Pubic Hair - in Art

In Art

La Naissance de Venus by Eugène Emmanuel Amaury Duval (1808–1885) portrays the goddess of love with no pubic or axillary hair.

In ancient Egyptian art, female pubic hair is indicated in the form of painted triangles. In medieval and classical European art, pubic hair was very rarely depicted, and male pubic hair was often, but not always, omitted. Sometimes it was portrayed in stylized form, as was the case with Greek graphic art. The same was true in much Indian art, and in other Eastern portrayals of the nude. In 16th century southern Europe Michelangelo showed the male David with stylized pubic hair, but female bodies were depicted hairless below the head. Nevertheless, Michelangelo’s male nudes on the Sistine chapel ceiling display no pubic hair. In Renaissance northern Europe, pubic hair was more likely to be portrayed than in the south, more usually male, but occasionally female.

By the 17th century, suggestions of female pubic hair appear in pornographic engravings, such as those by Agostino Carracci.

According to John Ruskin's biographer Mary Lutyens, the notable author, artist, and art critic was apparently accustomed only to the hairless nudes portrayed unrealistically in art, never having seen a naked woman before his wedding night. He was allegedly so shocked by his discovery of his wife Effie's pubic hair that he rejected her, and the marriage was later legally annulled. He is supposed to have thought his wife was freakish and deformed. Later writers have often followed Lutyens and repeated this version of events. For example Gene Weingarten in his book I'm with Stupid (2004) writes that "Ruskin had annulled because he was horrified to behold upon his bride a thatch of hair, rough and wild, similar to a man's. He thought her a monster." However, there is no proof for this, and some disagree. Peter Fuller in his book Theoria: Art and the Absence of Grace writes, "It has been said that he was frightened on the wedding night by the sight of his wife's pubic hair; more probably, he was perturbed by her menstrual blood." Ruskin's biographers Tim Hilton and John Batchelor also believe that menstruation is the more likely explanation."

Francisco Goya's The Nude Maja (1797) has been considered as probably the first European painting to show a female subject's pubic hair, though paintings had hinted at it. The painting was considered quite pornographic at the time. Gustave Courbet's L’Origine du monde (The Origin of the World, 1866), was considered scandalous probably more because of the presentation of thick pubic hair than the exposed female genitals. Examples of male pubic hair in contemporary art are harder to find.

In the late 18th century female pubic hair is openly portrayed in Japanese shunga (erotica), especially in the ukiyo-e tradition. Hokusai's picture The Dream of the Fisherman's Wife (1814), which depicts a woman having an erotic fantasy, is a well-known example. Fine art paintings and sculpture created before the 20th century in the Western tradition usually depicted women without pubic hair or a visible vulva. In Japanese drawings, such as Hentai, pubic hair is often omitted, since for a long time the display of pubic hair was not legal. The interpretation of the law has since changed.