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secretlesbians:

Depictions of Lesbianism by Henri Toulouse Lautrec

During his life, Lautrec spent a lot of time in Montmarte, the bohemian centre of 19th century Paris and home to artists, philosophers, writers, performers, and prostitutes. He spent a lot of time with the sex workers there, and discovered that many of them had intimate relationships with one another.

Lautrec’s depiction of lesbianism is particularly notable because it doesn’t fetishise sexual intimacy between women or present it as spectacle for the male gaze. Lautrec was trying to capture small, tender moments in the lives of the women he met, and he did so with humanity and sensitivity. In a world of constructed sexuality and fantasy, he finds the real relationships, and reveals to us the hidden lives of queer women in the 19th century.

Fin-de-siècle Paris was the capital of lesbianism. However, until the mid century, and despite the acknowledgment of male homosexuality, female homosexuality had been considered absurd. This scepticism was grounded in the fact that many nineteenth-century psychologists and medical professionals did not believe in female sexual impulse. Thus, when instances of lesbianism were reported in Alexandre Parent-Duchâtelet’s 1836 study of prostitution in Paris, lesbianism came to be understood as an activity associated with the Montmartre counterculture and, in particular, with prostitution. Indeed, deluxe houses of tolerance often functioned as specialty brothels that catered for a clientele with particular fetishes, such as tableaux vivants where ‘inmates, entirely naked, abandon themselves to homosexual practices on a large black velvet carpet or in rooms hung with black satin to bring out the whiteness of their bodies’. This was lesbianism as commercial spectacle, performed within a closed environment for male consumption.

Lesbianism in the public realm was a sexual preference that, while common, was negatively judged by French conservative society and for this reason was conducted with subtlety and partially obscured. In fact, many of the biggest stars of the Parisian circuses, dance halls and café-concerts were lesbian or bisexual, including Jane Avril and May Milton (whom, it is generally agreed, had a short-lived love affair), Sarah Bernhardt, Cha-u-ka-o and La Goulue. Whilst these Montmartre celebrities were depicted on multiple occasions by Lautrec, the artist chose to represent them as skilled professionals, never exploiting their sexual preference as the main focus of his compositions. So subtle was Lautrec in his treatment of these themes that art historians such as David Sweetman have gone so far as to argue that ‘It comes as something of a shock to realise that most of the women … were in fact lesbians and that quite a few were lovers. So many, in fact, that it is possible to argue that lesbianism is the hidden subtext of much of the art of Henri’s mature years.’

– from nga.gov.au

Images shown:

1. At the Moulin Rouge: The Women Dancing

2. In Bed

3. The Kiss

4. Two Friends

5. Les Deux Amies

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twilidramon:

spoopyluna:

implied homosexuality is not representation

implied homosexuality is not representation

To add to that…

Homosexuality stated by authors after a book has been printed and will never actually be stated in the book is not representation

Homosexuality stated by authors after a book has been printed and will never actually be stated in the book is not representation

It’s called marketing.

It’s called a publicity stunt.

My first promise to you – I won’t do this. (It’s easy to say now, given that I’m writing queer erotica, but I’ll stand by this one.) The secondary characters’ inner lives may not be immediately obvious in the first book of any of my series, but I will not pull a Dumbledore. Scout’s honor. 

Currently Reading

This week’s reading list:

Burwick, Frederick. 2011. Playing to the crowd: London popular theater, 1780-1830. New York: Palgrave Macmillan.

Moody, Jane. 2000. Illegitimate theatre in London, 1770-1840. Cambridge: Cambridge University Press.

 

Hello, world!

You would figure, as an author, I’d be more creative than that for my first post. Alas, you would be hopelessly mistaken. Welcome!

I’m mostly using this to test out the theme, but also to have some content in here besides that lovely crotch-thrusty portrait in my header. Isn’t he a darling? 

That dashing young buck with the prominent protrusion is Captain Gilbert Heathcote (1779-1831), painted by William Owen. His portrait is owned by the Birmingham Museum & Art Gallery. I think he sets the conversational tone around here rather neatly. 

So this is my blog! I’m a new author in the romance genre, and I’ve just signed a contract with the utterly amazing Amy Sherwood over at Samhain Publishing for my first novel. Set in 1810, The Rite of Summer is a queer erotic romance (M/M, M/M/M, and then back to M/M again for some variety), currently slated for publication in June (or possibly July) of 2015.

If all goes well it will be the first in a series called Treading the Boards, erotic and queer-ish romances about artists and performers in Regency England. I’m working on the second book in that series at the moment (F/M/F, most likely), so right now my reading list is full of books about the theatre life in and around the Haymarket and Drury Lane. 

Right now I’m reading

Burwick, Frederick. 2011. Playing to the crowd: London popular theater, 1780-1830. New York: Palgrave Macmillan.

and

Moody, Jane. 2000. Illegitimate theatre in London, 1770-1840. Cambridge: Cambridge University Press.

Does it make me a hopeless nerd to be so excited by some of this stuff? 

… don’t answer that.