In 2013, the Musée d’orsay, on the occasion of the exhibition” Masculine/Masculine. The nude man in art from 1800 to our days “, invited to put in parallel two works : the Origin of The world, Gustave Courbet (1866), and The Origin of war (1989) of the contemporary artist Orlan. Echoing faithfully the format, the frame, the decor surrounding the bed in the painting of Courbet, one of Orlan gives to see, instead of the famous female sex, a phallus in erection. As in the Origin of The world, there is centrally a question of desire. But while sex and desire, women were presented as the matrix of humanity, those of the man become his destruction. Not including that, in connection with the work of Courbet, the Orlan insists on the negativity of the masculine in the contemporary look. The Origin of the war was seen as a feminist. It is in any case a perspective of a woman on the male body and its symbolic meanings, which remained rather rare at the scale of the history of the item

If the contemporary art we often speak of the male as a threat – which is a part of the contemporary discourse of crisis of the masculine, and vice versa, and on the long time, the art has regularly been the place of expression of a sense of threat to the male him-even in the face of what could be at liberty to cancel. And in particular the affirmation of the feminine. This is explained by Anne Lafont, art historian, director of studies at the Ecole des hautes etudes en sciences sociales (EHESS), and the author of Feathers and brushes. Discourses of women on art in Europe 1750-1850 (INHA/Les Presses du réel, 2012, 2 volumes) : “from the Eighteenth century, the discourses of women on art, who had previously been intimate, mostly in diaries and journals, access to greater public exposure. For example, through the publication of textbooks at the destination…