Posts Tagged ‘Fred Holland Day

19
Apr
19

Photographs: ‘The Seven Last Words’ 1898 by F. Holland Day (1864-1933)

April 2019

 

F. Holland Day (American, 1864-1933) 'The Seven Last Words' 1898

 

F. Holland Day (American, 1864-1933)
The Seven Last Words
1898
Seven platinum prints in original frame
H x W (overall with frame): 8 1/2 x 35 1/2 in. (21.6 x 90.2 cm)
Barbara M. Marshall Fund, Frank B. Bemis Fund, Otis Norcross Fund, William E. Nickerson Fund, Lucy Dalbiac Luard Fund, and funds by exchange from a Gift of James Lawrence, Dorothy Mackenzie and John E. Lawrence, and funds donated by Michael and Elizabeth Marcus, Charles W. Millard III, and Scott Nathan and Laura DeBonis Photo: © Museum of Fine Arts, Boston

 

 

Where Do We Come From / What Are We / Where Are We Going

I went to see one of my best friends for the last time in hospital today.

Joyce has been like a surrogate mother to me for the last eight years. She has been wise counsel, friend, support, teacher, reconciler, adventurer and philosopher to this sometimes lost man. We had many adventures to exhibitions and openings, to our favourite restaurant Caffe e Cucina to have dinner, or going to see “Our Julia”, an exhibition of her favourite photographer Julia Margaret Cameron at the Art Gallery of New South Wales in Sydney. It is so sad in this life that we have to loose the wisdom of age only for the mistakes of past generations to be repeated over and over again.

Both Joyce and I do not believe in traditional, dogmatic religion. Both of us cannot stand the hypocrisy, baloney and proselytising that religion undertakes in the name of an “imaginary friend.” Religion is a crutch for the dogmatic who then impose their beliefs, and discrimination, on others.

But we both believe in spirit, that ineffable quality of experience where you obtain communion with the energy of the cosmos. A feeling, an emotional energy of connection to body, spirit and soul. Something noumenal, something that we have knowledge of, but that we can’t completely describe.

Strip away the baggage of religion from these photographs and you are left with a man being tortured and his spirit suffering. I wonder what this man was like when he was a baby? Who did he talk to growing up, what did he say, who did he meet. What was his essential journey to get to this place? Imagine Pontius Pilate not washing his hands of him, but sitting down with him and having a philosophical discussion on the nature of existence and being.

I felt immense love and sadness, hope and sorrow when I saw Joyce for the last time on this earth. I wished her a good journey and told her that I would see her soon.

I will miss her strength, intelligence, and beautiful spirit. But above all I will miss her love.

Dr Marcus Bunyan

 

 

If we can find out what we are… that is the artist.

And then, this goes to the core element of your being:

If the core part of your life is the search for the truth then that becomes a core part of your identity for the rest of your life,

and the core element of your enquiry remains the same.

It becomes embedded in your soul.

.
Joyce Evans

 

 

F. Holland Day (American, 1864-1933) 'The Seven Last Words' 1898

Father forgive them they know not what they do

 

F. Holland Day (American, 1864-1933) 'The Seven Last Words' 1898

Today thou shalt be with me in Paradise

 

F. Holland Day (American, 1864-1933) 'The Seven Last Words' 1898

Woman behold thy son: Son thy mother

 

F. Holland Day (American, 1864-1933) 'The Seven Last Words' 1898

My God my God why hast thou forsaken me

 

F. Holland Day (American, 1864-1933) 'The Seven Last Words' 1898

I thirst

 

F. Holland Day (American, 1864-1933) 'The Seven Last Words' 1898

Into thy hands I commend my spirit

 

F. Holland Day (American, 1864-1933) 'The Seven Last Words' 1898

It is finished

 

 

From 1895 to 1898 Day undertook a project that was without precedent: an extended series – some 250 negatives – showing scenes of the life of Christ, from the Annunciation to the Resurrection, in which he played the title role. In 1890 Day had traveled to Oberammergau to see the famous once-a-decade Passion Plays and may well have seen a similar multimedia presentation that toured the East Coast, including Boston, later in the 1890s. For his own production, Day starved himself, let his beard grow long, and imported cloth and a cross from Syria. Just prior to the reenacted Crucifixion, he made this series of close-up self-portraits – the most powerful images in his entire series – which represent Christ’s seven last words:

FATHER FORGIVE THEM; THEY KNOW NOT WHAT THEY DO.

TODAY THOU SHALT BE WITH ME IN PARADISE.

WOMAN, BEHOLD THY SON; SON, THY MOTHER

MY GOD, MY GOD, WHY HAST THOU FORSAKEN ME?

I THIRST.

INTO THY HANDS I COMMEND MY SPIRIT.

IT IS FINISHED.

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For many people, Day’s self-portraits as Christ were – and remain – unsettling, as one tries to reconcile their fact and fiction. Day defended the use of photography for sacred subjects as a matter of artistic freedom, and Steichen wrote, “Few paintings contain as much that is spiritual and sacred in them as do the ‘Seven Words’ of Mr. Day. … If we knew not its origin or its medium how different would be the appreciation of some of us, and if we cannot place our range of vision above this prejudice the fault lies wholly with us. If there are limitations to any of the arts, they are technical; but of the motif to be chosen the limitations are dependent on the man – if he is a master he will give us great art and ever exalt himself.”

Text from The Metropolitan Museum of Art website [Online] Cited 26/03/2019

 

Edward Steichen (American, born Luxembourg, 1879-1973) 'Solitude (Portrait of F. Holland Day)' 1901

 

Edward Steichen (American, born Luxembourg, 1879-1973)
Solitude (Portrait of F. Holland Day)
1901
Platinum print
Barbara M. Marshall Fund, Frank B. Bemis Fund, Otis Norcross Fund, William E. Nickerson Fund, Lucy Dalbiac Luard Fund, and funds by exchange from a Gift of James Lawrence, Dorothy Mackenzie and John E. Lawrence, and funds donated by Michael and Elizabeth Marcus, Charles W. Millard III, and Scott Nathan and Laura DeBonis
Photo: © Museum of Fine Arts, Boston

 

 

Widely considered one of the masterpieces of photographic history, the monumental self portrait depicts Day as Christ in a series of seven platinum prints set in a frame designed by the artist. The work is a high point of Pictorialism – the turn-of-the-century movement advocating the artistic merit of photography. With few prints ever made by the artist and a tragic fire destroying his studio, Day’s photographs are tremendously rare. The Museum also acquired the crown of thorns worn by Day in The Seven Last Words and three important portraits of Day taken by photographers Edward Steichen, James Craig Annan and Clarence H. White. They were kept by the artist as part of his personal archive.

“The Seven Last Words is one of the most significant images in the history of photography, a work that reverberates with iconic importance and one that influenced subsequent artists significantly,” said Anne E. Havinga, Estrellita and Yousuf Karsh Senior Curator of Photographs at the MFA.

Born into an affluent family in Norwood, F. Holland Day was a turn-of-the-century Bostonian with an ultra-refined aesthetic sensibility and a multitude of interests, particularly in art and literature. He was a member of the “Boston Bohemians,” a circle of friends with whom he shared a love for the Arts and Crafts movement, sophisticated wit and Symbolist literature and art. He was also an admirer of old master painting and classical sculpture, and collected Japanese decorative arts and drawings. His interests led him into a career as a fine book publisher and photographer.

Day became interested in photography in the mid 1880s, joining the Pictorialist crusade to prove that photography could be a fine art, and within a decade he had become one of the most important figures in the international movement. While Day championed the same goals promoted by fellow photographers, he also defended religious imagery and the male nude – subjects that had previously been the domain of painting and sculpture. The seriousness of Day’s approach to artistic photography and his heightened sense of symbolism, enhanced by the subtle, low-keyed tonalities of his prints, were an inspiration to other photographers of the time.

