Another arresting erotic image by the master Surrealist photographer, Man Ray. I cannot accurately determine the date it was taken, however as it features his lover Juliet Browner (and later wife, they were married in a dual ceremony with Max Ernst and Dorothea Tanning in Beverly Hills in 1946) and Margaret Nieman who was his neighbour in Los Angeles during the early 1940’s, 1942 would seem to be the likeliest year.
Man Ray frequently photographed his lovers in embraces with other women, notably Lee Miller and her room-mate Tanja Ramm (though not the photograph of Lee and Tanja having breakfast in bed, that was taken by Lee’s father) and later, Ady Fidelin with the ultimate Surrealist muse Nusch Eluard.
The totem-like masks were designed by Man Ray himself and certainly add an aura of strangeness and animalistic carnality to the scene. In the early 30’s in Paris, Man Ray had become involved with the Lost Generation American travel writer and occultist William Seabrook and had photographed several of Seabrook’s sadistic mise-en-scene involving masks. Seabrook’s sexual proclivities were also the subject of the extremely unsettling essay by Michel Leiris, The ‘Caput Mortuum’ or the Alchemist’s Wife, published in Georges Bataille magazine Documents.
The rather evocatively named Apollonia Saintclair (presumably a pseudonym that conjures up images, in my mind, at least, of a Bond villainess and a vixen of a heroine in a French libertine novel) provocative and very erotic illustrations have gathered a huge and obsessive following on Instagram and Tumblr for the mysterious, secretive artist.
Saintclair’s veritable pornocupia of fantasies, kinks and fetishes locate sex and desire as the nexus of a wide range of human emotions. Her black and white images are suggestive of pulp, noir and, on occasion, the gleeful decadence of Beardsley and Von Bayros; while shot through with a delightful insolent wit that ranges from the mischievous to the macabre.
In her interviews Saintclair has expressed her admiration for the pioneering photographer and artist Man Ray who was noted for his use of visual puns and rhymes, which quickly became a hallmark of early Surrealism. In drawings such as La Bonne Poire (The Juicy Fruit) and La Trouvaille (There you are), Saintclair expands (in conjuration with their disingenuous titles) the potential of the visual pun that elicits the shock of suppressed recognition from the viewer. The startling La Mort Douce(The Sweet Death) with its inversion of the Biblical tale of St John the Baptist and Salome has, however, far more sinister connotations.
Although obviously well-versed in art history in general and erotic art in particular, and while her work contains echoes of everything from Clovis Trouille’s sultry, sapphic nuns to the ceaseless caresses of octopi in Japanese shunga, Saintclair has developed a unique style with a distinctive contemporary take on eroticism from a vantaged (and still a rarity in erotic art) female perspective.
The English philosopher Francis Bacon is quoted as saying the job of the artist is to always deepen the mystery. While there is nothing more mysterious in human experience than sex, involving as it does the body, mind and soul in conjuration like no other comparable activity, the erotic artist is placed in a paradoxical position. After all, the role of erotic art is, by its very definition, to show and tell. Revealing too much strips away the mystery and the initial charm is soon lost. Revealing too little, however, means it isn’t erotic art. Apollonia Saintclair performs that miraculous balancing act of showing us just enough to deepen the mystery and leaving us longing for more.
In 1945 on their return voyage to France, Andre Breton with his new wife Elise and the Cuban artist Wifredo Lam in tow stopped in Haiti where their friend and Surrealist contributor Pierre Mabille was culture attache. Mabille arranged for the Surrealists to observe a vodou ceremony and it was here that Breton first noticed the work of Haitian artist Hector Hyppolite. Hyppolite was a third generation vodou houngan (priest) and self taught artist who started painting late in life; lacking materials Hyppolite initially used chicken feathers and his fingers to compose his work which centred on the loa, the spirit deities of vodou.
