British Erotica Volume One: Kinky milf's and wives

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Perhaps nobody has described the effect of shunga more elegantly than the 19th Century aesthete Goncourt, who wrote about “the furious, almost angry copulations; the somersaults of rutting pairs, knocking over the folding screen of a bedroom; the mingling of bodies which dissolve into one another; the sensual excitability of the arms, both inviting and resisting coitus; the epilepsy of the feet, toes twisted, waving in the air; the devouring mouth-to-mouth kisses, the swooning woman, head thrown back and touching the floor, with the petite mort on her face, eyes closed under painted lids; finally, the force, the power of the outline which makes the drawing of a phallus equal to that of the hand in the Musée du Louvre attributed to Michelangelo”. Most were neither sexy nor funny, and this one isn’t particularly erotic either, but it does cast a keenly satirical eye on how the sex-film business was run at the time, with wide-eyed ingénues on both sides of the camera and a plot that contrives multiple adaptations of the notoriously filthy poem to please different backers: hardcore porn, a gay western, a kung-fu musical and a family-friendly compromise. A (slight) relaxation of censorship at the turn of the 1970s triggered a decade where the softcore sex comedy was one of the few surefire commercial bets for British cinema.

Standing naked at the window with her back to me was Pippa, my lover from last night and the host of the cotta. But this woodblock print, which is known in the West as The Dream of the Fisherman’s Wife and was created in 1814 by the Japanese artist Katsushika Hokusai (1760-1849), who also famously depicted a tumultuous wave apparently about to swallow up Mount Fuji, is in fact a sophisticated work of art belonging to a genre known as ‘shunga’, or erotic ‘spring pictures’, which thrived in Japan between about 1600 and 1900. After seeing the pumpkin-sized testicles of a randy old farmer, the bean man Mane’emon informs us that things are different in the country.I had offered to continue pleasuring her, but she had said that she was really hungry, and besides that, we had all weekend together.

If Intimacy (2001) garnered most of the column inches for its unsimulated fellatio scene, it was The Mother that offered the most complex take on its subject, as its middle-aged grandmother May ( Anne Reid in a memorably fearless performance) tries to conquer bereavement-triggered grief through an affair with her daughter’s boyfriend ( Daniel Craig).The exhibition at the British Museum also contains shunga by Torii Kiyonaga, whose Handscroll for the Sleeve (c.