In 1898, Day began exploring religious themes in his photographs. His “Sacred Studies,” as he called them, were widely acclaimed for their high-art aspirations – as seen in their relation to old master religious painting – and their unquestionable daring. The Seven Last Words was one of Day’s most expressive and best-known pieces and continues to be admired by many contemporary artists, especially those who explore identity, role play and staged photography in their work. Each of the seven photographs in the work, set in a frame designed by the artist, represents one of the last phrases spoken by Christ:

Father forgive them they know not what they do.
Today thou shalt be with me in Paradise.
Woman behold thy son: Son thy mother.
My God my God why hast thou forsaken me.
I thirst.
Into thy hands I commend my spirit.
It is finished.

.
Only two other versions of the work exist today: one is in the Metropolitan Museum of Art (without the artist-designed frame) and a third is owned by a private collector (with an altered frame). The MFA’s version is in tremendous condition and is in its original, un-altered frame.

Text from the Museum of Fine Arts Boston website [Online] Cited 26/03/2019

 

 

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20
Sep
16

Exhibition: ‘Painting with Light: Art and Photography from the Pre-Raphaelites to the Modern Age’ at Tate Britain, London

Exhibition dates: 11th May – 25th September 2016

Curators: Dr Carol Jacobi, Curator of British Art 1850-1915 at Tate Britain, and Dr Hope Kingsley, Curator, Education and Collections, Wilson Centre for Photography, with Tim Batchelor, Assistant Curator at Tate Britain

 

 

An interesting concept for an exhibition. I would have liked to have seen the exhibition to make a more informed comment. Parallels can be drawn, but how much import you put on the connection is up to you vis-à-vis the aesthetic feeling and formal construction of each medium. It is fascinating to note how many of the original art works are photographs with the painting following at a later date, or vice versa. Photographically, Julia Margaret Cameron and John Cimon Warburg are the stars.

Photographs have always been used by artists as aide-mémoire since the birth of photograph. Eugené Atget called his photographs of Paris “Documents pour artistes”, declaring his modest ambition to create images for other artists to use as source material … but I take that statement with a pinch of salt. Perhaps a salt print from a calotype paper negative!

Marcus

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Many thankx to the Tate for allowing me to publish the art work and photographs in the posting. Please click on the photographs for a larger version of the image.

 

Tate Britain presents the first major exhibition to celebrate the spirited conversation between early photography and British art. It brings together photographs and paintings including Pre-Raphaelite, Aesthetic and British impressionist works. Spanning 75 years across the Victorian and Edwardian ages, the exhibition opens with the experimental beginnings of photography in dialogue with painters such as J.M.W. Turner and concludes with its flowering as an independent international art form.

Stunning works by John Everett Millais, Dante Gabriel Rossetti, JAM Whistler, John Singer Sargent and others will for the first time be shown alongside ravishing photographs by pivotal early photographers such as Julia Margaret Cameron, which they inspired and which inspired them.

 

 

Peter Henry Emerson (1856-1936) 'Haymaker with Rake' c. 1888, published 1890

 

Peter Henry Emerson< (1856-1936)
Haymaker with Rake
c. 1888, published 1890
From Pictures of East Anglian Life portfolio
Photogravure on paperImage: 277 x 196 mm
Victoria and Albert Museum
Gift from the photographer

 

John Everett Millais. 'The Woodman's Daughter' 1850-51

 

John Everett Millais (1829-1896)
The Woodman’s Daughter
1850-51
Oil paint on canvas
889 x 648 mm
Guildhall Art Gallery, City of London

 

Minna Keene. 'Decorative Study' c. 1906

 

Minna Keene
Decorative Study
c. 1906.
© Royal Photographic Society / National Media Museum/ Science & Society Picture Library

 

Dante Gabriel Rossetti. 'Proserpine' 1874

 

Dante Gabriel Rossetti
Proserpine
1874
Oil on canvas
support: 1251 x 610 mm
frame: 1605 x 930 x 85 mm
Presented by W. Graham Robertson 1940

 

Zaida Ben-Yusuf. 'The Odor of Pomegranates' 1899

 

Zaida Ben-Yusuf
The Odor of Pomegranates
1899, published 1901
Photogravure on paper
Tate

 

 

Zaida Ben-Yusuf (21 November 1869 – 27 September 1933) was a New York-based portrait photographer noted for her artistic portraits of wealthy, fashionable, and famous Americans of the turn of the 19th-20th century. She was born in London to a German mother and an Algerian father, but became a naturalised American citizen later in life. In 1901 the Ladies Home Journal featured her in a group of six photographers that it dubbed, “The Foremost Women Photographers in America.” In 2008, the Smithsonian National Portrait Gallery mounted an exhibition dedicated solely to Ben-Yusuf’s work, re-establishing her as a key figure in the early development of fine art photography…

In 1896, Ben-Yusuf began to be known as a photographer. In April 1896, two of her pictures were reproduced in The Cosmopolitan Magazine, and another study was exhibited in London as part of an exhibition put on by The Linked Ring. She travelled to Europe later that year, where she met with George Davison, one of the co-founders of The Linked Ring, who encouraged her to continue her photography. She exhibited at their annual exhibitions until 1902.

In the spring of 1897, Ben-Yusuf opened her portrait photography studio at 124 Fifth Avenue, New York. On 7 November 1897, the New York Daily Tribune ran an article on Ben-Yusuf’s studio and her work creating advertising posters, which was followed by another profile in Frank Leslie’s Weekly on 30 December. Through 1898, she became increasingly visible as a photographer, with ten of her works in the National Academy of Design-hosted 67th Annual Fair of the American Institute, where her portrait of actress Virginia Earle won her third place in the Portraits and Groups class. During November 1898, Ben-Yusuf and Frances Benjamin Johnston held a two-woman show of their work at the Camera Club of New York.

In 1899, Ben-Yusuf met with F. Holland Day in Boston, and was photographed by him. She relocated her studio to 578 Fifth Avenue, and exhibited in a number of exhibitions, including the second Philadelphia Photographic Salon. She was also profiled in a number of publications, including an article on female photographers in The American Amateur Photographer, and a long piece in The Photographic Times in which Sadakichi Hartmann described her as an “interesting exponent of portrait photography”.

1900 saw Ben-Yusuf and Johnston assemble an exhibition on American women photographers for the Universal Exposition in Paris. Ben-Yusuf had five portraits in the exhibition, which travelled to Saint Petersburg, Moscow, and Washington, D.C. She was also exhibited in Holland Day’s exhibition, The New School of American Photography, for the Royal Photographic Society in London, and had four photographs selected by Alfred Stieglitz for the Glasgow International Exhibition of 1901, Scotland.

In 1901, Ben-Yusuf wrote an article, “Celebrities Under the Camera”, for the Sunday Evening Post, where she described her experiences with her sitters. By this stage she had photographed Grover Cleveland, Franklin Roosevelt, and Leonard Wood, amongst others. For the September issue of Metropolitan Magazine she wrote another article, “The New Photography – What It Has Done and Is Doing for Modern Portraiture”, where she described her work as being more artistic than most commercial photographers, but less radical than some of the better-known art photographers. The Ladies Home Journal that November declared her to be one of the “foremost women photographers in America”, as she began the first of a series of six illustrated articles on “Advanced Photography for Amateurs” in the Saturday Evening Post.

Ben-Yusuf was listed as a member of the first American Photographic Salon when it opened in December 1904, although her participation in exhibitions was beginning to drop off. In 1906, she showed one portrait in the third annual exhibition of photographs at Worcester Art Museum, Massachusetts, the last known exhibition of her work in her lifetime.

Text from the Wikipedia website

 

In the Studio

Many photographers trained as painters. They set up studios and employed artists’ models, skilled at holding poses for the time it took to take a picture. Later in the century, improved photographic negatives required shorter exposure times and it became easier to stage and capture difficult positions and spontaneous gestures.

