Sapphic Art E-Book

Hans-Jürgen Döpp

• Herausgeber: Parkstone International
• Kategorie: Erotik
• Sprache: Englisch

Seitenzahl: 29

Veröffentlichungsjahr: 2019

Beschreibung

The poetess Sappho did not, in any way, facilitate the relationship between men and women, with her admirable Ode to Aphrodite which celebrates the love and sexuality between two women. With the liberalization of morals, female homosexuality is part of modern society and cannot be ignored. But what does history retain from these practices? How is the love between women appreciated? By infringing on the rules of past societies, how did these women live their particularity and their forbidden sexuality? This difficult exercise, undertaken by Professor Döpp, attempts to explain these censured pleasures, without inclining towards a certain voyeurism.

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No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers, artists, heirs or estates. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.

ISBN: 978-1-64461-779-3

Hans-Jürgen Döpp

Sapphic Art

Contents

List of Illustrations

1.Sappho (Fresco from Pompeii), National Museum of Archaeology, Naples

2.Simon Solomon, Sappho and Erinna in the garden at Mitylene, 1864. Watercolour

3.Otto Schoff, 1925

4.Deveria, romantic lithograph, circa 1830

5.Deveria, romantic lithograph, circa 1830

6.Deveria, romantic lithograph, circa 1830 (detail)

7.Erotic photography of the period, 1880 to 1910

8.Frank von Bayros, 1909

9.The Fisherman, circa 1925

10.Gustave Courbet,The Sleep, 1866

11.Berthomme de Saint-André, 1927

12.Berthomme de Saint-André, 1927

13.Gustav Klimt, Nudes drawings

14.Albert Marquet, circa 1920

15.Hans Pellar

16.Anonymous, 1930

17.Paul Avril, circa 1910

18.Paul Avril, circa 1910

19.Paul Avril, circa 1910

20.Erich Godal (pseudonym), 1936

21.Campa (pseudonym), 1936

22.Henri Monnier, 1830

23.Erotic photography of the period, 1880 to 1910

24.Anonymous, circa 1930

25.Laszlo Boris, 1921

26.Godal (pseudonym), circa 1925

27.Courbouleix, circa 1935

28.Paul Emile Becat, 1948

29.Paul Emile Becat, 1948

30.Gerda Wegener, 1925

31.Gerda Wegener, 1925

32.Otto Kopp, circa 1910

33.Berthomme de Saint-André, 1927

34.Berthomme de Saint-André, 1927

35.Berthomme de Saint-André, 1927

36.Otto Schoff, 1925

37.Otto Schoff, 1925

38.Otto Schoff, 1925

39.Jean-Gabriel Domergue, 1924

40.Jean-Gabriel Domergue, 1924

41.Jean Morisot, 1925

42.Léon Bakst, circa 1925

43.Peter Fendi, vers 1835

44.Marcel Vertés, 1928

45.Félicien Rops, circa 1890

46.Attila Sassy, circa 1910

47.Attila Sassy, circa 1910

48.Ernst Gerhard, circa 1925

49.Margit Gaal, 1920

50.Jean-Gabriel Domergue, 1924

51.Otto Schoff, 1925

52.Otto Schoff, 1925

53.Helmuth,Lesbian Pleasure

54.Erotic photography of the period from 1880 to 1910

55.Erotic photography of the period from 1880 to 1910

56.Wilhelm Wagner, circa 1920

57.Wilhelm Wagner, circa 1920

58.Wilhelm Wagner, circa 1920 (detail)

Notes

“Are they women?” is the title of a French novel about lesbian love. For centuries, men have assumed the right to write about lesbianism and express opinions about it. They could hardly ever accept the phenomenon. The author of this essay is also a man, but he intends to write, not so much about lesbian love itself as about the phallocratic view of it.

This began very early with opinions of Sappho, the celebrated Greek erotic poet, born round about 612 B.C.E. in Eresos on the island of Lesbos. Her private life was denigrated and, in complete contradiction to the facts, she was ridiculed as a nymphomaniac. Sappho’s liaison with the handsome Phaon can be dismissed as a fable as can her supposed suicide by leaping into the sea because he had grown weary of her. (The metaphor of a suicidal plunge from a cliff was during that period a literary image for the attempt to free oneself from the suffering caused by love-madness or indeed by the ecstasy of love. It is incorrect to interpret it as historical fact.)