A journal by artist and designer John Coulthart.
Gay
Orphée aux points by Jean Cocteau (1950).
An exhibition of Cocteau drawings from the collection of
Dominique Bert opens today at the Louvre des Antiquaires, Paris.
Jean Cocteau (1899–1963): Collection privée de Dominique Bert
23rd March–22nd April 2007
Le Louvre des Antiquaires
2, Place du Palais Royal
75001 PARIS
Previously on { feuilleton }
• Fantômas
• La Villa Santo Sospir by Jean Cocteau
Flickr set of (rare?) photos from a gay New York studio of the Fifties and Sixties.
Previously on { feuilleton }
• California boys by Mel Roberts
Camilla Akrans borrows some Thirties’ style for the New York Times.
Horst Torso by George Hoyningen-Huene (1931).
“Horst” was Horst P Horst, Hoyningen-Huene’s lover at the
time and later a respected fashion photographer for Vogue.
Divers by George Hoyningen-Huene (1930).
Fashion shoot by Camilla Akrans for the New York Times, March 2007.
Previously on { feuilleton }
• The Decorative Age
• Vintage magazine art II
It’s all over for homophobia.
“When gay-bashing is the preserve of mealy-mouthed euphemism, its death knell has sounded,” says Zoe Williams. We can but hope. See this earlier story for further details.
More obscure art, only now we’re talking really obscure. This remarkable picture, The Hermaphrodite-Angel of Peladan by Czanara, turned up in the archives of Russ Kick’s seemingly abandoned Rare Erotica blog. “Czanara” was one Raymond Carrance (1921–?), a gay artist who I haven’t come across before and who seems to be completely absent not only from my library, but from most of the web. A great shame, if there’s more of his work like this I want to see it.
The “Peladan” of the title might be a reference to Sâr Péladan, founder of the Catholic Order of the Rose and the Cross in fin de siècle Paris, and guru to a number of significant Symbolist painters, including the brilliant Jean Delville. Hermaphroditism and androgyny were important themes for Péladan who declared, in an outburst typical of the period, “the androgyne, is the plastic ideal!” Czanara’s picture is certainly Symbolist in its details—those multiplied wings and hippogriffs—even if its intent is most likely a result of mundane pornographic imperatives.
Elsewhere on { feuilleton }
• The gay artists archive
• The fantastic art archive
Previously on { feuilleton }
• Angels 4: Fallen angels