Painters and illustrators used photographs as preparatory studies and as substitutes for props, costumes and models, and art schools created photographic archives for their students. Photographs commissioned and sold by institutions such as the British Museum made classical sculpture and old master paintings more accessible, inspiring both painters and photographers.

 

Henry Wallis (1830-1916) 'Chatterton' 1856

 

Henry Wallis (1830-1916)
Chatterton
1856
Oil paint on canvas
Support: 622 x 933 mm
frame: 905 x 1205 x 132 mm
Tate
Bequeathed by Charles Gent Clement 1899

 

 

Chatterton is Wallis’s earliest and most famous work. The picture created a sensation when it was first exhibited at the Royal Academy in 1856, accompanied by the following quotation from Marlowe:

Cut is the branch that might have grown full straight

And burned is Apollo’s laurel bough.

.
Ruskin described the work in his Academy Notes as ‘faultless and wonderful’.

Thomas Chatterton (1752-70) was an 18th Century poet, a Romantic figure whose melancholy temperament and early suicide captured the imagination of numerous artists and writers. He is best known for a collection of poems, written in the name of Thomas Rowley, a 15th Century monk, which he copied onto parchment and passed off as mediaeval manuscripts. Having abandoned his first job working in a scrivener’s office he struggled to earn a living as a poet. In June 1770 he moved to an attic room at 39 Brooke Street, where he lived on the verge of starvation until, in August of that year, at the age of only seventeen, he poisoned himself with arsenic. Condemned in his lifetime as a forger by influential figures such as the writer Horace Walpole (1717-97), he was later elevated to the status of tragic hero by the French poet Alfred de Vigny (1797-1863).

Wallis may have intended the picture as a criticism of society’s treatment of artists, since his next picture of note, The Stonebreaker (1858, Birmingham City Museum and Art Gallery), is one of the most forceful examples of social realism in Pre-Raphaelite art. The painting alludes to the idea of the artist as a martyr of society through the Christ-like pose and the torn sheets of poetry on the floor. The pale light of dawn shines through the casement window, illuminating the poet’s serene features and livid flesh. The harsh lighting, vibrant colours and lifeless hand and arm increase the emotional impact of the scene. A phial of poison on the floor indicates the method of suicide. Following the Pre-Raphaelite credo of truth to nature, Wallis has attempted to recreate the same attic room in Gray’s Inn where Chatterton had killed himself. The model for the figure was the novelist George Meredith (1828-1909), then aged about 28. Two years later Wallis eloped with Meredith’s wife, a daughter of the novelist Thomas Love Peacock (1785-1866).

Text from the Tate website

 

James Robinson. 'The Death of Chatterton' 1859

 

James Robinson
The Death of Chatterton
1859
Two photographs, hand-tinted albumen prints on paper mounted on card
Collection Dr Brian May

 

James Robinson. 'The Death of Chatterton' 1859 (detail)

 

James Robinson
The Death of Chatterton (detail)
1859
Two photographs, hand-tinted albumen prints on paper mounted on card
Collection Dr Brian May

THIS STEREOCARD IS NOT IN THE EXHIBITION

 

 

One of the most famous paintings of Victorian times was Chatterton, 1856 (Tate) by the young Pre-Raphaelite-style artist, Henry Wallis (1830-1916). Again, the tale of the suicide of the poor poet, Thomas Chatterton, exposed as a fraud for faking medieval histories and poems to get by, had broad appeal. Chatterton was also an 18th-century figure, but Wallis set his picture in a bare attic overlooking the City of London which evoked the urban poverty of his own age. The picture toured the British Isles and hundreds of thousands flocked to pay a shilling to view it. One of these was James Robinson, who saw the painting when it was in Dublin. He immediately conceived a stereographic series of Chatterton’s life. Unfortunately Robinson started with Wallis’s scene (The Death of Chatterton, 1859). Within days of its publication, legal procedures began, claiming his picture threatened the income of the printmaker who had the lucrative copyright to publish engravings of the painting. The ensuing court battles were the first notorious copyright cases. Robinson lost, but strangely, in 1861, Birmingham photographer Michael Burr published variations of Death of Chatterton with no problems. No other photographer was ever prosecuted for staging a stereoscopic picture after a painting and the market continued to thrive…

Robinson’s The Death of Chatterton illustrates the way this uncanny quality [the ability to record reality in detail] distinguishes the stereograph from even the immaculate Pre-Raphaelite style of Wallis’s painting of the same subject. The stereograph represented a young man in 18th-century costume on a bed. The backdrop was painted, but the chest, discarded coat and candle were real. Again, the light and colour appear crude in comparison with the painting but the stereoscope records ‘every stick, straw, scratch’ in a manner that the painting cannot. The torn paper pieces, animated by their three-dimensionality, trace the poet’s recent agitation, while the candle smoke, representing his extinguished life, is different in each photograph due to their being taken at separate moments. The haphazard creases of the bed sheet are more suggestive of restless movement, now stilled, than Wallis’s elegant drapery. Even the individuality of the boy adds potency to his death.

Extract from the essay by Carol Jacobi. “Tate Painting and the Art of Stereoscopic Photography,” on the Tate website 17th October, 2014 [Online] Cited 14/02/2015

 

Dante Gabriel Rossetti. 'Beata Beatrix' c.1864-70

 

Dante Gabriel Rossetti
Beata Beatrix
c. 1864-70
Oil on canvas
support: 864 x 660 mm
frame: 1212 x 1015 x 104 mm
Presented by Georgiana, Baroness Mount-Temple in memory of her husband, Francis, Baron Mount-Temple 1889

 

 

Rossetti draws a parallel in this picture between the Italian poet Dante’s despair at the death of his beloved Beatrice and his own grief at the death of his wife Elizabeth Siddal, who died on 11 February 1862. Dante Alighieri (1265-1321) recounted the story of his unrequited love and subsequent mourning for Beatrice Portinari in the Vita Nuova. This was Rossetti’s first English translation and appeared in 1864 as part of his own publication, The Early Italian Poets.

The picture is a portrait of Elizabeth Siddall in the character of Beatrice. It has a hazy, transcendental quality, giving the sensation of a dream or vision, and is filled with symbolic references. Rossetti intended to represent her, not at the moment of death, but transformed by a ‘sudden spiritual transfiguration’ (Rossetti, in a letter of 1873, quoted in Wilson, p.86). She is posed in an attitude of ecstasy, with her hands before her and her lips parted, as if she is about to receive Communion. According to Rossetti’s friend F.G. Stephens, the grey and green of her dress signify ‘the colours of hope and sorrow as well as of love and life’ (‘Beata Beatrix by Dante Gabriel Rossetti’, Portfolio, vol.22, 1891, p.46).

In the background of the picture the shadowy figure of Dante looks across at Love, portrayed as an angel and holding in her palm the flickering flame of Beatrice’s life. In the distance the Ponte Vecchio signifies the city of Florence, the setting for Dante’s story. Beatrice’s impending death is evoked by the dove – symbol of the holy spirit – which descends towards her, an opium poppy in its beak. This is also a reference to the death of Elizabeth Siddall, known affectionately by Rossetti as ‘The Dove’, and who took her own life with an overdose of laudanum. Both the dove and the figure of Love are red, the colour of passion, yet Rossetti envisaged the bird as a messenger, not of love, but of death. Beatrice’s death, which occurred at nine o’clock on 9th June 1290, is foreseen in the sundial which casts its shadow over the number nine. The picture frame, which was designed by Rossetti, has further references to death and mourning, including the date of Beatrice’s death and a phrase from Lamentations 1:1, quoted by Dante in the Vita Nuova: ‘Quomodo sedet sola civitas’ (‘how doth the city sit solitary’), referring to the mourning of Beatrice’s death throughout the city of Florence.

