A little known masterpiece of deadpan absurdity, What A Life! is a delightfully curiosity from 1911 by Edward Verrall Lucas and George Morrow. It has been called a proto-Dadaist satire and would influence Surrealist collage techniques. It was displayed at the landmark MOMA exhibition in New York of 1936 entitled ‘Fantastic Art, Dada and Surrealism’.
The illustrations that the text are built around are taken entirely from the general catalogue of Whiteleys, a fashionable London department store of the time. Below is the entire work for those with a passion for obscure oddities
What a Life!
E. V. L. and G. M.
Illustrated by Whiteley’s
As adventures are to the adventurous, so is romance to the romantic. One man searching the pages of Whiteley’s General Catalogue will find only facts and prices; another will find what we think we have found — a deeply-moving human drama.
Along with a very sweet tooth I share with the Marquis De Sade a quasi-mystical obsession with numbers. Certain numbers that have cropped up recently suggested a piece on the 18th century libertine tradition in French which the Divine Marquis radically re-envisioned at its culmination.
Originally the term libertine was used to describe political opponents of Calvin in Geneva, and went on to develop connotations of atheism and dangerous free-thinking. However by the 18th century the definition had narrowed to describe someone who was a sexual adventurer and debauchee. In the narrow homogeneous confines of French aristocratic circles in the Ancien Regime there flourished a literature which was entirely dedicated to examining the erotic manoeuvres and cynical mores of a fashionable society that pursued pleasure at all costs yet had to hypocritically maintain face .
Several novels including Diderot’s Les bijoux indiscrets (The Indiscreet Jewels) and Crebillon fils La Sopha (The Sofa) transposed the setting to Oriental locations to disguise the political satire of the court of Louis XV. Others were less cautious and set their novels in a contemporary setting with thinly veiled portraits of famous influential figures; the resulting scandals ruined careers and damaged reputations. Laclos the author of the masterpiece of libertine fiction and to my mind the greatest novel ever written, Les Liaisons Dangereuses (Dangerous Liasions) never escaped the notoriety that the book brought him; he unjustly became the byword for cynicism and Machiavellian scheming.
One of the central features of the libertine novel is the conflict between sense and sentiment that readers of Jane Austen will be familiar with. However unlike Austen they resolve themselves as an unsentimental education where the hero or heroine is taught the ways of the world and learns how to exploit others for their sensual gratification. As the prophet of the enlightenment Voltaire noted ‘Pleasure is the object, duty and the goal of all rational creatures’, and the aristocrats portrayed are above all rational creatures.
During their education, which always involves seduction and a subtle corruption the characters are taught about the moment. The moment is a key concept in libertine philosophy, it is when the object of desire is most susceptible to seduction. The newly minted libertines are made aware of when the moment is approaching, how to take full advantage of the moment and even how to manufacture the moment in someone who is inimical to seduction. The classic novels of sexual education are Crebillon fils Les Égarements du cœur et de l’esprit ou Mémoires de M. de Meilcour (The Wayward Heart and Head or the Memoirs of M. de Meilcour) and the Marquis De Sade’s La Philosophie dans le boudoir ou Les instituteurs immoraux (Philosophy in the Boudoir or The Immoral Teachers). De Sade of course is notably more extreme than his predecessors and combines elements of the Gothic and Baroque while pointing forward to Romanticism and Decadence.
The Belgian Symbolist James Ensor macabre vision of the Second Coming, 1888’s Christ’s Entry into Brussels in 1889 is generally considered his masterpiece and with its densely crowded canvas, vivid use of colour and grotesque caricatures clearly pointed the way towards a new art: Expressionism.
With all the distorted clarity of a nightmare Ensor portrays a heaving mob that includes skeletons, clowns and masked figures drunkenly await the entrance of the Messiah. Several banners line the processional route, however the leering faces in the foreground suggest that Christ’s entry will not be a triumphant one but will turn into a second Calvary.
