Category: Love Between Men

Two Ladies of the Court in Saint Joan

Two Ladies of the Court in Saint Joan

Two ladies in courtly dresses that drag on the ground lean against each other in elegant poses. The one nearest the foreground holds out an apple in her left hand and wears blue and white while the woman behind her wears black and white. Both have elaborate gold headgear. At the top of the image, which appears to be on paper board pasted into a book that is now peeling away, it reads "Two Ladies of the Court."

Artist: Charles Ricketts
Media: Watercolour on board
Date & Location: 1924
Image Source: Picryl

Significance to Queer Art History

Charles Ricketts was a British painter, designer, and publisher. He met his partner Charles Shannon at the City and Guilds Technical Art School in south London in 1882 when they were both teenagers. They moved in together in 1888 and lived with each other for the rest of their lives. They also had sexual and emotional relationships with other men as well as women while living together.

Dear Old Chap… At each meal time they plonk down a plate of strawberries which make me think of you–no, this is not quite accurate. I really think of the strawberries. Only when they are done, I think of thee.”

– Charles Ricketts to Charles Shannon in a letter from Florence

Ricketts and Shannon were both individually practicing artists, but they also created the art magazine, The Dial, as well as Vale Press, together.

Ricketts and Shannon were responsible for the illustration and design of many of Oscar Wilde’s books and had a long-term friendship with Wilde who himself is an often-cited queer icon.

They also counted among their friends Katharine Bradley and Edith Cooper. Bradley and Cooper were long-time lovers (living together for about 40 years) and collaborators. They were also (making things a bit more complicated) aunt and niece. Together the women published their writing (some inspired by the poems of Sappho of Lesbos) under the shared pseudonym, Michael Fields. Ricketts and Shannon designed some of their books. The couple also asked Ricketts and Shannon to help them find and furnish “a home for [their] marriage.”

The watercolour Two Ladies of the Court by Ricketts was painted as one of the plates for the book edition of the play Saint Joan by George Bernard Shaw. Itself a scene of intimacy between two women, this watercolour is also for a play about one of the most famous figures from medieval history (Joan of Arc) known for defying binary constructions of gender. It also has a counterpart in a plate in the same book of two “gentlemen ushers of the court.”

These two ushers even have pointy shoes, which have a queer medieval history of their own, but that is for another post x

After the Ricketts and Shannon passed away within six years of each other, their friend, Edmund Dulac, painted them together as two monks in this double portrait.

A painting of two monks in a meadow with a pale blue sky behind them. Both have halos which are gold to match the gold arching frame above them that connects to the frame. They both face the viewer. Their arms touch in the middle suggesting their intimacy.

Resources
Charles Ricketts. Self-Portrait : Taken from the Letters & Journals of Charles Ricketts. Collected and compiled by Thomas Sturge Moore , edited by Cecil Lewis. London: P. Davies, 1939.

Matt Cook. Queer Domesticities : Homosexuality and Home Life in Twentieth-Century London. Basingstoke: Palgrave Macmillan, 2014.

Sarah Parker. “Poets and lovers: the two women who were Michael Field.” The Conversation. 31 January 2020. Accessed 25 March 2024.

Untitled (“Portrait of Ross in L.A”)

Untitled (“Portrait of Ross in L.A”)

Artist: Félix González-Torres
Media: Candies in variously coloured wrappers, endless supply, ideal weight of 175 lb
Date & Location: 1991
Where can I find this item?: Art Institute of Chicago, Contemporary Art, Gallery 293
Source: Wikimedia Commons (Creative Commons)

Significance to Queer Art History

Félix González-Torres (1957-1996) started a series of works in 1990 that all consist of small, hard candies in variously coloured wrappers. They are either spread out in rectangles on floors or put into piles. Some other works in this series are called Untitled (Lover Boys) and Untitled (Welcome Back Heroes). In each instance viewers are invited to take a piece of candy—to suck on, to keep, to share. This, of course, risks the loss of the installation entirely, but the instructions are that they are to be constantly replenished with an endless supply. Untitled (Portrait of Ross in L.A) comes with instructions from the artist to keep it at an ideal weight of 175 lb.