Text from the Tate website

 

Julia Margaret Cameron. 'Call, I Follow, I Follow, Let Me Die!' 1867

Julia Margaret Cameron. 'Call, I Follow, I Follow, Let Me Die!' 1867

 

Julia Margaret Cameron
Call, I Follow, I Follow, Let Me Die!
1867
© Royal Photographic Society / National Media Museum / Science & Society Picture Library

 

 

In late 1865, Julia Margaret Cameron began using a larger camera. It held a 15 x 12 inch glass negative, rather than the 12 x 10 inch negative of her first camera. Early the next year she wrote to Henry Cole with great enthusiasm – but little modesty – about the new turn she had taken in her work. Cameron initiated a series of large-scale, closeup heads that fulfilled her photographic vision. She saw them as a rejection of ‘mere conventional topographic photography – map-making and skeleton rendering of feature and form’ in favour of a less precise but more emotionally penetrating form of portraiture. Cameron also continued to make narrative and allegorical tableaux, which were larger and bolder than her previous efforts.

In this image, Cameron concentrates upon the head of her maid Mary Hillier by using a darkened background and draping her in simple dark cloth. The lack of surrounding detail or context obscures references to narrative, identity or historical context. The flowing hair, lightly parted lips and exposed neck suggest sensuality. The title, taken from a line in the poem ‘Lancelot and Elaine’ from Alfred Tennyson’s ‘Idylls of the King’, transforms the subject into a tragic heroine.

Text from the Victoria & Albert Museum website

 

New truths

Mid-nineteenth century innovations in science and the arts became part of intense debates about ‘truth’ – variously defined as objective observation and as individual artistic vision. Inspired by artist and critic John Ruskin, the Pre-Raphaelite circle took a new approach to nature, discovering meaning in details previously overlooked, ‘rejecting nothing, selecting nothing’.

As the quality of paints and lenses improved, painters and photographers tested the bounds of perception and representation. They moved out of the studio, to explore light and other atmospheric effects as well as geological subjects, landscape and architecture. New photographic materials like glass plate negatives and coated printed papers offered greater accuracy and photography became a valuable aid for painters.

 

John Brett (1831-1902) 'Glacier of Rosenlaui' 1856

 

John Brett (1831-1902)
Glacier of Rosenlaui
1856
Oil on canvas
Height: 445 mm (17.52 in). Width: 419 mm (16.5 in).
Tate Britain
Purchased 1946
Photo: Tate, London, 2011

 

Thomas Ogle. 'The Bowder Stone in Our English Lakes, Mountains and Waterfalls as seen by William Wordsworth by A.W. Bennett' Published 1864

 

Thomas Ogle
The Bowder Stone in Our English Lakes, Mountains and Waterfalls as seen by William Wordsworth by A.W. Bennett
Published 1864
Tate

 

 

View taken by Thomas Ogle of the Bowder Stone in Borrowdale, Cumbria, illustrating ‘Our English Lakes, Mountains, And Waterfalls, as seen by William Wordsworth’ (1864). The book juxtaposes photographs of the Lake District with poems by the English Romantic poet. The Bowder Stone, an enormous boulder, was probably deposited by glaciation during the last Ice Age. It rests in Borrowdale, a valley of woods and crags in the Lake District whose scenic beauty inspired artists, writers and poets of the Romantic Movement in the late 18th and early 19th centuries. Wordsworth (1770-1850) was among them, and the photograph of the Bowder Stone accompanies his poem, ‘Yew-Trees’ (1803), from which the following passage is taken:

“…But worthier still of note
Are those fraternal four of Borrowdale,
Joined in one solemn and capacious grove;
Huge trunks! – and each particular trunk a growth
Of intertwined fibres serpentine
Up-coiling, and inveterately convolved, –
Nor uninformed with phantasy, and looks
That threaten the profane; – a pillared shade,
Upon whose grassless floor of red-brown hue,
By sheddings from the pining umbrage tinged
Perenially – beneath whole sable roof
Of boughs, as if for festal purpose, decked
With unrejoicing berries, ghostly shapes
May meet at noontide – Fear and trembling Hope,
Silence and Foresight – Death the skeleton
And Time the shadow…”

Text from the British Library website

 

Atkinson Grimshaw. 'Bowder Stone, Borrowdale' c. 1863-8

 

Atkinson Grimshaw
Bowder Stone, Borrowdale
c. 1863-8
Oil on canvas
support: 400 x 536 mm
frame: 662 x 709 x 100 mm
Purchased with assistance from the Friends of the Tate Gallery 1983

 

 

“Tate Britain uncovers the dynamic dialogue between British painters and photographers; from the birth of the modern medium to the blossoming of art photography. Spanning over 70 years, the exhibition brings together nearly 200 works – many for the first time – to reveal their mutual influences. From the first explorations of movement and illumination by David Octavius Hill (1802-70) and Robert Adamson (1821-48) to artful compositions at the turn-of-the-century, the show discovers how painters and photographers redefined notions of beauty and art itself.

The dawn of photography coincided with a tide of revolutionary ideas in the arts, which questioned how pictures should be created and seen. Photography adapted the Old Master traditions within which many photographers had been trained, and engaged with the radical naturalism of JMW Turner (1775-1851), the Pre-Raphaelites, and their Realist and Impressionist successors. Turner inspired the first photographic panoramic views, and, in the years that followed his death, photographers and painters followed in his footsteps and composed novel landscapes evoking meaning and emotion. The exhibition includes examples such as John Everett Millais’s (1829-96) nostalgic The Woodman’s Daughter and John Brett’s (1831-1902) awe inspiring Glacier Rosenlaui. Later in the century, PH Emerson (1856-1936) and TF Goodall’s (c1856-1944) images of rural river life allied photography to Impressionist painting, while JAM Whistler (1834-1903) and Alvin Langdon Coburn (1882-1966) created smoky Thames nocturnes in both media.

The exhibition celebrates the role of women photographers, such as Zaida Ben-Yusuf (1869-1933) and the renowned Julia Margaret Cameron (1815-79). Cameron’s artistic friendships with George Frederic Watts (1817-1904) and Dante Gabriel Rossetti (1830-94) are recognised in a room devoted to their beautiful, enigmatic portraits of each other and shared models, where works including Cameron’s Call, I Follow, I Follow, Let Me Die and Rossetti’s Beata Beatrix are on display.

Highlights of the show include examples of three-dimensional photography, which incorporated the use of models and props to stage dramatic tableaux from popular works of the time, re-envisioning well-known pictures such as Henry Wallis’s (1830-1916) Chatterton. Such stereographs were widely disseminated and made art more accessible to the public, often being used as a form of after-dinner entertainment for middle class Victorian families. A previously unseen private album in which the Royal family painstakingly re-enacted famous paintings is also exhibited, as well as rare examples of early colour photography.

Carol Jacobi, Curator British Art 1850-1915, Tate Britain says: “Painting with Light offers new insights into Britain’s most popular artists and reveals just how vital painting and photography were to one another. Their conversations were at the heart of the artistic achievements of the Victorian and Edwardian era.”

Painting with Light: Art and Photography from the Pre-Raphaelites to the Modern Age is curated by Dr Carol Jacobi, Curator of British Art 1850-1915 at Tate Britain, and Dr Hope Kingsley, Curator, Education and Collections, Wilson Centre for Photography, with Tim Batchelor, Assistant Curator at Tate Britain. The exhibition is accompanied by a fully illustrated catalogue from Tate Publishing and a programme of talks and events in the gallery.”

Press release from Tate Britain

 

‘Whisper of the Muse’

As the nineteenth century progressed, some artists moved away from the clarity and detail that had been the aim of earlier Pre-Raphaelite art, turning instead to a search for pure beauty. The aesthetic movement, as this tendency came to be known, emphasised the sensual qualities of art and design and explored imaginative themes and effects.

