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He is also believed to have painted for the same ruler the enigmatic (1524–5).Romano had trained under the Renaissance master Raphael, many of whose more widely known works Raimondi also engraved.The original edition of was devised by the Italian engraver Marcantonio Raimondi, who based his designs on sixteen images of sexual positions reputedly drawn by Giulio Romano, court artist to the duchy of Mantua.

Carracci was one of three brothers, including the more famous painter Annibale, who did much to pioneer the seventeenth-century Baroque’s propulsive and detailed style of painting.

An eighteenth-century text entitled continued the tradition of Raimondi, also borrowing the names of Aretino and Carracci, with its catalogue of sexual positions to which it lends a veneer of respectability by giving its subjects names drawn from classical mythology.

Despite strictures from religious authorities, people down the years kept these images safe, aware that what we imagine can arouse us at least as much as the readily apparent.

But what about those works whose subjects slid right past first base (and sometimes even second and third)? Image courtesy of the Art Insitute of Chicago The Moche civilization dominated the arid north coast of Peru from around the first to the eighth century AD.

These ten head-scratching artworks, excerpted from Phaidon’s new are salacious and outrageous, sure to even make the most open-minded Casanova blush. Its peoples harnessed the waters of the Andes to create a sophisticated culture with a highly stratified urban society centered on ceremonial pyramid complexes called huacas.