Although it avoids literal representation, this is a work about queer desire, queer bodies, and queer history. It is named after his love and life partner, Ross Laycock, and is about his personal experience of AIDS as well as the AIDS Crisis as a whole. The ‘ideal weight of 175 lb’ is a reference to Ross’ healthy weight, which diminished because of the virus. Ross died from complications due to AIDS on January 24th, 1991, and Félix would go on to make this work later that same year. If you like, here you can read a tribute to Ross written by someone who knew him.

In media about the AIDS Crisis queer bodies and lives are often obscured by statistics or sensationalizing photographs, but Félix’s installations refuse to participate in this cycle (Blocker, 2009). His candy is related to the queer body only through the title, the weight, and a moment of agreement with viewers (Lorenz, 2012). Renate Lorenz describes this piece as a form of queer embodiment that “links itself to historical moments or other bodies” and emerges only in moments of connecting.

As visitors to the gallery take the candies (as they are invited to do) it speaks to the weight loss experienced by Ross as he fought the virus. Félix said of a similar installation where visitors where invited to take sheets of paper:

I wanted people to have my work…. In a way this “letting go” of the work, this refusal to make a static form, a monolithic sculpture, in favor of a disappearing, changing, unstable, and fragile form was an attempt on my part to rehearse my fears of having Ross disappear day by day right in front of my eyes.

Félix González-Torres, Interview with Tom Rollins, 1993.

His instructions for this work, though, also call for endless replenishment keeping this queer embodiment dedicated to Ross at a healthy weight and they invite engagement evocative of queer desire and sex. As audiences pick up and enjoy sucking on the candies—here fantasized as a queer, HIV-positive body by artist and audience—it also allows for a destigmatizing, a returning of pleasure to acts deemed taboo by moralized media and voyeuristic representations of queer lives.

We have an assigned role that’s very specific, very limited. As in a glass vitrine, ‘we’—the ‘other’—have to accomplish ritual, exotic performances to satisfy the needs of the majority…. Who is going to define my culture? It’s not just Borges and García Márquez, but also Gertrude Stein and Freud and Guy Debord—they are all part of my formation.

Félix González-Torres, quoted by José Esteban Muñoz, 1999.

This work is an important part of queer art history for so many reasons: it invites a queer politics to art making by being a work that can be remade anywhere without the touch of the artist and is ever-changing; it is about one queer body and simultaneously so many queer bodies; it is from and about a moment of queer history and its ongoing legacies, and it continues to create new moments of queer connection across bodies and moments.

Félix González-Torres, Billboard, 1989

Other works by Félix speak even more specifically to queer ways of engaging history. A billboard he made in 1989 reads: “People with AIDS Coalition 1985 Police Harassment 1969 Oscar Wilde 1895 Supreme Court 1986 Harvey Milk 1977 March on Washington 1987 Stonewall Rebellion 1969.” Jane Blocker writes that “by daring to be a queer witness, [Félix] shows how history itself is queer, how it is made not of single comprehensible events and their representations but of different versions of the same, of repetitions and doublings.” He conceptualizes a queer history that laps back to touch moment to moment: the persecution of Oscar Wilde connects to police harassment in New York, the Stonewall Rebellion to the People with AIDS Coalition. We could expand this practice much further into history, bringing queer moments and bodies to touch.

Resource(s)

Nancy Spector. Félix González-Torres. New York: Guggenheim Museum, 2007.

Jane Blocker. Seeing witness: visuality and the ethics of testimony. Minnesota: University of Minnesota Press, 2009.

Renate Lorenz. Queer Art. Transcript. 2012.

GATE 门, 1999

GATE 门, 1999

Artist: Xiyadie
Media: Papercut, Water-Based Dye, and Chinese Pigments using Xuan Paper
Date & Location: 1999, Beijing
Image Source: Nome Gallery. Photo by Gianmarco Bresadola.

Significance to Queer Art History

Xiyadie (pseudonym) is the first known queer artist to carry on the traditional practice of papercutting in China, which has its roots in the Eastern Han Dynasty (Bao, 157 and Nome Gallery). He was born in Heyang County, Shaanxi Province and is now living in Beijing. His artwork often explores the lives of queer people who are living in rural China specifically. His pseudonym, which means ‘Siberian Butterfly,’ was chosen so that the butterfly surviving in a harsh environment could signify “the difficulty of living a gay life in a sexually conservative society (Bao, 158).”

