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Investigating the image of the Middle Ages that we have today through current art in-spired by medieval literature is also an interesting method to value the culture of the past. When this literature also has homoerotic content, it can lead to artistic practices typical of a queer perspective that make visible LGBT dissidents in defense of human rights. This article analyzes a case study about six engravings made by Ricard Huerta, Valencian artist, for an exhibition at the Mislata Town Hall of Culture in 1984, inspired by Ramon Llull’s Llibre d’Amic e Amat, the best-known literary work of this important Mallorcan philosopher that was written seven hundred years before., Investigar la imagen que hoy tenemos sobre la Edad Media a través del arte actual inspirado en literatura de la época constituye también un método interesante para poner en valor la cultura del pasado. Cuando esa literatura tiene además contenidos homoeróticos puede derivar en prácticas artísticas propias de una perspectiva queer que visibiliza disidencias LGTB en defensa de los derechos humanos. Este artículo analiza un estudio de caso sobre seis grabados que realizó el artista valenciano Ricard Huerta para una exposición en la Casa de la Cultura del Ajuntament de Mislata en 1984, inspirándose en el Llibre d’Amic e Amat de Ramon Llull, la obra literaria más conocida de este importante filósofo mallorquín que fue escrita setecientos años antes.

The question of homoerotic sensibility is, in the purpose of this thesis, a matter of visual language connected to the portrayal of male bodies. By identifying this sensibility throughout the western art canon the essay seeks to understand its origins, development and function in relation to expressions of power. With the introduction of theorists such as Alois Riegl, Laura Mulvey, Abigail Solomon-Godeau and Raewyn Connell, the aim is to deconstruct homosexual masculinity. Adapting formal analysis and parts of visual semiotics, the focus lies on the visual expression of power through the homoerotic gaze, and asks what consequences it has in forming homosexual identity. Greek antiquity is home not only to the ideals that foster western art history, but is also where we find early examples of same-sex affection being portrayed in the arts. Hence classical antiquity is so important for the homoerotic: whenever the classical language of style is popular throughout history, we are sure to find homoerotic sensibility. For reasons mentioned, the main periods analyzed are the Italian Renaissance, the French Neoclassicism and then, naturally the late 20th century onwards as this is the period of gay liberation and modern homosexual identity. By identifying classical acceptance of homosexual relations only in the form of a clear social hierarchy, we soon discover how homosexuality has appropriated the idea of binary difference within its masculinity throughout history. Accepting relationships only between erastes and eromenos, or man and ephebe, homosexuality is forced to exist only on the terms of difference of power. With classical ideals, these tendencies are recurring in the visual representation of male homosexuality, and becomes a big part of the liberation and forming of a modern identity in the late twentieth century. As a result of objectification of the male body, in combination with idealized and sexualized power, modern gay culture has in many ways embraced a des