Breton and Lam brought several pieces and Breton wrote about his work in Surrealism and Painting. Although Hyppolite paintings are more religious in nature than Surrealist, the support and recognition from Breton helped Hyppolite in particular and Haitian art in general find a wider audience. Hyppolite’s work was included at the UNESCO exhibition in Paris in 1947 and received an enthusiastic reception.
Erzulie is the loa of love and sexuality. In the complicated syncretic spirit religion of vodou she is associated with flowers, jewelry and luxury; however in other aspects Erzulie is also identified with the Mater Dolorosa, while at the same time being the patron loa of lesbians.
As for Andre Breton, after his visit to the ceremony events in Haiti took a dramatic turn, however that is a whole other story.
In 1907 the seventeen year old Egon Schiele met the artist who he idolised and would continue to venerate to his death, Gustav Klimt (see Dreams of Desire 57 (Gustav Klimt), Dreams of Desire 53 (Judith) and The Succubus). Klimt was known to be supportive of aspiring artists, however he recognised the talent inherent in Schiele and he took a particular interest in his protege’s career, generously buying and exchanging his own works with Schiele’s drawings, organising meetings with potential patrons and arranging models to sit for Schiele.
Although Klimt’s influence is evident in Schiele’s early work, he soon found his own distinctive style. The heavily decorative elements of Symbolism, Art Nouveau and Jugendstil are gone and in its place is raw, naked Expressionism. Schiele’s females nudes, often featured in provocative poses are emaciated and sickly looking with a distorted line that renders the figures close to grotesque. It is true that after his marriage in 1915 to Edith Hams that the models are more fully fleshed, however the doll-like appearance of these later studies makes them even more disconcerting.
In 1918 after a brief, tumultuous life which had included being imprisoned for exhibiting erotic drawings and considerable controversy for his use of teenage models (who tended to be juvenile delinquents) Schiele died in the Spanish Influenza outbreak that was gripping Vienna at that time, just three days after his pregnant wife Edith had died and only 8 months after the death of his mentor Gustav Klimt.
Schiele, Egon. 1890ñ1918. ìZwei Freundinnenî, 1915. Gouache und Aquarell ¸ber Bleistift auf Papier, 48 ◊ 32,57 cm. Inv. Nr. 1915ñ933
In the 2013 movie La Vie d’Adele-Chapitres 1 & 2 (Blue is the Warmest Colour), a masterful study of love, sexuality but above all else class, there is a particularly telling scene during the party at the beginning of Chapter 2. Invited to sit down in the home she shares with Emma, Adele is asked what she does by Emma’s friends. Her response that she is a teacher barely elicits acknowledgement and soon the conversation has turned to the Austrian artist Egon Schiele who the friend is studying for her thesis. Emma counters that though she likes Schiele she finds him too tortured, too dark and too obscure and she prefers Klimt. Klimt is dismissed by the art historian as ‘florid and decorative’. Adele looks lost and returns to her hostess duties.
Although it could be argued that the above exchange sets Klimt and Schiele in a needless competition when in real life they shared a mentor-pupil relationship (Klimt was 30 years older than Schiele), a close, long lasting friendship, muses (most infamously Wally Neuzil, who went from Klimt to Schiele and then back to Klimt again), and themes, most notably the female nude in overtly erotic situations, their art is markedly contrasting. Schiele gaze is uncompromisingly morbid, rawer and decidedly more edgy. Whereas Klimt, at least in the major paintings, is resplendent with gorgeous semi-abstract decorative motifs borrowed for Byzantine, Greek, Celtic and Egyptian art, leading it to be easily assimilated with bourgeois ideals of beauty. Regardless of this, Klimt’s work is undeniably sexy.
Klimt’s studio was populated day and night by cats and naked models. He never married and was rumoured to have fathered seventeen children on various lovers. His promiscuity resulted in syphilis which undoubtedly coloured his lush, decadent vision. He died in 1918 from complications arising from contracting influenza in the worldwide epidemic of that year that killed up to 50 to 100 million people.