In London and on the Isle of Wight, a community of artists forged closer links between the visual arts, music and literature. This circle included the photographer Julia Margaret Cameron, painters George Frederic Watts and Dante Gabriel Rossetti, and the poet Alfred Tennyson. Rossetti and Cameron worked with similar subjects, many inspired by Tennyson’s poetry. Together with Watts they developed a newly-intimate form of portraiture, exploring emotional and psychological states. They also shared models, whose striking looks introduced new types of modern beauty.

 

Julia Margaret Cameron (1815-1879) 'Whisper of the Muse' 1865

 

Julia Margaret Cameron (1815-1879)
Whisper of the Muse
1865
Photograph, albumen print on paper
325 x 238 mm
Wilson Centre for Photography

 

Dante Gabriel Rossetti. 'Mariana' 1870

 

Dante Gabriel Rossetti
Mariana
1870
Oil on canvas
Aberdeen Art Gallery & Museum Collection

 

 

Into Light and Colour

In the second half of the nineteenth century Japanese culture became an important influence in Britain. Japanese goods were sold in London in new department stores such as Liberty, while the Japanese Village, established in Knightsbridge in 1885, attracted more than a million visitors.

Japanese props and motifs appeared in art and design and the vogue for Japanese prints inspired painters and photographers. Painters experimented with new colour palettes, flattened picture planes and condensed, cropped formats, innovations also important to later British impressionist works. Such experiments in light and colour were paralleled in photography with the 1907 introduction of the autochrome, the first practical colour photographic process.

 

John Cimon Warburg (1867-1931) 'Peggy in the Garden' 1909, printed 2016

 

John Cimon Warburg (1867-1931)
Peggy in the Garden
1909, printed 2016
Photograph, transparency on lightbox from autochrome
Royal Photographic Society / National Media Museum / Science and Society Picture Library

 

 

John Cimon Warburg (1867-1931) British photographer born to a wealthy family dedicated his whole life to photography. In 1897, he joined the Royal Photographic Society. During his photographic career, John Cimon Warburg used a wide range of photographic processes, but excelled especially in autochromes. Best known for his atmospheric landscapes and its fascinating studies of his children, Warburg lectured and written about the process and explained his autochromes the annual exhibition of the Royal Photographic Society. (Text from the Autochrome website)

Patented by the Lumière brothers in 1903, Autochrome produced a color transparency using a layer of potato starch grains dyed red, green and blue, along with a complex development process. Autochromes required longer exposure times than traditional black-and-white photos, resulting in images with a hazy, blurred atmosphere filled with pointillist dots of color. (See some fantastic images on the Mashable website)

 

John Singer Sargent (1856-1925) 'Carnation, Lily, Lily, Rose' 1885-86

 

John Singer Sargent (1856-1925)
Carnation, Lily, Lily, Rose
1885-86
Oil paint on canvas
1740 x 1537 mm
Tate. Presented by the Trustees of the Chantrey
Bequest 1887

 

 

The inspiration for Carnation, Lily, Lily, Rose came during a boating expedition Sargent took on the Thames at Pangbourne in September 1885, with the American artist Edwin Austin Abbey, during which he saw Chinese lanterns hanging among trees and lilies. He began the picture while staying at the home of the painter F.D. Millet at Broadway, Worcestershire, shortly after his move to Britain from Paris. At first he used the Millets’s five-year-old daughter Katharine as his model, but she was soon replaced by Polly and Dorothy (Dolly) Barnard, the daughters of the illustrator Frederick Barnard, because they had the exact hair-colour Sargent was seeking.

He worked on the picture, one of the few figure compositions he ever made out of doors in the impressionist manner, from September to early November 1885, and again at the Millets’s new home, Russell House, Broadway, during the summer of 1886, completing it some time in October. Sargent was able to work for only a few minutes each evening when the light was exactly right. He would place his easel and paints beforehand, and pose his models in anticipation of the few moments when he could paint the mauvish light of dusk.

As autumn came and the flowers died, he was forced to replace the blossoms with artificial flowers. The picture was both acclaimed and decried at the 1887 Royal Academy exhibition. The title comes from the song The Wreath, by the eighteenth-century composer of operas Joseph Mazzinghi, which was popular in the 1880s. Sargent and his circle frequently sang around the piano at Broadway. The refrain of the song asks the question ‘Have you seen my Flora pass this way?’ to which the answer is ‘Carnation, Lily, Lily, Rose’.

Text from the Tate website

 

Unknown photographer. 'H.R.H. Princess Alexandra, H.R.H. Princess Victoria & Mr. Savile, “Two’s company and three’s none” in Tableaux Vivants Devonport' c. 1892-1893

 

Unknown photographer
H.R.H. Princess Alexandra, H.R.H. Princess Victoria & Mr. Savile, “Two’s company and three’s none” in Tableaux Vivants Devonport
c. 1892-1893
Bound volume. Displayed open at Marcus C. Stone’s ‘Two’s Company, Three’s None”
Photograph, albumen print on paper
360 x 480 x 58 mm – book closed
Wilson Centre for Photography

 

Unknown photographer. 'H.R.H. Princess Alexandra, H.R.H. Princess Victoria & Mr. Savile, “Two’s company and three’s none” in Tableaux Vivants Devonport' c. 1892-1893 (detail)

 

Unknown photographer
H.R.H. Princess Alexandra, H.R.H. Princess Victoria & Mr. Savile, “Two’s company and three’s none” in Tableaux Vivants Devonport (detail)
c. 1892-1893
Bound volume. Displayed open at Marcus C. Stone’s ‘Two’s Company, Three’s None”
Photograph, albumen print on paper
360 x 480 x 58 mm – book closed
Wilson Centre for Photography

 

Thomas Armstrong (1832-1911) 'The Hay Field' 1869

 

Thomas Armstrong
The Hay Field
1869
© Victoria and Albert Museum, London

 

 

Atmosphere and Effect

The relationship between landscape painting and photography continued to develop into the twentieth century. The etchings and nocturnes of James Abbott McNeill Whistler inspired photographers, who adopted his atmospheric subjects and aesthetics. While photography had achieved a technical sophistication that allowed photographers to produce highly resolved, realistic images, many chose to pursue soft-focus effects rather than detail and precision. Such photographs paralleled the unpeopled landscapes of painters like John Everett Millais and the gas-lit cityscapes of John Atkinson Grimshaw.

 

James Abbott McNeill Whistler. 'Three Figures Pink and Grey' 1868-78

 

James Abbott McNeill Whistler
Three Figures Pink and Grey
1868-78
Oil paint on canvas
Support: 1391 x 1854 mm
frame: 1701 x 2158 x 75 mm
Tate
Purchased with the aid of contributions from the International Society of Sculptors, Painters and Gravers as a Memorial to Whistler, and from Francis Howard 1950

 

 

This picture derives from one of six oil sketches that Whistler produced in 1868 as part of a plan for a frieze, commissioned by the businessman F.R. Leyland (1831-92), founder of the Leyland shipping line. Known as the ‘Six Projects’, the sketches (now in the Freer Art Gallery, Washington) were all scenes with women and flowers, and all six were strongly influenced by his admiration for Japanese art. Another precedent for these works was The Story of St George, a frieze that Edward Burne-Jones (1833-98) executed for the artist and illustrator Myles Birket Foster (1825-99) in 1865-7. The series of large pictures was destined for Leyland’s house at Prince’s Gate, but never produced, and only one – The White Symphony: Three Girls (1867) was finished, but was later lost. Whistler embarked on a new version, Three Figures: Pink and Grey, but was never satisfied with this later painting, and described it as, ‘a picture in no way representative, and in its actual condition absolutely worthless’ (quoted in Wilton and Upstone, p.117). He followed the original sketch closely, but made a number of pentimenti which suggest that the picture is not simply a copy of the lost work. In spite of Whistler’s dissatisfaction, it has some brilliant touches and a startlingly original composition.

