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1,",n '),"u:ron Tl:mn ,llOil1lN ilO"lD 1"1 A Goddess with Bare Breasts: on the Erotic and the Sublime in Painting and Photography

Beginning in ancient Greece, regarding female nude representation we can observe two tangents. The first is its erotic sensual nature; the second is an effort to elevate this aspect into higher realm of beyond the flesh into a sublime representation. One could argue that the first is Dionysian in its ontology while the second is Apollonian.

Later, such issues of the contrast between erotic depiction and sainthood appear in European art. Two noted examples are Titian's Penitent Mary Magdalene, 1531 and 1565 where in the first painting, the pink exposed breasts and nipples are as sensual and erotic- as anything we have seen in the history of art. It is only Mary's upward gaze towards the heaven that subdues her sensuality into sainthood or repentance. A similar duality could - be observed in Francisco Hayes painting, Ruth, and 1835, in which the. graveness of the biblical context is punctured by the erotic bare breasts, especially as the left nipple is a visual focal point in this painting.

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In photography, the tension mentioned above is even greater, because of the indexicality of the photographic referent - no longer are we observing mythical imagined figures but real women that stood in front of the camera. An early example for such tension is Marconi Angel with a Sword, 1870s, where the exquisite erotic sensuality of the nude model is observed in the context of recreating Canova's sculpture by a similar title. A slight transition in this contrast occurs in 8ellocq's photographs from New Orleans, in particular in the photograph of the young nude woman reclining on a rattan couch. Here there is a transcendence of the flesh into something spiritual- a sublime presence that keeps haunting us.

In this lecture conclusion, it will be argued that in contemporary photography there is a similar duality in female nude representation but with a fascinating transition, since many of the works are created by women artists. In these works there is a tension between the immediate erotic being (the earthly aspect) and identity of the self (the sublime).

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4 Linda Nochlin, The Body in Pieces: the fragment as a metaphor of Modernity, Thames and Hudson, 1994; Alyce Mahon, Eroticism & Art, Oxford University press, 2007; K. Dennis, Art/Porn: A History of Seeing and Touching, Berg, Oxford. 2009; F. A Miglietti, Extreme Bodies: the Use and Abuse of the Body in Art, Skira, Milano, 2003.

5 B. Blich, "Body Representations in Art and Photography", in J. Swinnen & L. Deneulin (eds.). The Weight of Photography: Photography History Theory and Criticism, ASP (academic and scientific publishers), Brussel, 2010.

6 R. Sennet, Flesh and Stone: the body and the city in Western Civilization, Norton & Company, London, 1994.

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