horror vacui— a fond look

"Mrs Leoni's Parlor" 1894— part of a series of NYC interiors by Byron

Ophelia by John Everett Millais, 1852-53

A reblog with updating

I've been thinking about Victorian painting— specifically about the pre Raphaelites and their hallucinatory hyper-realism (its difficult to use "realism" in conjunction with these paintings of knights errant and damsels). The shrill colors and the complexity of the details are fascinating to me at the moment. Something in my head is percolating about the artist Meghan Boody and the updated pre Raphaelite vision —but who knows if I'll be able to say any more than just that.

A 20th century art historian remarked on the pre-Raphaelite tendency toward "blade-by-blade" painting-- that is rendering each and every line and form in equal detail. Filling the entire canvas with detail, filling a page with 9 different typefaces and varieties of ornament, filling an entire room with dainties, what-nots, and doodads— a Victorian inclination and equal illustration of horror vacui.

Horror vacui - "fear of emptiness" or empty space is a term I love. The phrase carries with it intimations of mania and compulsion —covering every surface, interweaving pattern atop pattern. Perhaps it can be as loosely interpreted as Collyer Brothers piles or the noisy and noisome claustrophobic streets of Dickensian London. Somehow, though, I relate the term to an overall sensibility. A complex density with an awareness of the whole, not an open-ended haphazardness. But I'm not sure if this is really the case.

I came upon these rather amazing photographs taken by Philip Henry Delamotte (above), in about 1859, of the later incarnation of London's Crystal Palace Exhibition of 1851. (After the exhibition closed it was moved to Sydenham Park and rebuilt, which is what is shown here. It remained standing until it burned, November 30th 1936.) The Crystal Palace exhibit was a kind of World's Fair, an enormous display of technological and cultural achievements. Though international in scope, it was sort of Britain on parade. ( I believe it was in the 1850s that the term "Victorian" solidified into a cultural identity.) The exhibition opened the floodgates for all manner of manufactured ornament, embellishment and gewgaws.

About this same time, Richard Dadd, locked away in a London hospital for the criminally insane, began the first dabs of Fairy Feller's Master Stroke, below left, and then continued for nine years.

For the rest of the 19th century (and into the 20th) great moral debates raged over "taste" and the "proper use" of ornament. And in the midst of that, many people's houses ended up looking like this "Parlor, 11 West 45th Street, New York, 1896" (taken from the wonderful The Tasteful Interlude: American Interiors through the Camera's Eye, 1860-1917 by William Seale). Called a Japanese Parlor, the nook features a "Moroccan" inlaid table, Turkish- inspired seating and cushions, most likely a Persian carpet, and no less than four window treatments.

J.K. Huysmans' Au Rebours ("Against Nature"), published in 1884, is practically a recitation of the senses; a literary horror vacui in which words stand in for the over-stimulated eye sweeping across every surface:

"In other days, when he was still in the habit of inviting women to his house, he had fitted up a boudoir where, amid dainty carved furniture of the light-yellow camphor-wood of Japan, under a sort of tent of pink Indian satin, the flesh tints borrowed a soft, warm glow from the artfully disposed lights sifting down through the rich material. This room, where mirrors hung on every wall, reflecting backwards and forwards from one to another an infinite succession of pink boudoirs, had enjoyed a great renown among his various mistresses, who loved to bathe their nakedness in this flood of warm crimson amid the aromatic odours given off by the Oriental wood of the furniture.../ The dining-room, draped in black, opened out on to a garden metamorphosed for the occasion, the paths being strewn with charcoal, the ornamental pond edged with black basalt and filled with ink, and the shrubberies replanted with cypresses and pine. The dinner itself was served on a black cloth adorned with baskets of violets and scabious; candelabra shed an eerie green light over the tables and tapers flickered in the chandeliers. While a hidden orchestra played funeral marches, the guests were waited on by naked negresses wearing only slippers and stockings in cloth of silver embroidered with tears..."

While not a literal transcription of synesthesia, it renders the effect.

A man named "Named", and other names...*

above, two sources of names for the Lexicon of Greek Personal Names. The example directly above is a gravestone for "Zosime, daughter of Herakleon", from Syria, late 1st century B.C. The hands on the stele symbolize her relatives' vow to avenge her death which was apparently not a natural one.

First, if you don't regularly visit Arts & Letters Daily you ought to. Its like a cultured news aggregate: The front page has regularly updated links and brief teasers for essays, reviews, investigative journalism and opinion pieces from a varied and international roster of publications and sites.

