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The film Mapplethorpe (Ondie Timoner, 2018) seems to have arrived at the most propitious moment for those who want to explore the topic of male sexuality. It is, broadly speaking, a topic-whose edges are extended by other boundaries-with which not everyone can feel All I See Is You at ease. Through the artistic nude some ideas saturated with a sexual or erotic context have been reflected, paying tribute to the bodily beauty of the human species. While the female nude has been exploited and overexploited to manifest some aesthetic issues of this nature, the male nude has developed timidly through some artists who have risked putting it on the scene. There are few exponents who approach the subject of the sexual man, taking it from the Renaissance perspective, to approach it from a more libidinous perspective. Some of these audacious artists were Michelangelo, Paul Cadmus and Wilhlem von Gloeden, to give an example.

But undoubtedly it was Robert Mapplethorpe, a well-known New York photographer, who placed the eye of the viewer in these types of subjects, addressing male sensuality as the thesis Last Letter of his work, looking at it from the sublime, as if it were statues, passing through the sado-masochism and showing a peculiar variety of sensual flower portraits. Through his studio photos, he developed an elegant style and a particular handling of light. Mapplethorpe portrayed the most influential representatives of pop culture of his time, several porn film actors and characters representative of the underground scene of the 70s and 80s. He left a legacy of images that contrast the unexpected in the theme of his composition with visual simplicity Because his photographs transmit an erotic vision of the male body and a beautiful technique, he contributed to the artistic Marfa Girl 2 scene a different vision than usual, with a certain complexity in the background and form.

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