Homosexuality in Art (Temporis Collection)
Format: PDF / Kindle (mobi) / ePub
This book is not a panegyric of homosexuality. It is a scientific study led by Professor James Smalls who teaches art history in the prestigious University of Maryland, Baltimore.
Abandoning all classical clichés and sociological approaches, the author highlights the sensibility particular to homosexuals.
This book examines the process of creation and allows one to comprehend the contribution of homosexuality to the evolution of emotional perception. In a time when all barriers have been overcome, this analysis offers a new understanding of our civilisation’s masterpieces.
formalized print censorship in 1557. Controls that had applied to Romano’s I Modi, were now extended to printed and painted images. Final homo eng(N) 10/1/02 6:01 PM Page 95 Homosexuality in Art 72. Sandro Botticelli. The Birth of Venus, c.1484–86. Tempera on Canvas, 180 x 280 cm. Galleria degli Uffizi, Florence 73. Sandro Botticelli. La Primavera: Allegory of Spring, c.1482. Tempera on wood, 203.2 x 312.42 cm. Galleria degli Uffizi, Florence 95 Final homo eng(N) 10/1/02 6:01 PM Page
long-standing homosexual traditions.” (Saslow, p.127) Western homophobia was introduced to India and China by way of cross-cultural visual propaganda. As well, direct missionary work contributed to the imposition of “Victorian” sexual mores in India, Communist China, and the Islamic world. (Saslow, p.128) Fear of homosexuality and the taboo against it also resulted from forces within these societies as well. There were indigenous movements for sexual austerity, for instance among the puritanical
the formation and content of neoclassicism as an aesthetic. (Smalls in Haggerty, p.637) The pent-up undercurrents of homoerotic desire were perhaps most strongly felt in France, where Jacques-Louis David (1748–1825) and his pupils dominated the content and dissemination of neoclassicism. French neoclassicism is linked with combined political and moral considerations arising out of specific historical events—namely, the French Revolution and the Napoleonic wars. David’s most famous neoclassical
three, Lord Byron was the most notorious. In his ambiguous poems, Byron played with gender ambiguity. In his life, he traveled to countries such as Portugal, Spain, Greece, and Albania where he indulged his appetite for both women and young boys (see Louis Crompton, Byron and Greek Love: Homophobia in Nineteenth-Century England, Berkeley, University of California Press, 1985). In France, the homoerotic aspects of the romantic spirit found expression in the virile and tumultuous pictorial world of
century. Leighton held the prestigious post as president of the Royal Academy of Arts and promoted his interest in the antique past and in a Renaissance revival. He incorporated into these areas his own pederastic attraction to young boys. In his private correspondence, he was referred to many by the feminine nickname “Fay” and “Bimbo.” (Cooper, p.26) In public life, he maintained a persona of a sophisticated and dandyish aesthete. Leighton’s paintings often combine a unique brand of Victorian