Although the three figures are clearly engaged in tending a flowering cherry tree, Whistler’s aim in this picture is to create a mood or atmosphere, rather than to suggest any kind of theme. Parallels have been drawn with the work of Albert Moore, whose work of this period is equally devoid of narrative meaning. The design is economical and the picture space is partitioned like a Japanese interior. The shallow, frieze-like arrangement, the blossoming plant and the right-hand figure’s parasol are also signs of deliberate Japonisme. Whistler has suppressed some of the details in the oil sketch, effectively disrobing the young girls by depicting them in diaphanous robes. The painting is characterised by pastel shades, a ‘harmony’ of pink and grey, punctuated by the brighter reds of the flower pot and the girls’ bandannas, and the turquoise wall behind. It has been suggested that Whistler derived his colour schemes, and even the figures themselves, in their rhythmically flowing drapery, from polychrome Tanagra figures in the British Museum, which was opposite his studio in Great Russell Street.

Text from the Tate website

 

John Cimon Warburg (1867-1931) 'The Japanese Parasol' c. 1906

 

John Cimon Warburg (1867-1931)
The Japanese Parasol
c. 1906
Autochrome
711 x 559 mm
© Royal Photographic Society / National Media
Museum/ Science & Society Picture Library

 

 

Life and Landscape

The 1880s brought a renewed interest in landscape. Rural scenes provided common ground for British painters and photographers. Their distinctive style derived from French realism and impressionism, which had been introduced by independent galleries, and by artists such as George Clausen and Henry La Thangue who studied in Paris. This new approach was shared by their friend and fellow painter Thomas Goodall, and influenced his collaboration with the photographer Peter Henry Emerson. Emerson and Goodall’s first project, a photographic series on the Norfolk Broads, focused on the life of working people, as described in their album Life and Landscape on the Norfolk Broads, published in 1887.

 

Sir George Clausen. 'Winter Work' 1883-4

 

Sir George Clausen
Winter Work
1883-4
Oil on canvas
frame: 1075 x 1212 x 115 mm
support: 775 x 921 mm
Purchased with assistance from the Friends of the Tate Gallery 1983
© The estate of Sir George Clausen

 

 

In the 1880s Clausen devoted himself to painting realistic scenes of rural work after seeing such pictures by the French artist Jules Bastien-Lepage (1848-84). In this picture he shows a family of field workers topping and tailing swedes for sheep fodder. It was painted at Chilwick Green near St Albans, where the artist had moved in 1881. He uses subdued colouring to capture the dull light and cold of winter, and manages to convey the hard reality of country work. Such unromanticised scenes of country life were often rejected by the selectors of the Royal Academy annual exhibitions.

 

Thomas Frederick Goodall (1856-1944) and Peter Henry Emerson (1856-1936) 'Setting the Bow-Net, in Life and Landscape on the Norfolk Broads' 1885, published 1887

 

Thomas Frederick Goodall (1856-1944) and Peter Henry Emerson (1856-1936)
Setting the Bow-Net, in Life and Landscape on the Norfolk Broads
1885, published 1887
Book – open at The Bow Net
Photograph, platinum print on paper
300 x 420 mm (book closed)
Private collection

 

Thomas Frederick Goodall (1856-1944) 'The Bow Net' 1886

 

Thomas Frederick Goodall (1856-1944)
The Bow Net
1886
Oil paint on canvas
838 x 1270 mm
National Museums Liverpool, Walker Art Gallery

 

Roger Fenton. 'The Water Carrier' 1858

 

Roger Fenton
The Water Carrier
1858
Albumen Print, Wilson Center for Photography

 

Frederick Goodall, R.A. 'The Song of the Nubian Slave' 1863

 

Frederick Goodall, R.A.
The Song of the Nubian Slave
1863
Diploma Work, accepted 1863
71.20 x 92.0 x 2.30 cm
Oil on canvas
Photo credit: © Royal Academy of Arts, London; Photographer: John Hammond

 

 

Out of the Shadows

In the late nineteenth century, painters and photographers pursued the representation of an idealised beauty, inspired by Italian Renaissance artists such as Michelangelo and Leonardo da Vinci. Themes of allegory and myth were widely explored in the arts at this time, particularly in Britain in the writings of Walter Pater and Oscar Wilde.

At the turn of the century painting and photography were part of a wider artistic search for harmony between subject matter and expression. Artists found inspiration in each other’s practice and continued to share ideas through illustrated books and journals. This spirit of collaboration and interchange led photographer Fred Holland Day to claim that ‘the photographer no longer speaks the language of chemistry, but that of poetry’.

 

Alvin Langdon Coburn. 'Regent's Canal' c. 1904-1905, published 1909

 

Alvin Langdon Coburn
Regent’s Canal
c. 1904-1905, published 1909
Photogravure on paper
Image: 206 x 161 mm
frame: 508 x 406 mm

Wilson Centre for Photography

 

Arthur Hacker (1858-1919) 'A Wet Night at Piccadilly Circus' 1910

 

Arthur Hacker (1858-1919)
A Wet Night at Piccadilly Circus
1910
Oil on canvas
710 x 915 mm
Royal Academy of Arts, London

 

Alvin Langdon Coburn. 'Leicester Square (The Old Empire Theatre)' 1908, published 1909

 

Alvin Langdon Coburn
Leicester Square (The Old Empire Theatre)
1908, published 1909
Photogravure on paper
Image: 206 x 172 mm
Frame: 508 x 406 mm
Wilson Centre for Photography

 

Edward Linley Sambourne (1844–1910) 'Ethel Warwick, Camera Club, 2 August 1900'

 

Edward Linley Sambourne (1844–1910)
Ethel Warwick, Camera Club, 2 August 1900
Photograph, cyanotype on paper
Dimensions
Image: 165 x 120 mm
Frame: 507 x 855 mm
18 Stafford Terrace, The Royal Borough of Kensington and Chelsea

 

 

Tate Britain
Millbank, London SW1P 4RG
United Kingdom
Phone: +44 20 7887 8888

Opening hours:
10.00 am – 18.00 pm daily

Tate Britain website

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27
Sep
12

Text: ‘The defining of Apollonian and Dionysian ideals in images of the male body’ Dr Marcus Bunyan / Exhibition: ‘Robert Mapplethorpe’ at the Ludwig Museum of Contemporary Art, Budapest

Exhibition dates: 25th May – 30th September 2012

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“Perfection means you don’t question anything about the photograph. There are certain pictures I’ve taken in which you really can’t move that leaf or that hand. It’s where it should be, and you can’t say it could have been there. There is nothing to question as in a great painting. I often have trouble with contemporary art because I find it’s not perfect. It doesn’t have to be anatomically correct to be perfect either. A Picasso portrait is perfect. It’s just not questionable. In the best of my pictures, there’s nothing to question – it’s just there.”

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Robert Mapplethorpe

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Written in 1996 (but never published until now), this is one of my earliest pieces of research and writing. While it is somewhat idealistic in many ways, hopefully this piece still has some relevance for the reader for there are important ideas contained within the text.

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The defining of Apollonian and Dionysian ideals in images of the male body

Photography has portrayed the Apollonian and Dionysian ideals of the body throughout its history, but has never fully explored the theoretical implications and consequences of this pairing. Our presentation of the body says precise things about the society in which we live, the degree of our integration within that society and the controls which society exerts over the innerman.1 My research concentrated on how images of the male body, as a representation of the Self/Other split, have been affected by these ideals.

We can clearly define the Apollonian (beauty, perfection, obsession, narcissism, voyeurism, idols, fascism, frigid, constraint, oppression, the defined, the personalised, an aggression of the eye linked to greed and desire) and Dionysian (ecstasy, eroticism, hysteria, energy, anarchy, promiscuity, death, emotion, bodily substances and the universal). In reality the boundaries between these ideals are more ambiguous.

For example, in the work of the American photographer Fred Holland Day we see allegorical myths portrayed by beautiful youths, many of which to modern eyes have a powerful homoerotic quality.