And so it was on one of my perusals of A&LD that I came across a delightful review of "A Lexicon of Greek Personal Names, Vol. V. A Coastal Asia Minor: Pontos to Ionia edited by T. Corsten" in the London Review of Books. The Lexicon project (it's a site as well as publication):

traces every bearer of every name, drawing on a huge variety of evidence, from personal tombstones, dedications, works of art, to civic decrees, treaties, citizen-lists etc., as well as literature, artefacts, graffiti etc.

A staggering thought: someone compiled a register of all ancient Greek names that were permanently recorded on "paper" or stone, from the age of Homer to early Byzantium.

And God love the British, the review of the book runs to approximately 5600 words. Doesn't sound very promising ... But in fact the reviewer James Davidson, an academic who makes something of a specialty of writing about the odder corners of ancient Greece, offers up a witty and expansive background essay of names and naming in England before moving on to the Greeks.

I have always been intrigued by fashions in naming (whither Dorcas and Edna?) and oddities of conception (see Puritan names below) so I found Davidson's essay extremely informative and fun. He notes the liberality and inventiveness of naming in English-speaking countries. Moon Unit Zappa, Trig and Track Palin and assorted Hennessys, Apples and Prince Michaels et al. are "self-conscious expression of an assumed freedom to name children whatever parents want." By way of contrast he cites an Italian couple wanting to name their child Venerdì (Friday). A judge, having refused to allow it, renamed the kid Gregorio. Until recently some other countries, notably Germany, Sweden and Denmark, had maintained lists of approved names!

He goes on to relate the dramatic upheaval in English naming after the Norman Conquest. With the ensuing influx of French and other Romance languages native names such as Aethelwulf, Aethelflaed, Frithuswith, Ealdred go the way of Grendel, being rapidly replaced with Geoffreys, Henrys and Eleanors. Davidson uses this episode to explain label names versus transparent names— terms I'd never heard before. A label name would be, for example, Geoffrey (or Geoffroi). It doesn't give you much information to go on—especially if you don't speak French and not even the sounds are familiar. To a post-Conquest Briton Geoffrey is opaque. By contrast the native speakers used transparent monikers–which literally meant something to native ears–like Aethelflaed, ‘Noble Beauty,’ or Aethelraed, ‘Noble Counsel.'

In this, the Anglo-Saxons were very much like the Greeks whose names in large part mean something. This made me think of Native American names and the strange convention we have of translating some: Tashunka Witko is known to us as ‘Crazy Horse’, Tatanka Iyotake is ‘Sitting Bull’—but leaving others to be merely transcribed: Sacagawea or absurdly, even Tonto. The translation into everyday English words makes the names paradoxically alien and somewhat ridiculous. Anglo-Saxon and Native American names are transparent and Greek ones are similarly transparent in the native language. If we translated the ancient Greek names as we do Indians' we'd come across 'He Who Loves Horses’ (Philip), ‘Masters (with) Horses’ (Hippocrates), ‘Flat-Nose’ (Simon), ‘Stocky’ or 'Broad' (Plato), ‘Famed as Wise’ (Sophocles) and Peace (Irene). Greeks seem to have taken pleasure in making up names:

Epic poetry is full of names, a fair number of which must have been made up by the poet... In Theogony Hesiod names 50 nereids in a virtuoso performance of nearly abstract prosody: Sandy, and charming Salty, and lovely Promontoria, Goodmooringia, Welcome-Wave, Current-Carried etc.

How different would our conception of Plato be if he'd come down to us as "Stocky"? //


Not discussed in Davidson's review is the incredible panoply of names in America starting with the extraordinary and singular inclinations of the Puritans. Religious Dissenters (like those who emigrated to New England) took to Old Testament names (whence your Hezekiahs and Mehitabels) or they made them up as they went along (keeping God in mind at all times, of course). If you feel up to wading through it, the jocular Curiosities of Puritan Nomenclature (1884) by Charles Waring Endell Bardsley is the place to find out about all those Temperances, Fear-nots, Hope-stills and Preserveds (see above).

The index of names is amazing.

* From the Lexicon of Greek Personal Names: Onomastos ("Named") was a man from Smyrna in modern day Turkey.

That Gummy Epileptic! What a coffee-mill!

