Tuesday, June 07, 2005

John Duncan, Hornel, Monet, Faucon...

John Duncan (1866-1945) was born in Dundee. He worked as a newspaper illustrator and developed an interest in Celtic myth and legend.




Scottish painter Edward Atkinson Hornel liked to paint 'young girls cavorting in dense thickets'. He also liked to paint young girls in his studio. Nudity was a feature of the occasional painting.

E. Rimbault Dibdin visited Hornel in Kirkcudbright. Dibdin noticed that, ‘All about his doors are the children of the poor, many his red-headed young models … His garden is full of flowers, and the flowers of humanity are free to come in from the street, through the side gate, and enjoy themselves in it. He meanwhile studies and paints them, the flowers and the children, in the open air’.

Hornel was born in Australia in 1864. His parents were from Kirkcudbrightshire. He moved to Scotland as a young man and studied art in Edinburgh.

Hornel moved to Broughton House, In Kirkcudbright, in 1901.The gallery at Broughton contains many Hornel paintings, including works inspired by his travels to countries such as Japan and Burma.



Monet made friends with 12-year-old aspiring artist Daniel Fontaine, son of his landlady. Monet became a father-figure to the boy, who accompanied Monet on his painting excursions.



Bernard Faucon produces photos of mannequins and boys.


Germaine Greer's book The Boy was reviewed by Natasha Walter in the Guardian 11 October 2003

Walter refers to "page after page of sheeny illustrations of fine, languid boys as seen by artists from Praxiteles to Annie Leibovitz.... Greer is asking us to celebrate the evanescent loveliness of boys."

Greer quotes: "Correggio is the only artist ever to have depicted the anus and scrotum of an airborne angel,"

Greer claims that saying boys are beautiful amounts to "demolishing one of the last great western taboos."

Greer looks at how boys in fifth-century Athens 'allowed themselves to revel in their own peacock beauty.'

Greer compares this with the lack of grace and feeling in some modern boys.

Walter points out that 'Monica Ali's Brick Lane gives the heroine a smooth-skinned, naive boy for her illicit affair; Zoƫ Heller's Notes on a Scandal deals with a 40-year-old teacher destroyed by her love of a 15-year-old. In popular films, from Titanic to Thelma and Louise , love is directed towards the figure of the boy rather than the man, in contradiction of the traditionally sanctioned direction.'

Greer's aim is stated on the back cover, "to reclaim for women the right to appreciate the short-lived beauty of boys".



Germaine Greer warns women that "they are ill-equipped to act as 'sex objects' and are 'programmed for failure in their duty of attraction'. Greer believes that the job of arousing desire is done better, and with an ecumenical appeal to both men and women, by the boys who teasingly lounge and cockily strut through the pages of her book."

"If nature didn't intend boys to be seduced by older men and women, why did it make them so damnably fetching, so downy-cheeked, rangy-limbed and pert-buttocked? And what harm, she asks, can be done by romps that are 'irresponsible, spontaneous and principally self-pleasuring'? Later she risks a defence of sex tourism, proposing that the carnal traffic runs both ways and demanding: 'Who is seducing whom?'"



Angelica Kauffmann -Portrait of prince Henri Lubomirski as Cupid, Museum of Liviv, Ukraine



Anna Lea Merritt - Love Locked Out 1889



Robert Manson



Miguel Covarrubias (1902-1957)



Pierre Joubert






Emile Munier



Paul Chocarne Moreau



Roger San Miguel



Lehnert and Landrock

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