Aretino”s Poses — The Italian 50 Shades of 16th-Century Love
Erotic literature appeared before the “fifty gray sheets.” People have always loved to share their sexual experiences.
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During the Italian Renaissance, such works were worn by Pietro Aretino, who called them his “fallen sonnets” (“sonetti rusliosi”), and his love advice was accompanied by illustrations by Raphael”s great student, Giulio Romano himself. Romano simply called his paintings “poses” (“I am Modi”). And together, they created a real sensation.
A little about the poet
Pietro Aretino was born in Italy in 1492. His family wasn”t particularly wealthy, and Pietro didn”t receive a decent education, but this didn”t stop him from achieving success thanks to his talent for writing caustic epigrams and sonnets.
His “sonnets” brought him fame, in part because he accompanied Giulio Romano in his illustrations. The sonnets were free of both subtext and inhibitions, featuring direct descriptions of sexual activity.
But his main asset, which wasn”t erotic literature, first gained popularity thanks to the satirical poems Arecchino wrote during the papal election. They were directed against one of the candidates, the future Hadrian VI. Although Pietro personally didn”t oppose him, his rival, Cardinal Medinal, paid handsomely for these libels.
However, Arecchino was unlucky. Hadrian was elected, and the poet was forced to leave Rome for two years. He was only able to return when his former Medici tenant became his father. He became Pope Clement VII. Writing Sonnets
Writing sonnets
Having saved Raimondi through his connections, Pietro wrote 16 erotic sonnets with numerous images, lost interest in the engraver, and published his famous book, “Posae.” Unfortunately, most of the book was destroyed, and only one original copy survived. Pietro”s actions so enraged Pope Ghiberti, the Pope”s secretary, that he ordered his assassination.
Aretino miraculously survived, but was forced to leave Rome again. And the next time “Poses” was officially published only in 1882 by the Parisian publicist Isidore Luzier. Unfortunately, the book did not receive wide recognition. However, until now it remained unclear whether they were copies of Grabian Raimondi”s original or modern versions of the edition.
Edition of 1904 and the mysterious discovery of drawings _1904
The 1904 edition and the mysterious discovery of drawings _1904
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In 1904 a new edition appeared. It stated that miraculously discovered copies of Raimondi”s original engravings had been proven. The story of their discovery is really interesting. In the south of France, drawings were found made on thin paper on a burner. The condition of the paper and ink indicated that it was very old.
Each drawing had a serial number, and on the composition itself it was indicated that this was the work of an experienced artist, as well as a sketch. All these drawings were then preserved in a case with traces of wax seals on which “Di Romano” could be read. And most importantly, the numbers-based designs fit perfectly with Aresino”s surviving sonnets.
The first owner of these drawings was Count d”Esclinac, a member of the nobility under Louis XVI. The Count was attached to the Ministry of Fine Arts. Like many of D”Esclinac”s contemporaries, he collected an important library and gallery in his family castle, Chateau D”Esclinac. And thanks to his duties at court, the count was in constant contact with famous artists, engravers and art dealers. During the revolution of 1772, the count emigrated, and his property was confiscated and sold.
The house was purchased by wealthy Italian Joseph Baroggio. Upon his return, the Count rewarded Barozzio with several works of art from his castle.
What to read to make you feel ashamed? SO SPICY!
The Italians took several paintings of Raphael”s Atlas and manuscripts written by Sébastien Lepresle de Vauban, a photograph of Poussin and a portrait of Madame Visa Lovren. And between the pages of this atlas there were 16 erotic drawings.
The influence of sonnets on erotic art
The influence of sonnets on erotic art
Raimondi”s sculptures were truly innovative for the time, as they depicted two ordinary people without any mythological attributes. Not gods or nymphs, but simply a man and a woman. And the sonnets are written in straight sex and slang, without the height of formal style and rhetoric. Their sex was described in ordinary everyday language, not ratio phor. Sonnets described pictures and did not deal with morality.
The texts of the sonnets were constructed in the form of dialogues between men and women having sex. They tell each other what they like and what they don”t. They enjoy the pleasure and laugh at their rivals. The sonnet describes both vaginal and anal sex.
J: I want him here, it”s cramped in here! M: You plunge me into the sins of Gomorrah and into the pleasures of your father. This pack tastes less like a puddle of manure.
Zh: Well, rather, sui! M: No, I won’t. -W: Well! M: Verolons are female! Or are there no breasts anymore? -J: Husband, stop the empty conflict immediately!
M: Okay, okay. Your last words will remain. And you have every right to at least apply to participate in the business, so much the worse.
Symbolism of sonnets
The symbolism of sonnets
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