Emilie Marie Bouchaud was born May 14, 1874, in Algiers (though "of pure French stock" she was quick to add). Arriving in Paris about 1890, she styled herself Polaire and became a cabaret and stage sensation. Noted for her skittish energy and frenetic performances, she was given the nickname "la gommeuse épileptique." Google Translate renders it rather comically as "the gummy epileptic." (I'll assume we're losing a lot in English*...descriptive idioms turned hilarious crazy-talk in literal translation.) We read by way of explanation:

the gummy epileptic, she throws her head back, moving from one foot to another with clenched fists in song recitals with mocking words ... By her own admission, her feet are dancing alone in her shoes!

A petite 5 foot 3, she was celebrated for her tightly corseted wasp waist—ostensibly fourteen inches (although many promotional images seem to be retouched to alarming extremes). Decadent poet, novelist and dandy Jean Lorain evokes her mesmerizing performance as equal parts Orientalist seductress and fearsome whirling Dervish:

Polaire! The agitating and agitated Polaire! The tiny slip of a woman that you know, with the waist slender to the point of pain, of screaming out loud, of breaking in two...the phosphorus, the sulphur, the red pepper of that ghoulish, Salome-like face, the agitating and agitated Polaire!
What a devilish mimic, what a coffee-mill and what a belly-dancer! Yellow skirt tucked high, gloved in open-work stockings, Polaire skips, flutters, wriggles, arches from the hips, the back, the belly, mimes every kind of shock, twists, coils, rears, twirls... trembling like a stuck wasp, miaows, faints to what music and what words! The house, frozen with stupor, forgets to applaud.

What was performed on the stage in Paris of 1900 evidently took some time to get to America. Ten years later, after bubbling up from brothels and low dance halls, the "young set" of this country went "dance mad." (See an earlier post about the Grizzly Bear, Bunny Hug and the Turkey Trot)

Sheet music, drawing by C. Lavigne, 1900
M. DuFleuve, listed top right, is her brother
Picture from Polaire 1900

I'd love to get the back-story of this "Zippy the Pinhead" look. The intentionally grotesque character is fascinating for such a beautiful performer. Picture from Polaire 1900

My favorite image (above)— so vibrant, so kooky
Picture from Polaire 1900

postcard by Nadar, 1900
(the retouched photographer's stand, to help the subject keep still for the exposure, can still plainly be seen behind her legs) Picture from Polaire 1900

"the Female Torpedo" by Charles Leandre Picture from Polaire 1900

poster by Toulouse Lautrec, 1895. This seems to be her "gummy epileptic" dance!

Picture from Polaire 1900

Polaire was touted as having a 14-inch waist, though many of her publicity images (including this one) are noticeably retouched

As with a good many French performers, Polaire did not age well. She died in 1939.

Image above of Polaire (only) from Polaire 1900

Why is it that so many French women of a certain age seemed to shrivel into little hobgoblins? In later life, each appeared to have been issued a perennially dyspeptic expression, a slash of drawn-on brow, and an aureole of frazzled cotton-candy hair (often an unnatural shade of orange --see Jean-Claude Christo, and Sonia Rykiel).

* Michael Leddy tells me gommeuse may be "fop"—any French readers out there with additional information?

Images of Polaire are drawn from these very comprehensive French sites.

a bit of tonic

 

Cup of Tea, 1905

Bonne Fille, 1906

Helen Carte, 1885

 

Les Petites Belges (Young Belgian Women), 1907

La Hollandaise, c. 1906

Mornington Crescent nude, contre jour, 1907

 2 versions of Ennui, c. 1914

 

La Giuseppina, 1903-1904

A painter I've always liked from afar is Walter Sickert. I say from afar because I never sought out a biography or treatise on him, it was simply that each time I came across one of his works I took note. I am always drawn to his colors: smokey, tenebrous, sharp, acidic. In my mental storehouse of aesthetics, mood and color, however, his choices were always relegated to the appealing but problematic section. His subjects lay in the working classes, the music hall stage, the decadent and alien exoticism of Venice, and most notoriously, in the seamy bed-sit flats of Camden Town and the prostitutes who toiled in them. The moods he captured ranged from the cheerfully tawdry to quiet grimness to the palpably brooding. It wasnt his subject choice that I found problematic, it was something about the atmosphere he conjured up—insistently and consistently—in each work. Is it the sense of remove? Is it the voyeurism? Airlessness? A bit of Sickert is tonic, dwell too long in those visual spaces and one feels a creeping discomfort.

Sickert was born in Munich to a Danish father and an English mother, but grew up in England. After a brief career on the stage, he became an assistant to James MacNeill Whistler. After 1890 he went to Paris and studied with Degas. Sickert's return to London in 1905 was followed up with a series of nudes that have become inextricably linked with the Camden Town Murder mystery. These paintings and Sickert's perverse sense of self-promotion (calling, for instance, a very equivocal scene of a weary clothed man and sleeping(?) naked woman alternately "What shall we do for the rent?" and "Camden Town Murder") ultimately led to the preposterous theorizing of author Patricia Cornwall that Sickert was Jack the Ripper.

