Topic: Media Research Center
Yesterday, guest writer Lilianne Milgrom published an article for the Huffington Post describing her experience with the 19th century Gustave Courbet painting L’Origine du monde (The Origin of the World). The title of the article is “How An Encounter With The World’s Most Famous Vagina Painting Changed My Life.” This “vagina painting” is pornography. Full stop.
Unlike other nude paintings, there are no hands, no figs leaves, and no blurred lines to obscure the image in Courbet’s painting. In fact, there isn’t a face, legs, nor arms in sight. The painting is just a woman’s torso with a full-frontal view of her vagina -- pubic hair and all. The subject’s anonymity is dehumanizing and it emphasizes the work’s erotic nature.
It’s no wonder that the painting was not available for public viewing until 1991. Quite frankly, the work is grotesque, just as a similar painting of a penis would be. In 1994, French police removed copies of the novel Adorations perpétuelles from bookstore windows; the novel used L’Origine du monde as its cover. A similar event occurred in 2009 when Portuguese police confiscated copies of the book Pornocratie from bookstore windows; the book also used Courbet’s painting as a cover. When a French teacher posted the painting on his Facebook in 2011, the site immediately shut down his account for posting pornographic material.
Despite the clear graphic content of the piece, it is on full display at the Musée d’Orsay, one of the largest museums in the world. Since its public debut, the piece has garnered a gross appreciation from the artistic world.
Graphic and explicit? Undoubtedly. (That's why we illustrated this post with a self-portrait of Courbet and not the artwork in question.) Pornography, "full stop"? Only if you're an agenda-driven conservative who thinks that any artistic depiction of genitals is pornographic. It's been argued that the painting's craftsmanship, along with its nonerotic setting, means that it goes beyond pornography to an artistic statement.
But Plaza wasn't done judging both the painting and the woman who wrote about it:
Milgrome’s bewilderment over the women’s disturbance clearly reflected her own views on the work. Though she later asks the reader if the painting was “sacred or profane? Beautiful or repulsive? Threatening or empowering,” her own opinions bled through with obvious snobbery.
This is the typical crass and juvenile “resistance” we have come to expect from the left. Pro-choicers choose to express their opinions through “pussyhats” and vulgar slogans such as “this pussy grabs back.” Radical feminists paint portraits of President Trump using period blood as protest. Liberal “comedy” reviewers celebrate Amy Schumer for her gross-out vagina humor.
They can’t win by appealing to reason, so they appeal to passion.
As if Plaza isn't working from a position of passion and snobbery by extrapolating his personal dislike for a painting into a blanket attack on "liberals." And he forgot who said he enjoyed grabbing women by the pussy, demonstrating who the vulgar one really is here.