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The Resurrection of the Flesh, Luca Signorelli, detail
Sometimes, having no knowledge at all of a culture can be an advantage, helping you see realities that may be opaque to the inculcated. For people raised with the Christian story, it might be hard to see the forest through the sheaves. But for those of us raised heathen, these deeply emotional works of art often send confusing messages.
The Greek and Roman gods had a robust sexual nature that often drove their stories and actions. Their beauty and physical prowess was a big part of their myth. But the central visual representation of Christianity -- a nearly naked man impaled on a cross -- is drained of all sensuality and maleness in Christian teaching. The focus is on redemption, sacrifice, and surrender.
So why are there so many visual representations of Christ that are exquisitely sensual and detailed in a corporeal, sexual way?
Before exploring the abundance of homoerotic renderings of religious events, which peaked during the Renaissance and Baroque periods, it's important to consider why the depiction of naked male body has been considered in the last few centuries as homoerotic rather than just plain erotic.
The concept of homoerotic art seems to have a basis in an unpleasant bit of misogyny. Naked muscle men and milky-skinned youths as subjects of art were fine as long as they were in support of religious, mythological, or allegorical works. There had to be a moral message, however flimsy, attached to the work. Honor, strength in battle, and sacrifice were all noble subjects that were used to justify presenting some pretty hot stuff. And to be sure, art was created by men, for men to sponsor and view, and for the enrichment of men's souls. So any depiction of a naked man in art was presumed to be a part of that closed system -- so there had better be a good moral reason for those sinewy flanks and weightless pectorals. Presumably women were to avert their eyes to avoid the more fleshy religious artworks.
If the master of the household or the local priest had a breathtaking moment of rapture in front of a particularly vivid depiction of the flagellation of Christ, for example, that trembling feeling in the pit of the stomach, or maybe a bit lower, could be safely interpreted as religious fervor and passion.
Herewith we present a collection of stunning examples of nearly NSFW biblical images for you to judge. Try to look at these images as if you have no previous knowledge of the stories they illustrate. See where your eyes land, and see if you can discern whether you are having a lofty spiritual feeling or something more biological.
Saint Sebastian, Guido Reni, c.1615
Saint Sebastian: The Gay Saint
Saint Sebastian leads the pack as the Christian figure most eroticized over the centuries. He was a Roman soldier who was secretly converting other soldiers to Christianity. He could be perceived as the first "don't ask, don't tell" martyr. Roman emperor Diocletian commanded that he be be shot with arrows until "he resembled an urchin" for his betrayal. Earlier versions of Sebastian show him as a mature bearded man, but as the Renaissance approached he became younger, paler, and more beautiful in his depictions.
How did he become the gay saint? Well, artists and writers like Yukio Mishima, Thomas Mann, and Tennessee Williams certainly helped. Oscar Wilde used the name Sebastian as an alias while exiled in France. But before those more modern-day artists had their way with him, he was memorialized in translucent white flesh, tied to a tree in voluptuous surrender, surrounded by swarthy muscular men, and impaled with a quiver's worth of arrows while wearing the flimsiest little piece of cloth delicately draping his stuff.
Agnolo Bronzino's Saint Sebastian (1533) seems unconcerned about the arrow piercing his ribs.
El Greco's Saint Sebastian (1577) has a startlingly contemporary look and a voluptuous physique.
All laid out: Saint Sebastian by Nicolas Regnier, 17th century
Saint Sebastian by Peter Paul Rubens. One of the few who painted blood on the torso. Um, make that crotch.
Carlo Saraceni's Sebastian (1610) seems to have only one arrow, but of exquisite location.
Pale and lovely: Saint Sebastian Bound for Martyrdom, Sir Anthony van Dyke (1520)
The Martyrdom of St. Sebastian by Luca Signorelli focuses on the assets of the archers.
The Martyrdom of St. Sebastian (detail) by Luca Signorelli. Please note archer's back end, then go look up the word callipygian.
Daniele de Volterra's 16th-century David and Goliath is unusual in that it is painted from two angles, this being the front. And tell us you didn't notice David's nipple, spilling over his tunic.
David and Goliath and Jonathan
Michelangelo's statue of David is perhaps one of the most recognized artworks in the world. That his depiction of male perfection looks to be about 28 troubles us little. As with Saint Sebastian, the glorification of the male body became more important than sticking to the details of the story. And just as Sebastian becomes a symbolic figure as a "soldier with a secret," David is a symbol of the boy vanquishing the bully.
Then there is the whole sketchy deal with David and Jonathan.
