Taking Positions: On the Erotic in Renaissance Culture

by Bette Talvacchia

Taking Positions is an innovative exploration of the place of the erotic in Renaissance art and culture, focusing on a notorious set of images created by the young Italian master Giulio Romano. In the early 1520s, Giulio made sixteen drawings of couples in various sexual positions. Known as I modi ("the positions"), the drawings were modeled on classical sources and themselves became a model for erotica in early modern Europe. Bette Talvacchia presents the first comprehensive account of the origins, impact, and context of these drawings, discussing in highly original ways such issues as censorship, religious teachings about sex, and the influence of antique culture.



Talvacchia presents evidence that Giulio modeled I modi in part on coinlike ancient Roman medals known as spintriae, which portrayed diverse sexual positions. She reconstructs how the drawings were first circulated privately and then made into engravings that were distributed publicly. She considers what it reveals about Renaissance culture that authorities began to consider I modi obscene and threatening--they went so far as to jail the engraver--only when the images became available to the public. More broadly, Talvacchia explores how sixteenth-century discourse used the terms onesto and disonesto--roughly analogous to the terms natural and unnatural in Catholic teachings about sexual sin--to distinguish between the erotic and the obscene.

The book also traces the influence of Giulio's drawings throughout the sixteenth century. Talvacchia looks, in particular, at two related sets of prints: Jacopo Caraglio's Loves of the Gods and a manual of anatomy by the French doctor and printer Charles Estienne. In the former, she shows how explicit sexual representation was legitimized with a cover of ancient mythology. She then examines how Estienne transformed Caraglio's erotic images into strange anatomical figures of the female body and what this transformation shows about the place of women's sexuality in Renaissance medicine.

The book is generously illustrated and includes full translations of the infamous sonnets that Pietro Aretino wrote to accompany I modi. Provocative, rigorously researched, and carefully argued, Taking Positions is a major contribution to our understanding of the erotic in Renaissance culture.

Genres: History

320 pages, Paperback

First published January 1, 1999

Reviews

[Icey · Rating 4 out of 5]

The book begins by exploring the concept of the erotic and its relationship to power, gender, and sexuality. Garrard then examines the representation of the erotic in Renaissance art, including works by Michelangelo, Titian, and Leonardo da Vinci. She argues that traditional interpretations of these works have overlooked the complex ways in which they represent eroticism, often reducing it to a simple representation of male desire.

Garrard also examines the representation of the female body in Renaissance art and literature, arguing that it is often depicted as a passive object of male desire. She challenges this interpretation, arguing that women in Renaissance culture were active participants in the construction and interpretation of eroticism.

The book also explores the relationship between eroticism and religious culture in the Renaissance, including discussions of the erotic aspects of religious art and the eroticism of religious mysticism.

[Roman Clodia · Rating 4 out of 5]

Bette Talvacchia focuses here on Aretino's obscene sonnets and argues for them, and other overtly sexual representations, not to be separated from mainstream Renaissance culture but to be seen as an important addition to 'sanctioned cultural documents'. She is particularly concerned with examining and attempting to reconstruct the boundaries of the erotic, obscene and illicit as constructed in Renaissance culture.

This includes good, if not ground-breaking, discussions on Aretino and his classical sources and, perhaps most helpfully, her own translations of the sonnets which avoid the coyness of Lynn Lawner's renditions (which puts all the 'dirty' words into Italian). It also places them in their rightful place beneath Raimondi's transgressive engravings so that text and image are reunited.

As a book which reclaims the erotic and makes it central to mainstream Renaissance culture, this is to be applauded.