Recently I read a brief but brilliantly written essay about Sickert by Max Kozloff*. In it is one of the most expertly evocative descriptions of color:

...It would be hard to imagine a more distraught monochrome a more neurasthenic sobriety. Whether in its resiny or vaporous distillation, the paint molds into umber purple, degraded violets, emaciated brownish greens, diseased oranges, prussic, somewhat mildewed blues, the whole occasionally enlivened with little splutters of toned-down white, cream or mustard.

Somehow I find degraded violets incredibly enticing. Perhaps this speaks to my fascination with Farrow and Ball color charts and my longstanding wish to be paid to research and name colors.

* update: I should note that this essay is in an obscure and out of print book, The Grand Eccentrics (From Medieval to Contemporary: the eccentric in painting, sculpture and architecture). Many thanks to Malcolm Enright who pointed me to this fascinating collection of essays. An uneven, and in some ways flawed, book it is never the less a terrific storehouse of some great writing and invaluable facts about some of the most riveting figures in art. The book deserves its own post and I will try to collect my thoughts and write one asap.

The Anatomy of Swearing

"The fact is swearing is an instrument,
which like any other can only be effectively played
when it is sustained by a sufficient amount of feeling."

It sounded good. I found The Anatomy of Swearing by Ashley Montagu randomly at the Library hoping it might bear resemblance to one of my favorite books of recent times, The Anatomy of Disgust. (Also, I was amused at the idea of swearing being parsed by someone who may as well have called himself Percy Lord Foppington)

Swearing is fundamental to human behavior, providing a psychological as well as physiological release. Montagu asserts that it is "a means of expressing anger and potentially noxious energy is converted to a form that renders it comparatively innocuous." He explains distinctions between swearing that draws strength from invoking sources of religious power and the sacred, and swearing that calls upon the secular, the "prohibited" and the prurient. Also, that swearing owes much to the form of the judicial oath, (May I be gutted like an oyster if its not true) whereas cursing invokes some evil to be cast upon the subject (A pox to thy bones). Obvious perhaps, but interesting enough, none-the-less, to someone who never thought about it before. He sets out to cover swearing from antiquity (did you know swearing was sex-determinant in Greece and Rome? Ostensibly women swore by female deities, men, male Gods) onwards up through an unintentionally humorous analysis of motherfucker (“It may be used as a pejorative or as an honorific”).

Yes! the book is a bit high-flown, could you tell? Montagu revels in the British love of wit and wordplay (he touches admiringly upon invective and sportive swearing, essentially skillful put-downs as performance art). Here's a magnificently dashed off explanation which I loved:

Damn remains the great English shibboleth, the most widely used of intensives, and the one most likely to steer the swearer clear of the Scylla of profanity and the Charybdis of vulgarity.

Getting beyond the basic groundwork, though, I often found the book difficult to follow... The distinctions between swearing, oaths and cursing start muddying since definitions or partial definitions are given numerous times in differing ways. Mostly, I think, I got lost amidst the liberal excerpts from Shakespeare, Rabelais, Sterne, Smollet, Byron and on and on... Far, far too many long and digressive quotes, pages really, reproduced verbatim which was just a tad too much for this attention-challenged reader to handle.

Well, I was hoping to get profanity, blasphemy, vulgarity and obscenity laid forth in a buffet of verbal amuse bouche, but I got a fucking five- course sit-down dinner instead.

Consider the Crest

On a visit to Bowne* yesterday I was able to study Robert Warner's latest ebay find. Somehow he is able to ferret out and "win" fascinating and often significant ephemera without emptying the coffers. I have no ebay karma, even when I win, I lose.