Jean-Marie-Mathias-Philippe-Auguste, comte de Villiers de l’Isle-Adam, the writer of my favourite world-weary bon mot, ‘Living? Our servants will do that for us.’ was, as the name and quote suggests, of impeccable aristocratic lineage: the family name that Mathias (as he was known informally) so proudly bore had been ennobled for at least eight centuries and had included a Grand Marshall of France and the founder of the Order of the Knights of Malta. However the Revolution and his father’s madcap get rich quick schemes had emptied the families coffers. His relatives decided that Mathias was the one to restore the lustre and fortune to the line with his writings and by marrying a rich heiress.
Unsurprisingly, given the nature of his genius and his other-worldliness neither plan came to fruition. For his friend Stephen Mallarme, Villiers was, ‘The man who never was, save in his dreams’, and as Villiers himself comments in his mighty Symbolist drama Axel, that he existed merely ‘out of politeness’. His trip to London to woo a wealthy English lady was an unmitigated disaster; he borrowed heavily to pay for the boat over and a set of outlandish clothes only for her to quickly flee Covent Garden when faced with the over ardent declarations of eternal love from the strange foreign gentleman.
His writing showed a complete and utter disregard for the commercial market. He achieved some recognition with his collection Contes Cruel and he was certainly possessed some influential friends, as well as Mallarme, Villiers could count Baudelaire, Wagner, Leon Bloy and Huysmans as close personal acquaintances. It wasn’t enough however, even when he secured a commission his savage satirical edge meant that no further work was forthcoming for a long while. His astounding early science fiction novel L’eve future, was serialised and then dropped midway by two different newspapers. One wonders what the readers thought of its dizzying imaginative leaps, its jaw-dropping virulent misogyny that dissects the female form body part by body part to illustrate its inherent flaws and how man can improve on nature to create the perfect woman,and the dense imagery culled from many varied disciplines including but not limited to; the Bible, Hermeticism, Cabbala, medicine, anatomy, psychology and science.
After the death of his aunt who had kept him somewhat afloat Villiers found himself penniless, a state that was to continue without remittance until his death at 51. Frequently homeless and always hungry his fierce pride refused any offers of assistance. One winter he slept on a construction site only to find one early morning a watchman’s boot grounding down on his face. He worked for a time as a sparring partner at a boxing gymnasium, basically being a human punching bag for sixty francs a month. Four days before his death he married the mother of his only child, an illiterate charwoman. On his deathbed, Villiers, a devout though frequently heretical Catholic was busying preparing his lawsuit against God.
All mirrors are inherently mysterious and magical. The moment when Narcissus looked into the lake and realized that what he saw reflected was at one and the same time the self and an image was the moment of a great divide, a second Fall, but as certain Gnostic sects argued about the temptation of Eve and the expulsion from the Garden of Eden this recognition was a necessary loss of Innocence. It was the first experience of a mediated reality. All was needed was the technical expertise to manufacture mirrors to disseminate this heightened self-awareness to every individual. And from mirrors it was only a matter of time before the camera and then film which led to the media landscape that envelops and dominates our perception today.
Mirrors are mentioned frequently in myth, folk-lore and religion; not to mention in art and literature. In Corinthians Paul says of our knowledge of the divine ‘For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known’. In Vodou, the syncretic religion practised widely in Haiti that combines elements of West African spirit religion, Catholicism and arguably Mesoamerican traditions, the altars of hounfours (temples) are decorated with mirrors as they are conduits that the houngan use to contact the spirit world. Many cultures at many times held the tradition of covering all mirrors in the house when in mourning, this custom persists today in Judaism. In connection with a heresy held by one of the numerous Gnostic sects Borges states ‘Mirrors and copulation are abominable, since they both multiply the numbers of men.’
In libertine fiction mirrors play a large part as they increase the pleasure of the moment and enables the libertine to view the erotic scene which they are actively participating in. In the sparkling sophisticated jewel of a tale Point de lendemain (No Tomorrow) byVivant Denonthe artful heroine describes to her paramour the delights of her chamber with its reflective glass covering every wall, when he enters he is enchanted to find a ‘a vast cage of mirrors’ and then states that, ‘Desires are reproduced through their image’.
One of the most memorable mentions in fairy-tales of the deceptive nature of the looking-glass is the Magic Mirror of the Evil Queen in Snow White, which is a good illustration of William Blake’s quote ‘A truth told with evil intent beats any lie you could invent.’
