Lecture 005 Reading - Disagreeably Hidden - Construction and Constriction of the Lesbian Body in Rosa Bonehur's Horse Fair.docx

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Department
Women's Studies
Course
Women's Studies 2158A/B
Professor
Sonia Halpern
Semester
Fall

Description
Lecture 005 Reading – “Disagreeably Hidden”: Construction and Constriction of the Lesbian Body in Rosa Bonheur’s Horse Fair (James M. Saslow) - Bonheur’s art offers, more than has previously been understood, a radical intervention in the visual and cultural construction of 19 century femininity and masculinity. - Her style, both in her work and her life, represented an alternative vision of the modern female body, and specifically the lesbian body, as a social and visual entity. o Limited in scope and self-consciousness during a period that spanned a major change in the social discourse about women, homosexuality, and gender difference. - She affected a masculine style of dress and grooming, which occasioned much public comment. Although she always insisted that this gender-deviant costume was chosen only to facilitate her work, the fact that she work it for many other activities for which it was neither necessary nor accepted suggests that it had a meaning for her transcending the merely utilitarian. - Argued that the human faces in Horse Fair were hidden; although the human and personal element is indeed “disagreeably hidden”, it is not suppressed as completely as previously assumed. To the extent that such hiding was forced upon her by social conventions over which she had little control, we have evidence that it was disagreeable to Bonheur herself, that she sought to envision alternative models of culture, and that the limited self-revelation she did manage was later received with appreciative enthusiasm by activists who were working more overtly to change cultural attitudes. - It has not been previously noticed that the central horse tamer, whose head is next to the rearing white horse, is a self-portrait of Bonheur, who confronts the viewer with the male guise she adopted for her sketching forays in these very stockyards. o This figure is one of only two among all these males not sporting any of the customary mid-Victorian facial hair. o Moreover, she is the only figure who looks out at the viewer: her pose is the traditional indicator of a self-portrait. - To understand these infrequent but unique self-portrayals, as well as their general absence, her work and life must be interpreted together within a wider context of sex, gender, and power. - Bonheur lived in a period of transition during which limitations on women, especially lesbians, remained strong, and the intellectual framework for modern gay and lesbian identity and the sub-culture aimed a justifying its expression were just beginning to be constructed. - Analysis of Bonheur’s attempts at self-portraiture will suggest three principle themes: o Her masculine attire was an attempt to claim male prerogatives and create an androgynous and proto-lesbian visual identity that would embody, literally and figuratively, her social and sexual views. o Her coded representation of this identity in her pictures reveals her work as more socially engaged and subversive than originally thought. o The relative absence of human subjects from her work can be read as a displacement of interest from what could not be fully imagined in public onto an alternative subject matter that provided some scope for symbolizing nonconformist ideas about nature that justified Bonheur’s own sexual and gender identity. - The works created within this circle of power and influence reveal the sharp contrasts in outlook between Bonheur and the class that both dictated socially acceptable gender behaviour and strongly influenced her representation of such behaviour. - Although there are portraits that are exactly contemporary with The Horse Fair, in the public fantasy of art they supported images that idealized women of their class as passively secl
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