As Bao explores in the article cited below, Xiyadie’s work also blurs categories of ‘craft’ and ‘art,’ which in itself might be read as a queer defiance of categories.

A colourful papercut by Xiyadie. It shows four abstracted figures, all with phalluses, in what appears to be a garden. Two red ornamental doors with yellow studs and feline decorative handles stand open behind the figures. The flowers and the branches that span above the figures seem to sprout from the figures themselves.
Xiyadie, GATE 门, 1999

Resources

Bao, Hongwei. Queer China: Lesbian and Gay Literature and Visual Culture Under Postsocialism. New York: Routledge, Taylor & Francis Group, 2020.

Nome Gallery. Xiyadie. 2016. https://nomegallery.com/artists/xiyadie/.

Sponsa Christi (Brides of Christ)

Sponsa Christi (Brides of Christ)

Artist: Unknown
(From a late thirteenth-century copy of William of Waddington’s Manuel des pechiez/Manual of the Sins)
Media: Manuscript Illumination (ink and pigment on parchment)
Date & Location: c. 1280, England
Where can I see this artwork?: Princeton Library, Special Collections, Taylor MS. 1, folio 44 recto (this whole manuscript has also been digitized for online viewing)

Significance to Queer Art History

Both men and women wrote passionately about their visionary experiences of Christ in the late medieval period. These accounts, and visualizations like this one in Taylor MS. 1, invite considerations about gay and lesbian relationships. What does it mean for a layman (non-clergy man) to fantasize an erotic embrace with Christ? Might we find pleasure in looking at this medieval image of two men embracing?

It also invites questions of gender fluidity. The union of a human soul with Christ was often allegorized as a bride-groom relationship. In cases of AMAB (assigned-male-at-birth) or masculine devotees, though, this results in a feminization. They become ‘the bride’ of Christ. Similarly, Christ’s body (and especially his wound) is often imbued with multiple genders. The wound might be also a vulva or a breast in the writings of the medieval mystic, and indeed is sometimes represented as giving birth to a personification of the Church.

A diamond painted red with a black, bleeding slit down the middle and a bleeding heart sideways in the center. There are four angels on each flat side of the diamond.
Bibliotheque nationale de France, c. 1369 (searching for more detailed citation)

 He [Christ] tenderly placed his right hand on her neck, and drew her towards the wound in his side. “Drink, daughter, from my side,” he said, “and by that draught your soul shall become enraptured with such delight that your very body, which for my sake you have denied, shall be inundated with its overflowing goodness.” Drawn close in this way to the outlet of the Fountain of Life, she fashioned her lips upon that sacred wound, and still more eagerly the mouth of her soul, and there she slaked her thirst.

vision of Catherine of Siena (1347–1380)

Resource(s)

Karma Lochrie. “Situating Female Same-Sex Love in the Middle Ages.” The Cambridge Companion to Lesbian Literature, Cambridge. Cambridge: Cambridge University Press, 2015. 79-92.

Robert Mills. “Hanging with Christ.” Suspended Animation: Pain, Pleasure and Punishment in Medieval Culture. London: Reaktion Books, 2006. 177-199.

Did you meet any malagas? (book cover)

Did you meet any malagas? (book cover)

Artist: Gary Lee
Media: Sketch on paper
Date & Location: 1993, Larrakia Territory, Darwin, Australia
Where can I see this artwork?: Book cover of Did you meet any malagas?: A homosexual history of Australia’s tropical capital by Dino Hodge

Significance to Queer Art History

‘Malagas’ means ‘men.’ Dino Hodge’s Did you meet any malagas? is a collection of oral histories intended to tell a ‘gay history’ of Larrakia territory/Darwin that recognizes local, context-specific intersections of sexuality, gender, colonialism, and race. It addresses as well the objectification of ‘blackfellas’ by ‘whitefellas’ in the local gay community. Hodge writes that “it would be the late 1980s before Aboriginal gay men felt comfortable attending Darwin Gay Society Gatherings (37).”

