In the early 1930’s Jindrich Styrsky, the co-founder of the Czech Surrealist group made a pilgrimage to Provence, to visit the ruins of the Chateau La Coste, the ancestral home of the Sade family. Here he took a number of mysterious photographs of the crumbling walls and overgrown doors which inspired his artistic partner, Toyen, to paint in oils the illusionistic Au Chateau La Coste. The drawing of the predatory fox seemingly coming to life gives the painting a singular sense of menace which is particularly apt for the place which so inspired the Marquis De Sade.
The Marquis was very attached to La Coste. During the long years of his confinement in various prisons and asylums he routinely mourned its destruction during the Revolution. It was at La Coste, after all, that the Marquis had first developed his lifelong passion for the theatre, staging lavish productions which he naturally starred in. More ominously it was also at La Coste that the Marquis orchestrated and choreographed, with the aid of his wife, Renee-Pelagie, elaborate orgies that was to serve as the model for the unbridled license afforded his characters in the sinister and oppressive castles in his searingly radical, and horrifying, libertine fictions of the prison years.
Toyen was profoundly influenced by her exposure to Sade. A large majority of Toyen’s work is explicitly sexual in content. She surrounded herself with erotic objects and imagery. Her artistic collaborator, the Surrealist poet, Sadean scholar and cultural theorist Annie Le Brun, whose blistering critique of contemporary society The Reality Overload I cannot recommend highly enough, commented that Toyen, who was at the time well into her seventies, would visit the movie theatre several times a week to watch X-rated films.