“In close proximity to eroticism associated with homosocial bonding and sexuality, these pictures were infused with desire and anxiety, repulsion and attraction … Day’s male nudes possess the aesthetic trappings of refined art and high culture … but also contain a frisson of impending sexual release and bodily pleasure, to say nothing of their sado-erotic inflection and paedophilic associations.”2

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According to some critics,3 societies acceptance of photographs of Apollonian or Orphic (Dionysian) youths [2 different critical views]4 in that era (the fin de siecle of the nineteenth century and the early years of the twentieth century), was based on what was seen as their chaste, idyllic nature. They represented ‘ephebes’ – males who were between boy and man – who posed no threat to the patriarchal status quo. To other critics5 these ‘ephebes’ present a challenge to the construction of heterosexual/ homosexual identity along gender lines, echoing Foucault’s thoughts on the imprisoning nature of categories of sexual identity.6

For Day, physical beauty was the testimony of a transcendent spirit.7 His portraits tried to uncover the true spirit of his subjects, revealing what was hidden behind the mask of e(x)ternal beauty. But what was being revealed? Was it the subject’s own spiritual integrity, his true self, or a false self as directed by the photographer whose instructions he was enacting? Was it F. Holland Day’s erotic fantasies the subject was acting out, or was it a perception of his own identity or a combination of both? These works show Day as both director and collaborator, his idols equally unattainable and available, resilient and vulnerable. In portraying this beauty, was Day embracing a seductive utopia in which this Apollonian beauty leads away from the very Dionysian spirit he was trying to engage with?

At around the same time a Prussian named Baron Wilhelm von Gloeden was also taking photographs of scantily clad local peasant youths, based on Arcadian themes. “In von Gloeden’s perception of the world human figures are not in themselves merely erotic, but become aesthetic objects … a setting in which beautiful things are the content of the image.”8

While this may be true, the focus of the images is always on what Von Gloeden desired, his full frontal nudes drawing our eyes to the locus of sexual desire, the penis. Von Gloeden’s “transformation of ordinary working class boys into the very image of antique legend,”9 the conjunction of the Apollonian and the Dionysian, blurs the distinctions between the two. Both Day and Von Gloeden were wealthy, educated, influential men who had a desire for working class boys. Did they help create an erotic tension across class lines and effect a particular Camp taste when society at that time (the first decade of the 20th century) was beginning to define areas of sexual categorisation that would label gay men perverts and degenerates? Even today, comparing contemporary critical analysis of Von Gloeden’s photographs can produce vastly differing conceptualisations as to the evidence of sexual overtones:

“The distinction between form and sexual attractiveness is tenuously maintained and the expression of the subjects’ face suggests a lofty remoteness rather than sexual availability or provocativeness.”10

“Von Gloeden’s pictures are fairly specific in depicting erotically based encounters between Mediterranean males. In many of them, the gazes shared between young men or the suggestive relationships of figure to figure hint at activities that might take place beyond the cameras range.”11

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For Day and Von Gloeden the need to possess something beautiful, something that was taboo, compensated both photographers for something they had lost – their youth. This transfers their death onto the object of their possession; the beautiful youths ‘captured’ in their photographs. Georges Bataille links eroticism to the inner life of man, the true self, and the eroticism of these photographs opens the way to a viewing of death and allows the photographer the power to look death in the face. According to Bataille, possession of something beautiful negates our need to die because we have objectified our need in someone else.12

What we know and understand about the world is partially built on images that are recorded, interpreted and imprinted in our brains as the result of the experiences we encounter throughout our lives. Our memory is forever fragmenting our remembered reality. It provides us with a point of view of the reality of the world in which we live and on which our identities are formed. When we look at a photograph we (sub)consciously bring all of our social encultration, our hates, our desires and our spirit to bear on the definition of that photograph at the time of viewing (an each viewing can be different!). Inherently embedded in any photograph then, are all these Dionysian stirrings – of desire, of eroticism, of death and of memory. Even if the photograph is entirely Apollonian in content the definition of that photograph can be open to any possibility, by any body.

One photographer who sought to access, and have connection to, fundamental truths was the American photographer Minor White. Studying Zen Buddhism, Gurdjieff and astrology, White believed in the photographs’ connection to the subject he was photographing and the subject’s connection back via the camera to the photographer forming a holistic circle.13 When, in meditation, this connection was open he would then expose the negative in the camera hopeful of a “revelation” of spirit in the subsequent photograph. White feared public exposure as a homosexual and struggled for years to resist the shame and disgust he felt over his sexual desires. Very few of his male portraits were exhibited during his lifetime, his Dionysian urgings difficult to reconcile with or assimilate into his images of peace and serenity, images that urged unity of self and spirit, of yin and yang. In the East yin/yang is both/and, being transformable and interpenetrating whilst in the West black/white is either/or not both, being exclusive and non-interactive. But who is to say what is ugly or what is beautiful? What is black or what is white?

In the work of the American photographer Robert Mapplethorpe, we can see the formalised classical aesthetic of beauty combined with content which many people are repelled by (pornography, sexuality, violence, power) creating work which is both Apollonian and Dionysian.14 Peoples’ disgust at the content of some of Mapplethorpe’s images is an Apollonian response, an aesthetic judgement, a backing away from a connection to ‘nature’, meaning ‘that which is born’. Mapplethorpe said, “I’ve done everything I show in my photographs,”15 revealing a connection to an inner self, regardless of whether he intended to shock. Those seeking suppression of Mapplethorpe’s photographs, mainly conservative elements of society, cite the denigration of moral values as the main reason for their attacks. However Mapplethorpe’s S&M photographs sought to re-present the identity of a small subculture of the gay community that exists within the general community and by naming this subculture he sought to document and validate its existence. The photograph can and does lie but here was the ‘truth’ of these Dionysian experiences, which conservative bigots could not deny – that they exist.

In the NEA/Cincinnati Contemporary Arts Center controversy surrounding Mapplethorpe16 his work was defended on aesthetic grounds, not on the grounds of homoerotic content, of freedom of expression or artistic freedom. The classical Apollonian form of his images was emphasised. As one juror put it, “Going in, I would never have said the pictures have artistic value. Learning as we did about art, I and everyone else thought they did have some value. We are learning about something ugly and harsh in society.”17 Ugly and harsh. To some people in the world S&M scenes are perfectly natural and beautiful and can lead to the most transcendent experience that a human being can ever have in their life. Who is to decide for the individual his or her freedom to choose?

This Apollonian fear of the Dionysian ‘Other’, the emotional chaotic self, was found to involve fear of that which is potentially the ‘same as’ – two sides of the same coin. This fear of ‘the same’, or of the proximity of the same, or of the threat of the same, can lead to violence, homophobia, racism and bigotry. Mapping out sexual identities’ toleration of difference, which is ‘the same as’, recognises that there are many different ways of being, and many truths in the world.

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In conclusion I have determined that the definition of Apollonian and Dionysian ideals in images of the male body are at best ambiguous and open to redefinition and reinterpretation. The multiplicity of readings that can be attached to images of the male body, in different eras, by different people illustrates the very problematic theoretical area these images inhabit. As we seek to ‘name’, to categorise, to nullify the ‘Other’ as a Dionysian connection to earth and nature, it may cause an alienated ‘Self’ to revolt against Apollonian powers of control in order to break down the lived distance that divides people. This creates situations/ encounters/ experiences that are regarded as transgressive and a threat to the hegemonic fabric of society.

But do these experiences offer an alternative path for the evolution of the human race? Not the replacing of one patriarchal, capitalist system with another based on ecstatic spiritual consciousness but perhaps a more level playing field, one based on a horizontal consciousness (a balance between Apollonian and Dionysian), a ‘knowing’ and understanding, a respect for our self and others. My claim as an’Other’ is that these perceived transgressions, not just the binary either/or, may ultimately free human beings and allow them to experience life and grow. Where nothing is named, everything is possible.