Gary Lee was the first Indigenous person to collaborate with the Northern Territory AIDS Council, and he is a friend and collaborator to Hodge. He is Larrakia with Chinese and Filipino heritage, and Hodge writes that Lee designed a book cover that: “honoured blackfella experiences… his interracial relationship with his partner is represented by a whitefella arm reaching across his chest and the hand resting lightly above his heart. Here the whitefella presence is subordinated to a blackfella declaration of personhood (41).”

A coloured sketch of a bare-chested Indigenous man wearing a red necklace on white paper with a white man's arm wrapping around from behind to touch his chest.

Resources and Image Credits

Dino Hodge. “Faces of Queer-Aboriginality in Australia,” in Queer Objects ed. Chris Brickell and Judith Collard. New Brunswick: Rutgers University Press, 2019.

Hodge, Dino. Colouring the Rainbow: Blak Queer and Trans Perspectives: Life Stories and Essays by First Nations People of Australia. 2015.

Creation of Adam — Sistine Ceiling (1508-1512)

Creation of Adam — Sistine Ceiling (1508-1512)

Date & Location:
1508-1512 in the Sistine Chapel, Vatican City, Rome, Italy.

Artist:
Michelangelo Buonarroti

Media:
Fresco (paint applied to still-wet plaster, once dried it becomes integral to the wall)

Significance to Queer Art History:
Michelangelo has become iconic as a “gay man” with a place in the “Canon” of Art History. Renaissance Italy was a very homosocial culture for aristocratic men, and it was public knowledge that younger men (such as apprentices) often had intimate and sexual relationships with their mentors. Michelangelo was openly a part of this culture. Artistic expressions of his desire for other men have also survived for us to enjoy today. Especially, his poetry and drawings for Tommaso de’ Cavelieri have become famous for their passion. The kissing men in the Last Judgement in the Sistine Chapel are likewise relevant as representations of queer desire as well as Michelangelo’s concern for his soul.

Michelangelo Buonarroti, Last Judgement (detail), 1536-1541, Sistine Chapel, Vatican City, Rome. Fresco.

He is also an inspiration for contemporary queer artists in their own projects to reclaim and retell queer “art hirstories.” Elisabeth Ohlson Wallin is a Swedish photographer. Her work centres trans men and women, non-binary folx, lesbian and gay couples, and drag queens. She often centres them in scenes inspired by medieval and early modern renderings of biblical stories. One example, is her version of “The Creation of Adam” (“Creation”) from 2001. Her powerful reference to Michelangelo’s ceiling in the Sistine Chapel reclaims his work for contemporary queer audiences.

Elisabeth Ohlson Wallin, Creation, 2001. Copyright @ Elisabeth Ohlson Wallin.

References:
William E. Wallace. Michelangelo. Cambridge: Cambridge University Press, 2010.

Grant Wood (1891-1942)

Grant Wood (1891-1942)

Arnold Comes of Age

Artist: Grant Wood

Date & Location: 1930, Cedar Rapids, Iowa

Media: Oil Painting

Where can I see this artwork?: Sheldon Museum of Art in Lincoln, Nebraska

Previously part of Hide/Seek: Differences in American Portraiture in association with the Smithsonian Portrait Gallery

Significance to Queer Art History:

Painted in the same year as American Gothic, this piece shows a homoerotic view from Wood. The central figure being Arnold Pyle, the artists assistant and a possible love interest as Grant surrounded himself with other men who looked similar. With a background depicting nude male figures bathing against an idyllic setting like Wood’s other paintings, this painting suggests sexuality and the coming of age of a man as the title ensues.

Resources and Further Reading

Arnold Comes of Age. Smithsonian Institution, npg.si.edu/object/npg_N-38.

“Critics’ Picks: Grant Wood’s Painting ‘Arnold Comes of Age,’ ‘Monroe’ on DVD and Queen Elizabeth II.” The Seattle Times, The Seattle Times Company, 3 June 2012, www.seattletimes.com/entertainment/critics-picks-grant-woods-painting-arnold-comes-of-age-monroe-on-dvd-and-queen-elizabeth-ii/.

