居斯塔夫．庫爾貝（Jean Désiré Gustave Courbet, 1819-1877）為十九世紀法國寫實主義代表畫家，他筆下的人物可謂當時粗俗、現世、不容於藝術審美的最前線，沾上惡名的同時，也替自己塑立了高傲輕世的形象。直到到了六零年代，庫爾貝生產了一批具有強烈色情意味的裸女畫，為此，曾經捍衛庫爾貝的寫實主義支持者，反過來批判他；而曾經拒庫爾貝於門外的藝術殿堂，卻轉過身來擁抱他。這批畫作，包括《白襪女子》（Woman with White Stockings, 1861）、《女人與狗》（Woman with a Dog, 1861-62）、兩幅《維納斯與塞姬》（Venus and Psyche, 1864、1866）、《女人與鸚鵡》（Woman with a Parrot, 1866）、《睡眠》（The Sleepers, 1866），以及《世界的起源》（The Origin of the World, 1866），不僅在十九世紀被抨擊為猥褻創作，直到現今依然被女性主義者大力撻伐。
本論文即聚焦於庫爾貝這一系列的裸女畫，嘗試探尋蘊藏於其中的大眾色情元素，包含文學、版畫，以及最核心的，佔據了十九世紀後半葉歐洲色情文化版圖的色情攝影，打開這些繪畫與大眾文化之間互為經驗參照的解讀可能。色情的光暈所壟罩的，並非僅止於性事或性徵的再現，而是對映著每個時代觀者的認知隨而擴充或窄化。庫爾貝在此時的裸女畫，凝視的目光來自潛浸於大宗異質色情文化的十九世紀觀者，因此，兩者間共用的視覺語言，則開展出經驗的互文空間，並同時挪移了道德、情色卅色情，以及公卅私領域的界限。
從社會寫實到身體寫實，接續再往真實的色情發展，庫爾貝的作品興起當代藝術史學者的論戰，從精神分析女性主義者，再到當代性卅別理論的使用，隨著性卅別研究視角的轉換，庫爾貝身上也被貼上了不同，甚至相悖的標籤。本論文嘗試回到視覺材料的歷史中，放下對作者意識的探尋，旨在尋找到一條兼顧性卅別政治、歷史原貌以及觀者接收的研究路徑，呈現出庫爾貝色情裸女畫在社會結構中滋養出的性卅別能量，以及其所逾越的性卅別疆界。

In the 19th century, the idea of Realism in painting has been closely connected with the name of Gustave Courbet (1819-1877), who created the figures of vulgarity, mundanity, while againsting the aesthetics of the academic and traditional art. Courbet became a notorious artist in the 19th century, but made his own personification of arrogance and presumption at the same time. During the 1860s, Courbet produced a series of lewd and seductive nude, and the pornographic and obscene essence of these nude caused the other contemporary Realists to blame him. On the other hand, the Salon, who used to deal Courbet a blow, turned to honor him. The paintings, including Woman with White Stockings (1861), Woman with a Dog (1861-62), two Venus and Psyche (1864 & 1866), Woman with a Parrot (1866), The Sleepers (1866), and The Origin of the World (1866), were denounced as obscenity in the 19th century, and criticized by the feminists in the 20th century.
This thesis aims to focus on the public pornographic elements hiding behind the academic term “nude” in this series of paintings. The pornographic culture in the 19th century was widely presented in literature, engraving, and photography, among these mediums, the photography in the second half of the 19th century occupied the European pornographic cultural domain. The thesis concerns about how these paintings and the public culture referred to each other. The pornography is not named for the representation of the sex or the genital organs, but for the cognizance of spectators. However, the cognizance of pornography would be expanded or contracted in different epochs. Furthermore, Courbet’s nude shared similar visual language of public pornographic culture in the 19th century. The sharing visual language among these different representations would develop the sharing experiences, and at the same time, the co-text would move the boundary lines between moral/obscenity, erotica/pornography, and the public/private areas.
To sum up, base on the development of Courbet’s painting career, from the social realism to the reality of female body, and toward the realistic pornography, Courbet aroused the debates within modern art historians. Courbet was labeled in different, even contrary way, by psychoanalytical feminism and gender studies. This thesis tries to explore the sexual politics and the boundary of pornography presented by Courbet’s female. The interpretation of the series of paintings is beyond the author-function, but focusing on the history of visual materials, and to figure out the receiving motions of the spectators.

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