However for me the supreme moment for the mirror in literature is when Alice steps through to the other side of the looking glass. Ever since the phrase has been used to describe many different and varying experiences; the transfigured absolute reality glimpsed in insanity; the shifting contours of the nightly dreamscape, the heavens and hells of drug use (the John Tenniel illustration was reproduced on LSD blotters in the sixties) the transcendence achieved in sexual ecstasy, and ultimately death, that unknowing inevitable frontier where we hope that the outward appearance will vanish to be replaced for all eternity by our fundamental essence. For although mirrors are just surface and can deceive, distort and warp, they also always reveal something other than just ourselves.
Salvador Dali’s arresting photo-montage The Phenomenon of Ecstasy which features the photographic studies of Charcot’s female hysterics, originally accompanied the artist’s essay on the irrational aspects of art nouveau architecture; in particular the buildings of fellow Catalan Antoni Gaudi, in the magazine Minotaure. His contention that “the repugnant can be transformed into the beautiful” through an ecstasy achieved by continuous erotic activity and that the sexual abandon resulting from hysteria leads to a transformation of perception in art, architecture and indeed modern life markedly shows the influence of the Symbolist and Decadent movements of the latter 19th century upon the Surrealists.
In 1936 Toyen returned to painting after a period concentrating on collages and erotic book illustration, and produced what is arguably her masterpiece The Message Of The Forest, a painting that seems to be an pictorial representation of a particularly sinister Central European fairy-tale.
A massive owl-like creature, painted in a startling shade of electric blue bears in its one remaining claw the severed head of a young girl. As is frequent in Toyen she plays with scale to induce a sense of disorientation in the viewer. The vivid green of the tree bark and the absolute inky blackness of the night contrast with the pallid mask-like face of the girl, suggesting that the forest, and by extension nature, is essentially inimical to humanity.
The Shooting Gallery is a haunting series of lithographs by the enigmatic Toyen, portraying a young girl wandering in a strange and ominous world of dislocations; especially in size and scale. To my mind The Shooting Gallery appears to be a particularly sinister Surrealist sequel to the Alice books.
While searching for work by the excellent photographer Germaine Krull (see Dreams of Desire 18) who Man Ray highly admired, I came across her extraordinary series Les Amies (The Friends) which features pairs of female lovers in an intimate setting. The photographs are unashamedly erotic, however unlike similar images taken by Man Ray where the women are objects of the male gaze, here the women are actively involved in acting upon their own sensual desires for themselves.
After WWII the enigmatic Marcel Duchamp, arch avant-gardist and art world provocateur was widely have believed to have turned his back on art to dedicate himself to competitive chess. However for the next twenty years Duchamp would work in secret on his tableau Etant Donnes: 1 La Chute D’Eau 2 Le Gaz D’Eclairage (Given: 1 The Waterfall 2 The Illuminating Gas), it was to be his final work. The tableau was only installed after Duchamp’s death in 1968 in the Philadelphia Museum of Art.
It immediately caused a sensation. The tableau is only visible through two tiny peep holes which presents a mysterious scene whose meaning remains elusive. In the foreground against the painted sylvan landscape is a naked female (comprised of parchment, hair, glass, paint, cloths-pegs, and lights). Her head is hidden, all that is visible above the torso is strands of blonde hair. The posture of the body is extremely disturbing, the immediate impression is of violence against the supine figure. The model for most of the figure was Duchamp’s lover from 1946 to 1951, the Brazilian sculptor Maria Martins. After meeting Martins Duchamp increasingly introduced the erotic into his previously cerebral art and he would obsessively draw her voluptuous figure. Duchamp’s second wife Alexina (Teeny) was the model for the arm. Duchamp consulted extensively with both women during the artistic process.
A work as opaque as Etant Donnes invites all manner of interpretations. For me several features are highly suggestive of alchemy and Hermeticism. The oil lamp could be alluding to the alchemical fire that accelerates the process of perfection in the Great Work. The headless women was a frequent symbol of Mother Nature in early cultures and her position could be taken as someone ready for either childbirth or sexual intercourse. If this is the case then the spring would refer to the womb where new life is formed and nourished. Is Etant Donnes an alchemical allegory on artistic creation?