Terry. “American Gothic: Grant Wood.” Gay Influence: Gay & Bisexual Men of Importance, 2014, gayinfluence.blogspot.com/2011/12/american-gothic-grant-wood.html.

Grotta dell’Addaura Cave Painting (11,000 BCE)

Grotta dell’Addaura Cave Painting (11,000 BCE)

Date & Location: 10,000 BCE in Mount Pellegrino in Palermo, Sicily, southern Italy.

Media: Painting

Significance to Queer Art History:

This cave painting was found in 1953 in Mount Pellegrino by archaeologist Jole Bovio Marconi after an explosion uncovered part of the site during the Allied Invasion of Sicily in World War II. The writings of Marconi describe her own interpretation of the depicted scene to be homoerotic in nature due to the male figures erect penises parallel to each other.

There are several interpretations of the scene depicted:

  1. The figures in a circle are tied in rope for a sacrificial ritual and splayed in arched-back positions by two shaman-like figures at the top with bird masks honoring the bird goddess.
  2. A homoerotic ritual conducted by the two shamans with the lines representing energy and/or male ejaculation at or after puberty.

Resources and Further Reading:

“Addaura Cave Engravings (11,000 BCE).” A-Z Of PREHISTORIC ART, www.visual-arts-cork.com/prehistoric/addaura-cave.htm. Accessed 15 July 2018.

Penczak, Christopher. “Before the Pen and the Plow.” In Gay Witchcraft: Empowering the Tribe, 10-12. Weiser Books, 2003.

Purpura, Giovanni. “Addaura.” http://www1.unipa.it/dipstdir/portale/ARTICOLI%20GIOVANNI/Addaura.pdf.

 

 

Achilles Binding Patroclus’ Wounds (500 BCE)

Achilles Binding Patroclus’ Wounds (500 BCE)

Achilles Binding Patroclus’ Wounds

Artist: Sosias Painter

Date & Location: 500 BCE in Greece

Media: Painted Pottery (Kylix Vase)

Where can I see this artwork?: Antikensammlung in Berlin, Germany

Significance to Queer Art History:

Achilles and Patroclus, are one of the most celebrated male warrior pairs in Greek literature after the Trojan War. Achilles is a young Greek warrior in Homer’s Iliad who possesses superhuman strength and ability as he was born from a nymph and a mortal. He is known for his only weakness being in his heel as his mother dipped him in the river Styx as an infant and held him by his heel. Patroclus is a warrior who grew up as a role model and companion to Achilles as appointed by Achilles’ father.

Homer, the poet writes the pair as two friends with a tender relationship later deemed as pederastic by the Greeks, where in which an older male figure mentors and cares for the younger as a “rite of passage” that could include sexual relations. After the death Patroclus, Achilles’ aim for fighting in the war became Patroclus. Achilles’ grief causes him insomnia and a great drive to fight and avenge Patroclus’ death at the hands of Hector, a Trojan prince and fighter for Troy. After Homer’s Iliad, the two can be found in art and literature demonstrating their bond and companionship.

Resources and Further Reading:

Gabriel Laguna-Mariscal, and Manuel Sanz-Morales. “Was the Relationship between Achilles and Patroclus Homoerotic? The View of Apollonius Rhodius.” Hermes 133, no. 1 (2005): 120-23. http://www.jstor.org.proxy.library.cpp.edu/stable/4477639.

Morales, Manuel Sanz, and Gabriel Laguna Mariscal. “The Relationship between Achilles and Patroclus According to Chariton of Aphrodisias.” The Classical Quarterly 53, no. 1 (2003): 292-95.

Winters, Riley. “Achilles and Patroclus: Brothers from Other Mothers or Passionate Paramours?” Ancient Origins. 2017. https://www.ancient-origins.net/myths-legends-europe/achilles-and-patroclus-brothers-other-mothers-or-passionate-paramours-008265.

 

 

Il Sodoma (1477-1549)

Il Sodoma (1477-1549)

Giovanni Bazzi, also known as Il Sodoma. (A mocking name aimed at Bazzi’s homosexuality that Bazzi later began to embrace) was a painter of the Italian renaissance, born in Savoy, Italy.  He was influenced by the prior works of Leonardo Da Vinci and Raphael in his historical, mythical, and religious frescoes.