Marcus Bunyan 1996

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Many thankx to the Ludwig Museum of Contemporary Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Robert Mapplethorpe
Self Portrait
1975
© Robert Mapplethorpe Foundation. Used with permission

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Robert Mapplethorpe
Derrick Cross
1983
© Robert Mapplethorpe Foundation. Used with permission

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Robert Mapplethorpe
Thomas
1987
© Robert Mapplethorpe Foundation. Used with permission

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Robert Mapplethorpe
Two Tulips
1984
© Robert Mapplethorpe Foundation. Used with permission

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“A renowned figure of contemporary photography, Robert Mapplethorpe (1946-1989) was in his element in a domain defined by conventions and revolt, classicism and non-conformist cultures, where each picture serves as a document of hard-fought identities, as well as inciting and recording social and artistic debates. The Ludwig Museum Budapest features nearly two hundred works by Robert Mapplethorpe, from his early Polaroid photos to pieces from his final years. Realised in collaboration with the Robert Mapplethorpe Foundation New York, this large-scale exhibition is presented to a Hungarian audience for the first time.

Initially, Mapplethorpe had no intention of becoming a photographer. His early collages and altar-like installations incorporated found elements including photos from magazines. Seeking to give these works a more personal and perfect touch, he decided to shoot the photos himself. His major subjects were his immediate environment and personal desires: the alternative circles of the New York art scene, his identity as a homosexual, non-traditional forms of sexuality, and the communities organised around them. The New York of the seventies was a great melting pot of contiguous subcultures, sexual freedom, post-Pop and rock’n’roll. Mapplethorpe’s environment included Andy Warhol and his entourage from the Factory, the superstars of his films as well as the inhabitants of the legendary Chelsea Hotel, who inspired his art and became part of his audience.

His portraits of famous individuals and those longing for fame also positioned their photographer within their circle. He was a renowned artist seeking to establish relationships with people who stand out, one way or another, from the rest of society, without submitting himself to them. Posing for his camera were film stars, musicians, writers and visual artists, the celebrities and central figures of New York in the seventies and eighties, including pornographic film stars and body builders. He made engaging and elegant portraits attesting to his intense attention, humour, and ambition toward a sense of the monumental.

Mapplethorpe developed an increasingly committed and professional attitude to photography. His quest for the perfect image led him to classical compositions and subjects. While precision of forms and a quality of reserve were combined in his works, his intense attention to his models remained unchanged; he photographed torsos and floral still-lifes with the same cool professionalism. His nudes evoke classical Greek statues and Renaissance masterpieces, with their arrangement and sculptural approach to the body dating back to traditions that have existed for several hundred years. Such an incarnation of classical formalism, however, was juxtaposed with shocking new subjects and stark sexual fetishes, resulting in radical re-creations of the approach to tradition.

The perfect image called for the perfect body: his shots of black men, female body-builders and austere flowers seem to articulate his one and only vision, again and again. He almost always worked in the studio, most often in black and white, using increasingly defined tones. With unified backgrounds and balance of forms, his photos remove the subjects from their own realities to relocate them in the timeless, frozen space of the photograph. In terms of their statue-like beauty and rigorous composition of every detail, his pictures continue and renew the classical photographic tradition all at once. Such classical virtues, however, did not make these photos exempt from criticism: both his subject matter and their manner of presentation sparked controversy. Their sexual themes aroused unease, and criticism of the work failed to make a distinction between the statue-like beauty of body parts and torsos, the sexual stereotypes associated with black male bodies, and the objectification of the bodies.

Mapplethorpe’s works created a place for homosexual and S&M identities in the domain of high art, subverting conventions, transgressing unspoken social agreements and revealing prejudices, in line with the artist’s personal desires and self-definition. In the United States, during the eighties, in the first moments of horror in the face of AIDS, the condemnation of homosexuality and the undefined dread of the disease became entwined. Such developments stirred up the already intense controversies around Mapplethorpe’s photos, adding a new overtone to the voice of conservative protesters. (Mapplethorpe was diagnosed with AIDS in 1986, and he died in the spring of 1989 due to complications related to the disease).

The cultural-political debates of the so-called Culture Wars in the late 1980s and 1990s in the United States, fuelled the decision of the Corcoran Gallery of Art in Washington, D.C., to cancel its leg of the travelling exhibition “The Perfect Moment,” which included several thought-provoking photos that the conservative right-wing had denounced as obscene and arrogant assaults on public taste. A long and heated debate was to follow, including both hysterical and absurd commentaries, triggering police actions and a trial against a subsequent venue, the Contemporary Arts Center in Cincinnati as well as its director. Though the museum and its director were eventually cleared of all charges, the case continued to shape the cultural-political landscape in the US, which partly concluded in a revision of the public funding of artworks and is still referred to today as an outstanding example of the methodology of censorship.”

Press release from the Ludwig Museum of Contemporary Art website

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Robert Mapplethorpe
Ken Moody and Robert Sherman
1984
© Robert Mapplethorpe Foundation. Used with permission

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Robert Mapplethorpe
Untitled
c. 1973
1987
© Robert Mapplethorpe Foundation. Used with permission

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Robert Mapplethorpe
Lisa Lyon
1982
© Robert Mapplethorpe Foundation. Used with permission

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Robert Mapplethorpe
Ajitto
1981
© Robert Mapplethorpe Foundation. Used with permission

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Robert Mapplethorpe
Self Portrait
1988
© Robert Mapplethorpe Foundation. Used with permission

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1. Blain, Robert. The Decorated Body. London: Thames & Hudson, 1979, p.5, Introduction

2. Crump, James. F. Holland Day- Suffering the Ideal. Santa Fe: Twin Palms, 1995, p.11

3. Foster, Alasdair. Behold The Man – The Male Nude In Photography. Edinburgh: Stills, 1989, p.9

4. Jussim, Estelle. Slave To Beauty- The Eccentric Life And Controversial Career of F. Holland Day, Photographer, Publisher, Aesthete. Boston: Godine, 1981, pp.175-176; Ellenzweig, Allan. The Homoerotic Photograph. New York: Columbia University, 1992, p. 59

5. Ellenzweig, p.59

6. Weeks, Jeffrey. Against Nature:  Essays on history, sexuality and identity. London: Rivers Osram Press, 1991, p.164

7. Day, F. Holland. “Is Photography An Art?” p.8, quoted in Crump, James. F. Holland Day – Suffering The Ideal. Santa Fe: Twin Palms, 1995, p.20

8. Ellenzweig, p.39

9. Leslie, Charles. Wilhelm von Gloeden, Photographer. New York: Soho Photographic, 1997, p.86

10. Dutton, Kenneth R. The Perfectible Body. London: Cassell, 1995, p. 95

11. Ellenzweig, p.43

12. Bataille, Georges. Death And Sensuality. New York: Walker And Company, 1962, p. 24

13. Bateson, Gregory. Steps To An Ecology Of Mind – Collected Essays On Anthropology, Psychiatry, Evolution And Epistemology. St. Albans: Paladin, 1973

14. Danto, Arthur C. Mapplethorpe – Playing With The Edge. Essay. London: Jonathon Cape, 1992, p.331

15. Interview with Robert Mapplethorpe quoted in Cooper, Emmanuel. The Sexual Perspective. London: Routledge, 1986, p. 286

16. Ellenzweig, p. 205, Footnote 1

17. Cembalest, Robin. “The Obscenity Trial: How They Voted To Acquit,” in Art News December 1990 89 (10): 141 quoted in Ellenzweig, p.208

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Ludwig Museum of Contemporary Art
1095 Budapest  Komor Marcell Street 1
Hungary 06 1 555-3444

Opening hours:
Tuesday-Sunday: 10.00-20.00
Closed on Mondays

Ludwig Museum of Contemporary Art website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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