地中海裸男常被用於男同志色情情詩選封面，該意象在男同志情慾文化中佔有重要地位。
而多數的地中海裸男攝影出自於威廉文格羅登(Wilhelm von Gloeden)之手，在攝影史上格羅登被視作極為重要的「裸體影像革新者」，主要指男性裸體。
從一看始，格羅登的作品就吸引住同性戀者的目光，例如第一批同性戀雜誌如《Die Schonheit》、《Der Eigene》、《Die Freundshaft》其即經常刊錄格羅登的攝影，並稱之為「理想男性美的典範」。直到七０、八０年代，他的作品更是大放異彩，重獲同性戀雜誌的喜愛，再度被大量複製為明信片，蔚為流行。
格羅登一生拍了超過三千張的少男攝影，經過二次大戰，只剩三分之一歷劫餘生，卻足夠讓後人賭物緬懷一個如夢的疆土。特別是對男同性戀者而言。
Homoeroticism and Androgyny
Wilhelm von Gloeden
’Two Seated Sicilian Youths’
Italy
About 1900
Albumen print
Museum no. 2815-1952
http://www.vam.ac.uk/images/image/13411-popup.html
Sitting pretty
Untitled, c. 1900. Photograph by Wilhelm von Gloeden, Uwe Scheid Collection.
http://www.bjp-online.com/public/showPage.html?page=171393
fotomuveszet.elender.hu
http://commons.wikimedia.org/wiki/Image:Gloeden%2C_Wilhem_von_%281856-1931%29_0057.jpg#filehistory
Wilhelm von Gloeden
’Two Seated Sicilian Youths’,
about 1900. Museum no. 2815-1952
Wilhelm von Gloeden: Triplo ritratto. La foto e stata eseguita a Napoli (che appare sullo sfondo in altre pose della stessa serie), probabilmente in occasione d’una visita a Wilhelm von Pluschow, prima dell’anno 1900.
http://www.wolfgay.de/gallery/vernissage/gloeden/images_gl_portait/gl_portrait734.jpg
This picture demonstrates well some of the trademark elements of Gloeden’s work: the spectacular, textural scenery of Taormina; allusion to neo-classicism, which was so popular in the work of many artists of the period (represented in the head-band and toga); the sense of affection between the models and the focus on the buttocks.
The composition combines neo-classical, sentimental and libidinal elements which are typical of Gloeden’s more thoughtful, successful and (therefore) more enduring images.
http://www.wolfgay.de/gallery/vernissage/gloeden/images_gl_gruppe/gl_gruppe558.jpg
Youth in the Arena at Verona
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