{"id":10241,"date":"2011-10-26T03:00:49","date_gmt":"2011-10-26T02:00:49","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=10241"},"modified":"2011-10-26T05:31:29","modified_gmt":"2011-10-26T04:31:29","slug":"the-classical-alibi-in-physique-photography","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2011\/10\/26\/the-classical-alibi-in-physique-photography\/","title":{"rendered":"The Classical alibi in physique photography"},"content":{"rendered":"<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2011\/10\/stowitts.jpg\" alt=\"stowitts.jpg\" \/><\/p>\n<p><em>Stowitts photographed by Nickolas Muray.<\/em><\/p>\n<p>The title is from <a href=\"http:\/\/www.queer-arts.org\/ClassicalAlibi\/index.htm\" target=\"_blank\">two gallery pages<\/a> at the Queer Arts Resource which runs through a history of the old subterfuge whereby homoerotic pictures were decorated to look suitably Greek or Roman. This seldom fooled anyone, even in Oscar Wilde&#8217;s day, but it no doubt helped to keep the studios out of the law courts. Amid the plaster columns and antique props there&#8217;s a card I hadn&#8217;t seen before promoting dancer and artist <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2006\/12\/10\/the-art-of-hubert-stowitts-1892-1953\/\">Hubert Stowitts<\/a> whose role as a satyr is one of the most memorable moments in Rex Ingram&#8217;s 1926 film of <a href=\"http:\/\/www.imdb.com\/title\/tt0017103\/\" target=\"_blank\"><em>The Magician<\/em><\/a>.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2011\/10\/physique.jpg\" alt=\"physique.jpg\" \/><\/p>\n<p><em>Jim Galahad.<\/em><\/p>\n<p>Also at Queer Arts is <a href=\"http:\/\/www.queer-arts.org\/ClassicalAlibi\/pages\/50%20The%20Dying%20Gaul.htm\" target=\"_blank\">a copy of <em>The Dying Gaul<\/em><\/a> with a model who&#8217;s in the peak of health and a lot more well-hung than most Greek sculptures.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2011\/10\/pose.jpg\" alt=\"pose.jpg\" \/><\/p>\n<p>This picture is something I found ages ago on a lost web page and now have a tenuous reason to post here. What looks like erotica is actually a fashion shoot (and he&#8217;s wearing swimming trunks) but it shows how the Classical mode persists. He looks like he wants to see more of Jim&#8217;s sword&#8230;<\/p>\n<p>Elsewhere on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/the-gay-artists-archive\/\">The gay artists archive<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/the-men-with-swords-archive\/\">The men with swords archive<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Stowitts photographed by Nickolas Muray. The title is from two gallery pages at the Queer Arts Resource which runs through a history of the old subterfuge whereby homoerotic pictures were decorated to look suitably Greek or Roman. This seldom fooled anyone, even in Oscar Wilde&#8217;s day, but it no doubt helped to keep the studios &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2011\/10\/26\/the-classical-alibi-in-physique-photography\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;The Classical alibi in physique photography&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[56,36,7,5,12],"tags":[64,3016,3018,3017,116,63],"class_list":["post-10241","post","type-post","status-publish","format-standard","hentry","category-dance","category-eye-candy","category-film","category-gay","category-photography","tag-beefcake","tag-hubert-stowitts","tag-jim-galahad","tag-nickolas-muray","tag-oscar-wilde","tag-swords"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2Fb","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/10241","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=10241"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/10241\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=10241"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=10241"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=10241"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}