This exquisite little gem, ca. 1880, appears to be a child's album for collecting and arraying crests and monograms. A selection of 7 or so appealing geometric page designs serve as display guidelines for arranging the art. Each page pattern is printed in color—one is vaguely islamic, another looks like a cathedral window—and each looks like a coloring book version of a page from the Grammar of Ornament. What floored me was the detail of these snippets of engraving: most examples are smaller than my thumbnail. What disappointed me was the realization that these crests were likely not acquired bit by bit—not garnered from, say, years of missives from "Prince Leopold," or correspondence with "The Royal Dragoons," or "Quekett Microscopical Club", each heraldic emblem cut from its letterhead or calling card, each paper escutcheon stowed away in some violet-scented family keepsake chest. No, they were probably purchased in packs: a revelation by way of the advertisements at the back of the book. No matter. I picked up some useful Latin (and French) mottoes along the way:

sine macula– without spot or blemish
cave adsum—beware I am present
nosce te ipsum— know thyself
esse quam videri— to be rather than seem
sapere aude—dare to know
avisez le fin—consider the end
fuimus– we have been; we have endured
renovate animos—renew your courage
le bon temps viendra—the good times will come

---

NB, coming soon: Now that we've scanned the colored guide pages, Robert will letterpress print them and bind them into an updated version of a pasting and display album based on this one. It will be sold at Bowne along with a selection of vintage and vintage inspired ephemera bits— a starter kit of sorts. beautiful.

* Bowne & Co., Stationers at South Street Seaport Museum

trading halos for high jinks

above, a scene from Caught in a Cabaret with Charlie Chaplin, 1914

left, "The Return from Toil," working girls as sketched by John Sloan; right, Variété (English Couple Dancing), 1912/13, Ernst Ludwig Kirchner

Special to The New York Times.Thursday, February 6, 1913
Mrs. Taft being the President's wife...

A week ago or so at a client meeting I found a book in the "free" pile– Cheap Amusements: Working Women and Leisure in Turn-of-the-Century New York by Kathy Peiss. Published in the 1980s, the book has a very academic and earnest "Women's History" approach which would be enough to turn me off normally, but I particularly got caught up in the chapters on dancing and "Putting on Style."

The first decades of the 20th century brought legions of girls and young women–garment workers, salesgirls, artificial flower makers, tobacco workers– into the work force. Some of these women even lived on their own– a very new phenomenon. The book focuses mostly on working class women who were intrigued by the novel concept of "leisure time", influenced by feminist intimations of the "New Woman" and enticed by a range of modern consumer options.

Most people think of the 1920s as erupting into dance, champagne and louche-ness in a fireworks display of Modernity when in fact, the years leading up to the First World War were rather "fast" and raucous in their own right. Much of the behavior the "Jazz Age" gets credit for had its beginnings before the War.

New York was "dance mad." Social clubs and amusement societies held rackets or blow outs at one of the many dance palaces that would hold up to 3000 patrons. "Rough girls" smoked and teased their hair into high pompadours, augmented with puffs and rats. They wore red high heels and exaggerated straw hats drooping under the weight of stuffed birds, and sprays of artificial flowers. They flocked to dance halls, hotels, restaurants for dancing teas and a chance to learn the One-step, the Gaby Glide, the Hesitation Waltz, the Maxixe, Tango, and the Shimmy.

Some of the dances became huge controversial fads and were banned from respectable establishments. The Grizzly Bear, Bunny Hug and the Turkey Trot in particular were said to have originated about 1906 in the brothels of San Francisco's Barbary Coast and were judged vulgar, bordering on obscene. The very worst of the dances invited "much twirling and twisting and easy familiarity...in nearly all the men in the way they handle the girls," according to an observer. "Once learned the participants can at will instantly decrease or increase the obscenity of the movements."

Many venues instituted patrols to maintain decorum and public declarations were made against the new dances. The New York Times of January 16, 1912 reported an announcement at the Hotel Astor "Should there be any of you who have the inclination to dance the grizzly bear, the turkey trot or an exaggerated form of the Boston dip the members of the Floor Committee will stop you."

Investigators sent to prowl the dance halls by the Committee of Fourteen (whose focus was the suppression of commercialized vice) found patrons "smoking cigarettes, hugging and kissing and running around the room like a mob of lunatics." The girls, they found, were "game and lively and sought out flirtation. They go out for a good time and go the 'Limit'".

* * *

"It was the hesitation drag...and never before has there been such a gliding sliding hesitancy; never before such a dreamy drag; never before such a culminating triumph as the whirl, a la pivot. It was supreme; it was new... It was a dance that renounced halos for high jinks, disapproval for complete surrender."
Djuna Barnes– Brooklyn Daily Eagle, September 5, 1913

* * *

What I enjoy most in reading history is when the accrual of a few small casual details suddenly makes the subject recognizable. In an instant a description of "history" becomes knowable, the facts lift from the page. Despite the fact that we see the 1910s in black and white and consider it part of history, it no more felt like or unfolded like "history" than right now feels to us. History is not a place– it is not bound by "the past"– it's simply a stream of everydays.