By Christopher Reed
Lavishly illustrated with over a hundred seventy five black-and-white and colour photographs that variety from excessive to pop culture and from historical Greece to modern the United States, Christopher Reed's arresting e-book unearths the deep linkages among paintings and homosexuality as we comprehend these terms.
This is the 1st e-book to completely discover the interdependence among the identification of the artist and the gay. It bargains a daring, globe-spanning narrative that pulls on paintings from the entire vital classes within the Western culture, together with classical, Renaissance, and modern, with detailed specialize in the trendy interval. It used to be within the 19th century that the identities of the avant-garde artist and the gay took form, and nearly as speedy overlapped. The figures involved―Ingres, Courbet, Wilde, Whitman―are between that era's such a lot iconic artists. the improvement of twentieth-century art―exemplified within the paintings of figures like Gertrude Stein, Jasper Johns, David Hockney, and David Wojnarowicz―this booklet argues will never be comprehensible except the concurrent improvement of principles approximately sexual id. This hugely readable quantity demanding situations the tips of many well-known artwork critics and punctures the platitudes surrounding discussions of either paintings and sexuality. The booklet discusses what it ability to be an insider and outsider, how sexuality got here to outline one's primary humanity, and what humans hazard (and achieve) in rejecting fiscal and social conformity.
Reed indicates that some of the center principles that outline glossy notion extra quite often are approximately indecipherable with out an knowing of this pairing. The debates that experience surrounded artists and homosexuals in impression catch the dramatic historical past of the evolution of the fashionable brain.
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Additional info for Art and Homosexuality: A History of Ideas
Gauguin’s famous twelve-foot-long painting titled Where Do We Come From? What Are We? Where Are We Going? 5). In this painting, which Gauguin called “a philosophical work on a theme comparable to that of the gospel,” the androgynous central ﬁgure reaches up to pluck the fruit from a tree. The ﬁgure’s central position echoes that of the cruciﬁed Christ in traditional Christian iconography, while the gesture recalls Eve’s plucking of the fruit of knowledge. 4. Paul Gauguin, Marquesan Man in a Red Cape (also called Le Sorcier d’hiva o) (1902), oil on canvas, Musée d’art moderne, Liège, Belgium.
1420), attributed to Bartolomeo di Fruosino (1366–1441), Bibliothèque Nationale de France, Paris. The image shows Virgil and Dante with the sodomites on burning sand in hell, and the text describes Dante respectfully greeting his teacher Brunetto Latini. The high professions of the other sodomites are symbolized by cleric complained that all Florentine citizens indulged in sodomy. ” Under Savonarola’s inﬂuence, punishments for sodomy increased in severity in Florence, but his public execution for heresy in 1498 was followed by a general pardon.
In view of his legal predicament, it is unsurprising that Cellini denied the sodomy charges, but his logic—that he was too humble for “such a noble practice” suited for gods and “the greatest emperors and kings”—seems backhanded at best, and he avows his youthful emotional attachment to other men. A number of Cellini’s sculptures created after the sodomy charge have been interpreted as deﬁant celebrations of erotic bonds between men and youths. 6). In Cellini’s version, however, the ﬁgures’ relative scale renders the conventional version of the story implausible, instead casting the seductive youth as the protagonist, an effect emphasized by the way Ganymede lovingly strokes the feathers of the eagle.
Art and Homosexuality: A History of Ideas by Christopher Reed