Forty years of freedom after centuries of injustice

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left: Maggi Hambling’s Oscar Wilde monument near Covent Garden, London.

“Yes, we shall win in the end; but the road will be long and red with monstrous martyrdoms.” Oscar Wilde, after his release from Reading Gaol in 1897.

“Forty years ago in Britain, loving the wrong person could make you a criminal. Smiling in the park could lead to arrest and being in the wrong address book could cost you a prison sentence. Homosexuality was illegal and hundreds of thousands of men feared being picked up by zealous police wanting easy convictions, often for doing nothing more than looking a bit gay.

“At 5.50am on 5 July 1967, a bill to legalise homosexuality limped through its final stages in the House of Commons. It was a battered old thing and, in many respects, shabby. It didn’t come close to equalising the legal status of heterosexuals and homosexuals (that would take another 38 years). It didn’t stop the arrests: between 1967 and 2003, 30,000 gay and bisexual men were convicted for behaviour that would not have been a crime had their partner been a woman. But it did transform the lives of men like Antony Grey, who had fought so hard for it, meaning that he and his lifelong partner no longer felt that every moment of every day they were at risk.”

From “Coming out of the dark ages” by Geraldine Bedell, The Observer.

The Sexual Offences Act of 1967, passed forty years ago today, was a compromised victory, as the quote above notes. The age of consent was set higher for gay men at 21 (these laws and restrictions applied to men only?lesbian sex had never been forbidden), you couldn’t be a member of the armed forces, you had to conduct your business with one other person only and in private (ie: at home; no hotel liaisons). The new act also only applied to England and Wales; Scotland had to wait until 1980 while in Northern Ireland (often a backwater where gay rights are concerned) the law wasn’t changed until 1982.

Yet it was a start, and it’s surprising and heartening to see how far things have travelled since 1967, especially when we seemed to be moving in reverse with the iniquities of the Thatcher years. Tony Blair’s government can be accused of many sins but it was never homophobic, and gave us an equalised age of consent, civil unions and finally scrapped Thatcher’s Section 28 law forbidding “the promotion of homosexuality”. Yes, gay-bashing still occurs, gay teens are bullied at school and we still have people like this idiot spouting nonsensical drivel. But Britain finally feels like a civilised place these days, more than it ever did.

It took over a century Oscar, and the road was long and red, but we made it.

Previously on { feuilleton }
Joe Orton
The Poet and the Pope
Queer Noises

Chiaroscuro

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Heavenly Love and Earthly Love by Giovanni Baglione (1602–1603).

Chiaroscuro\, Chia`ro*scu”ro\, Chiaro-oscuro\, Chi*a”ro-os*cu”ro\, n. [It., clear dark.] (a) The arrangement of light and dark parts in a work of art, such as a drawing or painting, whether in monochrome or in colour. (b) The art or practice of so arranging the light and dark parts as to produce a harmonious effect.

Following from the earlier post about shadows in art, some favourite examples by masters of chiaroscuro. Another artist not represented here will be the subject of a post of his own in the next couple of days. The Dutch painter Godfried Schalcken (below) was the subject of the horror tale Schalcken the Painter by Joseph Sheridan Le Fanu, a story memorably filmed by Leslie Megahey for BBC television in 1979. Horror and the chiaroscuro effect belong together, as Fuseli’s Nightmare demonstrates, and many of Schalcken’s paintings seem even more curious and sinister after you’ve read Le Fanu’s story.

Update: John Klima points us to Hal Duncan‘s excellent story, The Chiaroscurist, which you can read at Electric Velocipede.

Continue reading “Chiaroscuro”

Smoke

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Advertising poster for Job cigarette papers by Alphonse Mucha (1898).

The law forbidding smoking in public places finally came into effect in England on Sunday, something that the nation’s smokers are still coming to terms with. I’ve never been a smoker but have always been easy-going about the activity, having had smoking parents and been around smokers for years. That said, it’ll be nice to go out now and not return home smelling like an ashtray.

To mark the passing of a nicotine-stained era, here’s a few of the many representations of smoking in the art world. Until I started looking for pictures today I hadn’t realised how many paintings there are of people (and dogs!) having smoke blown in their faces, like this one and this one.

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The Opium Smoker by Jean-Jules-Antoine Lecomte du Noüy.

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A Voluptuous Smoke by Charles Edouard Edmond Delort.

Previously on { feuilleton }
Perfume: the art of scent
German opium smokers, 1900

Shadows at Compton Verney

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The Candles by Christian Boltanski.

The Shadow is an exhibition at Compton Verney from Saturday 30 June–Sunday 9 September, 2007. I’d been considering a post about shadows in art for a while so this has forced my hand. There’ll be some follow-ups in the coming week, work permitting. I’m busy with a big new piece of Lovecraft-related art at the moment, among other things. More about that later.

Shadows carry with them a range of associations. Whilst the shadow exists as a scientific phenomenon, its presence, from the Greek philosopher Plato through to JM Barrie’s children’s story Peter Pan, reflects the values and beliefs of society as well as an expression of psychological states.

The Shadow is the first extensive group show of its kind to look at an ancient theme that continues to emerge particularly in the work of contemporary artists. The exhibition will provide the viewer with a series of atmospheric encounters where sometimes the source is revealed but frequently the shadow exists independently, often revealing a presence outside the space represented.

The exhibition includes painting, sculpture and video by international contemporary artists such as Doug Aitken, Laurie Anderson, Christian Boltanski, Ceal Floyer, Mona Hatoum, Gary Hill, Tracey Moffatt, Anri Sala, Fiona Tan, Andy Warhol, William Wegman and Francesca Woodman.

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The Choirboy (A Young Singer) by Georges de La Tour (1640s).

To compliment The Shadow exhibition, Compton Verney will present a number of key candlelight works by the French artist Georges de La Tour (1593–1652).

La Tour was born in the Duchy of Lorraine and influenced by the work of Caravaggio. His works have been attributed to a number of artists and it is only since 1915 that a group of his signed paintings were linked and attributed conclusively to La Tour.

It was not until 1972 when all his surviving works were brought together in a major retrospective exhibition at The Orangerie, Paris that he came to the attention of a wider public. This exhibition will represent a rare opportunity for British audiences to view La Tour’s paintings and will focus on a number of powerful works, mainly from La Tour’s late period, which concentrate on the effect of light on the human figure.

Georges de La Tour at ARC