Featured Artwork: Marriage of Alexander the Great and Roxana (1571)

Where can I find this artwork?: Fresco at Villa Farnesina in Rome
Significance to Queer Art History: Alexander the Great is featured in the middle, gazing at his soon to be wife, Roxana as she is undressed by cupids for their consummation of marriage. Meanwhile, on the right, a clothed Hephaestion (Alexander’s best man) leans upon the marriage god, Hymen. Hephaestion was a general in Alexander’s army along with being his intimate partner and personal body guard. The two were inseparable throughout life. This fresco by Il Sodoma, exemplifies Alexander the Great’s bisexuality through Hephaestion’s closeness to the marriage god. While not married by law, Alexander and Hephaestion’s closeness during the marriage of Roxana and Alexander remains.

Resources & further reading:

The Editors of Encyclopædia Britannica. “Il Sodoma.” Encyclopædia Britannica. March 31, 2017. Accessed August 2017. https://www.britannica.com/biography/Il-Sodoma.

Saslow, James M. Pictures and Passions: A History of Homosexuality in the Visual Arts. New York, NY: Viking, 2000. 97-99.

Michael Page- Bisexual Pride Flag (1998)

Michael Page- Bisexual Pride Flag (1998)

Michael Page is a Florida based bisexual activist, creator of BiCafe (closed) and BiNet USA volunteer.

Featured Artwork: Bisexual Pride Flag

Date and Location: December 5, 1998 in Florida, USA

Significance to Queer Art History: The Bisexual Pride flag was created by Michael Page and debuted on December 8, 1998 on BiCafe . com (now defunct.) Page wanted to create a prominent symbol for the bisexual community just as the gay pride (rainbow) flag was prominent to the gay community after its creation by Gilbert Baker in 1978. He chose the colors for the flag for the popular “Bi-Angles” symbol of triangles and combined them into a flag that used 40% pink (to represent homosexuality), 20% purple (to represent a combination of homosexuality and heterosexuality), and 40% blue (to represent heterosexuality).

The pantone color codes from Page are as follows: PMS 226, 258, and 286

Bi-Angles symbol that inspired Michael Page (Creator Unknown): 

Resources & Further Reading:

Baxter-Williams, Libby. “Hoisting Our Colours: A Brief History of the Bisexual Pride Flag.” Biscuit. Accessed August 25, 2017. https://www.thisisbiscuit.co.uk/hoisting-our-colours-a-brief-history-of-the-bisexual-pride-flag/.

Ruocco, Caroline. “Mashable Publishes an Up-to-date Compilation of LGBT Flags and Symbols.” GLAAD. June 16, 2014. Accessed June 2017. https://www.glaad.org/blog/mashable-publishes-date-compilation-lgbt-flags-and-symbols.

Wong, Curtis M. “‘Celebrate Bisexuality Day’ Exists Because Of These Three LGBT Activists.” The Huffington Post. September 24, 2013. Accessed August 2017. http://www.huffingtonpost.com/2013/09/24/celebrate-bisexuality-day_n_3977289.html.

Mike Caffee- Fe-Be’s Leather David (1966)

Mike Caffee- Fe-Be’s Leather David (1966)

Featured Artwork: Fe-Be’s Leather David

Date & Location: 1966 in San Francisco, CA (USA)

Media: Plaster

Where can I see this artwork?: The GLBT History Museum in San Francisco, CA (USA)

Significance to Queer Art History: 
Created originally on commission for Fe-Be’s, the first leather bar on Folsom Street in San Francisco, CA.
This was a re-creation of Michelangelo’s iconic “David” as a leather biker icon. The iconic figure later appeared in other plaster and even bronze statues at bars around the United States.

Michelangelo’s David for reference: 

Resources & Further Reading: 

Caffee, Mike. Fe-Be’s Leather David. 1966. GLBT Historical Society Museum, San Francisco, CA.

“The Leather David or Fe-Be’s Statue.” The Leather David or Fe-Be’s Statue. Accessed August 2017. http://leatherdavid.blogspot.com/.