Art-rated.

On the left, L'Origine du monde (The Origin of the World) by Gustave Courbet. On the right, the putative upper section of L'Origine du monde by Courbet.


  The woman depicted is the Irish redhead Joanna Hiffernan, who must have been around 23 when this work was painted. Joanna “Jo” Hiffernan (ca. 1843 – after 1903) was also the model of and romantically linked with American painter James Abbott McNeill Whistler, who painted her as The White Girl. Courbet also painted her as La belle Irlandaise and Le Sommeil.”

 In February 2011, Facebook  censored L'Origine du monde after it was posted by Copenhagen-based artist Frode Steinicke, to illustrate his comments about a television program aired on DR2. Following the incident, many other Facebook users defiantly changed their profile pictures to the Courbet painting in an act of solidarity with Steinicke. Facebook which originally disabled Steinicke's profile finally re-enabled it without the L'Origine du monde picture. As the case won media attention, Facebook deleted ALL the  pages containing  the painting. If you try to publish this painting on FB  right now, your account will be closed. They say "It´s pornography".
The standard definition of pornography is something like this: "Creative activity (writing or pictures or films etc.) of no literary or artistic value other than to stimulate sexual desire". Geez, according to that, Courbet was nothing but a pimp. The same as Picasso, Klimt, Leonardo, Schiele and some many others...

 Attribué à François Boucher, Léda et le Cygne (vers 1740).

Lucien Freud- Nude.

Francis Bacon: Shemale.

 Homosexuality lay at the heart of the enigma about Bacon. While his sexual preferences were a fact well known within the art world and a small coterie of friends and acquaintances with whom he drank and gambled, it was not placed within the public domain until Bacon was well into his 70s, and even then in such understated ways that would be easy to miss. There seems to be two aspects to this decision. One was Bacon's own contradictory attitude towards talking about his work. "If you talk about it, why paint it," was a favorite diverting device; if that did not seem sufficient, he often presented a fatalistic view, saying "We live, we die, and that is all." The other aspect was Bacon's own attitude towards, and understanding of, his homosexuality.

Gustave Klimt- Masturbation.

Fünfundzwanzig Handzeichnungen ("Twenty-five Drawings") was released the year after Klimt's death. Many of the drawings in the collection were erotic in nature and just as polarizing as his painted works. Published in Vienna in 1919 by Gilhofer & Ranschburg, the edition of 500 features twenty-five monochrome and two-color collotype reproductions, nearly indistinguishable from the original works. While the set was released a year after Klimt's death, some art historians suspect he was involved with production planning due to the meticulous nature of the printing (Klimt had overseen the production of the plates for Das Werk Gustav Klimts, making sure each one was to his exact specifications, a level of quality carried through similarly in Fünfundzwanzig Handzeichnungen). The first ten editions also each contained an original Klimt drawing.
Many of the works contained in this volume depict erotic scenes of nude women, some of whom are masturbating alone or are coupled in sapphic embraces. When a number of the original drawings were exhibited to the public, at Gallerie Miethke in 1910 and the International Exhibition of Prints and Drawings in Vienna in 1913, they were met by critics and viewers who were hostile towards Klimt's contemporary perspective. There was an audience for Klimt's erotic drawings, however, and fifteen of his drawings were selected by Viennese poet Franz Blei  for his translation of Hellenistic satirist Lucian's  Dialogues of the Courteseans. The book, limited to 450 copies, provided Klimt the opportunity to show these more lurid depictions of women and avoided censorship thanks to an audience composed of a small group of (mostly male) affluent patrons.

 Giulio Romano: Jupiter und Olympias.