After David slew Goliath, he was taken to King Saul, still holding the big head of Goliath like a handbag. King Saul's son Jonathan gets one look at him and goes crazy for the boy. Jonathan strips and gives him everything -- his clothing, his armor, his belt, and his sword. Then they "form a covenant." OK. Daddy Saul gets kind of antsy around all this. So Saul tries to have David killed. Several times. Jonathan gets a load of that and spirits young David away to a safe hiding place. Then goes back to his father to plead the case. Saul says, "You son of a perverse, rebellious woman!" Which certainly sounds like some deep code to us. Jonathan gets an eating disorder and finally drags himself back to David, and they have a heartbreaking parting. Jonathan is eventually slain along with his brothers and King Saul commits suicide. David states, "Your love to me was more wonderful than the love of women." Must have been some covenant.
And when Oscar Wilde used the phrase "the love that dare not speak its name" in his court proceedings, he was referring to David and Jonathan.
Daniele de Volterra's 16th-century David and Goliath, the rear view with a rather bosomy Goliath.
It twirled up: Don't you hate when you are slaying a giant and your skirt flies up? Titian's rendering of Goliath continues the emphasis on the nipple in religious art.
This unsourced work depicts David embracing Jonathan. And unless David keeps dragging Goliath's head around for a few months, this would be their first encounter. Love at first sight.
The Flagellation of Christ (detail), by Bacchiacca, c. 1512, seems to want us to focus elsewhere than on the son of God. And then there is the awkward issue of the hats.
The Flagellation of Christ
The Flagellation of Christ, also known as the Scourging at the Pillar, is a scene from the Passion of Christ. It is the fourth station of the modern alternate Stations of the Cross and a Sorrowful Mystery of the Rosary. The scene takes place before the crucifixion.
Now, forget all that and look at the winsome surrender of Christ in these images. There is an almost feminine grace, especially compared with his muscular and sometimes naked tormentors. Traditionally the scene had always been depicted with three figures, but as we get closer to the Renaissance more figures appear, sometimes as many as six tormentors, and sometimes Pontius Pilate and Herod. By the time we get to the Edwardians and the Pre-Raphaelites, the scene is clearly lascivious.
This is difficult material to observe with cultural distance, and no disrespect for Christianity is intended. But if the Christian story can be separated from the images, what remains is a decadent scene of sadomasochism with brutish tops gleefully setting to their task, arms flailing and buttocks clenched. Christ is surrendered and vulnerable and, of course, beatific. What are we supposed to feel when we look at this? Guilt? If so, why are the bodies so finely crafted and robust with passion? Are we supposed to identify with the Christ figure and feel the transcendence as the endorphins kick in?
To think that these painting were often in churches, seen daily at Mass, seems a little perverse. It's hard to imagine going about one's business while these larger-than-life naked whipping dramas are just hanging there decorating the walls.
Luca Signorelli was prolific in his nude and somewhat sexually charged Christian renderings. This first of two depictions of the flagellation shows the trend of adding more tormentors.
This second rendering, assumed to be by Luca Signorelli as well, also emphasizes the sexuality of the tormentors and their coin-slot loincloths.
Carlo Maratti's Flagellation of Christ (1655) has an almost romantic aura, focusing on the relationship between the oppressor and the oppressed.
Guercino's depiction (1658) dispenses with the nudity but amps up the degradation factor with a little hair-pulling by the rough-trade tormentors.
Peter Paul Rubens's version of The Flagellation of Christ (1617) portrays the tormentors as nearly maniacal with glee.
The Flagellation of Our Lord Jesus Christ, 1880, by William Adolphe Bouguereau
Bouguereau was considered a Pre-Raphaelite artist and so this work is much later than the others in this collection. The tradition of showing Jesus as marble-white, vulnerable, and in a voluptuous swoon among the hirsute, muscular dark ones is a repeated theme.
Lucas Signorelli's Resurrection of the Flesh (1502)
The Resurrection of the Flesh
To wrap up this orgy of Bible porn we see Luca Signorelli's Resurrection of the Flesh. Fewer artists tackled this theme, as the descriptions of the resurrection are ambiguous and ethereal. Signorelli did not let that stop him from a brazen mural in his signature callipygian (did you look it up?) style. In the Capella Nova in the cathedral of Orvieto, Signorelli made a series of frescoes illustrating the end of the world, which of course includes a great deal of male nudity. And his Resurrection of the Flesh is the queer crowning glory.
Saint Paul writes, "Behold, I tell you a mystery: We shall not all sleep, but we shall all be changed -- in a moment, in the twinkling of an eye, at the last trumpet. For the trumpet will sound, and the dead will be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality."
So here's the deal: Even an immortal soul needs an immortal body. And it better be pretty damn hot. No kids or old people. In fact, everyone will be about 33. And buff. And, well, mostly guys. We defy you not to look at the asses of the immortals. And it looks like there is going to be a great deal of naked hugging. Maybe there's something to all this Christian stuff after all.
Resurrection of the Flesh (detail)
Resurrection of the Flesh (detail)
Resurrection of the Flesh (detail)
