow panels continued on the north and south walls. On the south wall, in a now-lost scene opposite the intarsia panel, Dionysos oﬀered his panther a drink from a kantharos (BdI 1874, 198).
Swetnam-Burland 2007, 124–125), or, alternatively, they may have been purchased from importers or through a series of middlemen. Cicero’s correspondence with his friend Atticus (Att. 5) reveals a homeowner actively pursuing the acquisition of imported works of art for his residences with the assistance of a friend living in Athens (see Marvin 1989; Leen 1991). A lively trade in works of art between Italy and the eastern Mediterranean is further attested by the presence of bronze and marble sculptures in the Mahdia (Hellenkemper Salies et al.
Silv. 6, 20–31). Regardless of the circumstances under which they came to own the painting, it allowed the owner of the Casa del Marinaio to represent themselves as sophisticates both familiar with the art of the Greeks and able to acquire specimens of it. As was the case with the obsidian mirrors, the rarity of paintings on marble created a ready opportunity for the misrepresentation – either intentional or unintentional – of the nature and value of the panel, from seller to buyer to the ultimate viewers in the house.