Eisenstein, Sergei. (1898–1948). Erotic Drawing Collection. Three original drawings on paper in red, orange, blue and black pencil and crayon, numbered in the upper right corners 41, 42 and 45, the second two bearing titles in cyrillic, each signed by the artist and dated 31.12.42. 330 x 220 mm. Previously from the collection of Jean-Claude Marcadé and Galia Ackerman, authors of the reference book on Eisenstein's erotic drawings "Dessins Secrets" (Le Seuil, 1999), in which other drawings of this same numbered series are illustrated.
The first drawing, number 41, depicts a male figure wearing red embroidered gloves and holding a large bird whose head (covered in a hat) reaches into a cloud formation which itself forms a large phallus pointing upwards and penetrating a floating red orifice in the sky, while on the ground a voluptuous woman points to the bird above with one hand and reaches suggestively towards the man's crotch with the other. Drawing number 42 is titled "Savior," in which the same male figure points overhead to the now enormous bird who has taken on more of the size and quality of a dragon and has plunged its own head through the large and now more fully formed red orifice, as the woman in the foreground gestures to the sky with arms outstretched. In drawing number 45, titled "Always Forward / To New Adventures" the bird flies off overhead as the two figures now paddle off together in what appears to be a large vagina canoe (the final fruition of the floating red orifice?), the male figure rowing while the naked female pushes her derriere into his lap and looks back at him with a broad smile, as somewhat alarmed fish swim in the water before them.
The pioneering Soviet Russian film director and film theorist, Sergei Eisenstein, is often considered to be the "Father of Montage" and is widely acknowledged as a seminal modern artist. He is noted in particular for his silent films Strike (1924), Battleship Potemkin (1925) and October (1927), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958). A prolific writer of aesthetic and sexual theory, he was also the author of an extraordinary oeuvre of erotic drawings which have remained less known, despite a series of exhibitions and monographs devoted to them over the last 20 years, focused primarily on the collection of the Russian State Archive and examples discovered in Mexican private collections. Both celebrated and disparaged as a successful practitioner of propaganda that served the Stalinist state, Eisenstein himself was at the same time absorbed with European Decadence both as an artistic school and aesthetic sensibility. He even declared: “Had it not been for Leonardo, Marx, Lenin, Freud and the movies, I would in all probability have been another Oscar Wilde.’’
The first drawing, number 41, depicts a male figure wearing red embroidered gloves and holding a large bird whose head (covered in a hat) reaches into a cloud formation which itself forms a large phallus pointing upwards and penetrating a floating red orifice in the sky, while on the ground a voluptuous woman points to the bird above with one hand and reaches suggestively towards the man's crotch with the other. Drawing number 42 is titled "Savior," in which the same male figure points overhead to the now enormous bird who has taken on more of the size and quality of a dragon and has plunged its own head through the large and now more fully formed red orifice, as the woman in the foreground gestures to the sky with arms outstretched. In drawing number 45, titled "Always Forward / To New Adventures" the bird flies off overhead as the two figures now paddle off together in what appears to be a large vagina canoe (the final fruition of the floating red orifice?), the male figure rowing while the naked female pushes her derriere into his lap and looks back at him with a broad smile, as somewhat alarmed fish swim in the water before them.
The pioneering Soviet Russian film director and film theorist, Sergei Eisenstein, is often considered to be the "Father of Montage" and is widely acknowledged as a seminal modern artist. He is noted in particular for his silent films Strike (1924), Battleship Potemkin (1925) and October (1927), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958). A prolific writer of aesthetic and sexual theory, he was also the author of an extraordinary oeuvre of erotic drawings which have remained less known, despite a series of exhibitions and monographs devoted to them over the last 20 years, focused primarily on the collection of the Russian State Archive and examples discovered in Mexican private collections. Both celebrated and disparaged as a successful practitioner of propaganda that served the Stalinist state, Eisenstein himself was at the same time absorbed with European Decadence both as an artistic school and aesthetic sensibility. He even declared: “Had it not been for Leonardo, Marx, Lenin, Freud and the movies, I would in all probability have been another Oscar Wilde.’’
