The abject gaze and the homosexual body: Flandrin's Figure d'Etude.
This article charts the history of the reception, reproduction and appropriation of a single image that has recently become a kind of "gay icon"--the Figure d'Etude in the Louvre, painted by Hippolyte Flandrin in 1835. Initially no more than a neo-classical academic exercise, the formal emptiness of this picture meant that it could be re-invested and reinscribed with new meanings and new titles at every turn. Emblematic of the anxious visibility/invisibility of the newly discovered homosexual body during a period when the gaze still had to be kept a dark secret, Flandrin's image only "came out" in its later photographic reworkings by Frederick Holland Day and Baron von Gloeden. After being reproduced for a specifically homosexual audience early this century, the popular Romantic pose of the young man curled-up in profile became a standard one, reappearing recently in the photographs of Robert Mapplethorpe. The inactive, abject and inward-turned isolation of the figure with its narcissistic self-absorption makes it, in my view, a profoundly negative stereotype of the gay gaze and the homosexual body. Flandrin's figure nonetheless appears today on gay merchandise world-wide as a sign of our separate and secluded subject positions and our community's unwillingness to radically alter older imposed and inherited classical stereotypes.
Camille
M
M
University of Chicago, Department of Art History, IL 60637.
D005602:France; D049672:History, 19th Century; D018451:Homosexuality, Male / Q000266:history*; D006801:Humans; D008297:Male; D010151:Paintings / Q000266:history*