![]() There’s no overarching theme when it comes to this assortment of old women nude pics other than the fact that we want to represent as many Mature porn niches as possible. Yeah, here, you’re going to see TRULY horny old women as they rub their wrinkly cunts, get fucked, enjoy some lesbian lovin’ and so forth. ![]() You can go through various other websites that promise “the hottest old naked women,” but the truth of the matter is that none of them come even close to the kind of sexiness and variety that we provide. Rubens & Women is at Dulwich Picture Gallery, London, from 27 September to 28 January.Nude mature women are all here! It’s borderline impossible to find a better collection of old granny pics featuring both pornstars and amateurs. But you can also sense her soulful presence, exposed and unsure. You could see him as a predator here, making her crouch for his eye’s pleasure. In a drawing of a woman crouching naked, Rubens gets his model to pose as the ancient statue that so haunted him. ![]() The word “exuberant” literally means this – coming out of a breast. Juno does the same for the infant Hercules: the milk she spills becomes a white river in the night sky, the Milky Way. The goddess Venus squeezes her own breast to send white milk spurting into her baby son Cupid’s mouth, in a painting of the gods at home. Women’s breasts don’t just attract Rubens. And if he wants to make milk fly through space he can do that too. If he wants to make a woman look like one of Michelangelo’s men, he will. Where is Rubens going with this? Into the realm of artistic freedom where anything is possible. In yet another drawing a woman has stomach muscles as rippling as those of a Michelangelo male nude. Another drawing, Sleeping Hermaphrodite, depicts an ancient statue with a fusion of curves and a masculine face. He draws, with mesmerising clarity and feeling, Michelangelo’s statue Night – showing precisely how unfemale this nude’s breasts are. Men may even change into women, or vice versa. The classical nude, for Rubens, is an artistic dream in which anything is possible. Photograph: Courtesy Dulwich Picture Gallery Venus, Mars and Cupid by Peter Paul Rubens. But is it that simple? Rubens found otherwise when he started looking at nudes in Italy. They are the first man and first woman, their difference visible in their anatomy. Adam, sinewy and hairy, tells Eve not to be sinful: she coils back, her skin smooth, hips curvy, breasts round. Here is his first big nude scene: Adam and Eve, painted in about 1599 before going to Italy. Now owned by Charles III, it was in the Gonzaga collection in the Italian city of Mantua when young Rubens was a court artist there, and a key classical influence on how he saw women.īut this exhibition reveals he got his interest in unclothed bodies closer to home, from the raw religious art of northern predecessors like Van Eyck. At the centre of Dulwich’s exhibition space, an ancient nude statue, Crouching Venus, is displayed in a hall of mirrors. It’s natural to think he discovered “the nude”, the classical tradition of depicting ideal male and female forms, in Italy where it had been revived by the likes of Titian and Michelangelo. Rubens was Flemish but went to Italy as a young artist to refine his education. The nudes that follow are equally unexpected. Rubens gets distracted by the dead man’s flesh: is it pitiable or repulsive? This eerie nude has the unease of modern depictions of corpses by Delacroix and Manet. This is the greenish, rubbery corpse of Christ, lamented by his mother and Mary Magdalene. In fact the first naked body to grab your attention is male. So if you thought Rubens just painted frolicking nudes displaying an abundance of flesh, here’s ample proof that many of his paintings of women are emotional, characterful studies of the soul, not the body. ![]() Hagar in the Desert wears the dress of Rubens’s day, her long blue skirt shimmering as she prays alone by a rock. In another a woman has her hands bound and turns her head upward, hair wild, as she models Saint Catherine. In one portrait Isabel Clara Eugenia, Infanta of Spain, poses as a Poor Clare – a nun dedicated to the Franciscan ideal of poverty – with her sombre face enfolded in a black habit. Rubens draws women acting out impassioned parts as saints, martyrs, the Virgin Mary. There was an intense revival of Catholicism in the age of Rubens and it gave women new roles as spiritual leaders and actors, in art at least. In a world where death came often and unannounced, prayer was consoling. Photograph: KBC Bank, Antwerp, Snijders&Rockox House The Virgin in Adoration of the Child, c1616.
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