Eisenstein, Sergei. (1898–1948). Erotic Drawing Collection. Three original drawings on paper in red, orange, blue and black pencil and crayon, numbered in the upper right corners 41, 42 and 45, the second two bearing titles in cyrillic, each signed by the artist and dated 31.12.42. 330 x 220 mm. Previously from the collection of Jean-Claude Marcadé and Galia Ackerman, authors of the reference book on Eisenstein's erotic drawings "Dessins Secrets" (Le Seuil, 1999), in which other drawings of this same numbered series are illustrated.
The first drawing, number 41, depicts a male figure wearing red embroidered gloves and holding a large bird whose head (covered in a hat) reaches into a cloud formation which itself forms a large phallus pointing upwards and penetrating a floating red orifice in the sky, while on the ground a voluptuous woman points to the bird above with one hand and reaches suggestively towards the man's crotch with the other. Drawing number 42 is titled "Savior," in which the same male figure points overhead to the now enormous bird who has taken on more of the size and quality of a dragon and has plunged its own head through the large and now more fully formed red orifice, as the woman in the foreground gestures to the sky with arms outstretched. In drawing number 45, titled "Always Forward / To New Adventures" the bird flies off overhead as the two figures now paddle off together in what appears to be a large vagina canoe (the final fruition of the floating red orifice?), the male figure rowing while the naked female pushes her derriere into his lap and looks back at him with a broad smile, as somewhat alarmed fish swim in the water before them.
The pioneering Soviet Russian film director and film theorist, Sergei Eisenstein, is often considered to be the "Father of Montage" and is widely acknowledged as a seminal modern artist. He is noted in particular for his silent films Strike (1924), Battleship Potemkin (1925) and October (1927), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958). A prolific writer of aesthetic and sexual theory, he was also the author of an extraordinary oeuvre of erotic drawings which have remained less known, despite a series of exhibitions and monographs devoted to them over the last 20 years, focused primarily on the collection of the Russian State Archive and examples discovered in Mexican private collections. Both celebrated and disparaged as a successful practitioner of propaganda that served the Stalinist state, Eisenstein himself was at the same time absorbed with European Decadence both as an artistic school and aesthetic sensibility. He even declared: “Had it not been for Leonardo, Marx, Lenin, Freud and the movies, I would in all probability have been another Oscar Wilde.’’
The first drawing, number 41, depicts a male figure wearing red embroidered gloves and holding a large bird whose head (covered in a hat) reaches into a cloud formation which itself forms a large phallus pointing upwards and penetrating a floating red orifice in the sky, while on the ground a voluptuous woman points to the bird above with one hand and reaches suggestively towards the man's crotch with the other. Drawing number 42 is titled "Savior," in which the same male figure points overhead to the now enormous bird who has taken on more of the size and quality of a dragon and has plunged its own head through the large and now more fully formed red orifice, as the woman in the foreground gestures to the sky with arms outstretched. In drawing number 45, titled "Always Forward / To New Adventures" the bird flies off overhead as the two figures now paddle off together in what appears to be a large vagina canoe (the final fruition of the floating red orifice?), the male figure rowing while the naked female pushes her derriere into his lap and looks back at him with a broad smile, as somewhat alarmed fish swim in the water before them.
The pioneering Soviet Russian film director and film theorist, Sergei Eisenstein, is often considered to be the "Father of Montage" and is widely acknowledged as a seminal modern artist. He is noted in particular for his silent films Strike (1924), Battleship Potemkin (1925) and October (1927), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958). A prolific writer of aesthetic and sexual theory, he was also the author of an extraordinary oeuvre of erotic drawings which have remained less known, despite a series of exhibitions and monographs devoted to them over the last 20 years, focused primarily on the collection of the Russian State Archive and examples discovered in Mexican private collections. Both celebrated and disparaged as a successful practitioner of propaganda that served the Stalinist state, Eisenstein himself was at the same time absorbed with European Decadence both as an artistic school and aesthetic sensibility. He even declared: “Had it not been for Leonardo, Marx, Lenin, Freud and the movies, I would in all probability have been another Oscar Wilde.’’