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And how they bring a note of tragedy in: it’s hard not to feel for Solomon, rejected from society, left out in the cold. Still, when it comes to some of Solomon’s paintings, the thing that may prove most striking to the modern viewer in how little explanation or explication they need, how readily these works from the 19th Century offer up queer readings.
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We’re not trying to propose that these are the only ways these works should be read, but the queer narratives often help you see things in the work you didn’t see before.” “What we’re doing is seeing what happens when you put these readings front and foremost: does it add to our understanding, or are they distracting? That’s certainly a possibility.
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The show aims to highlight “lots of different points of connection between the works and the queer narrative that surround them: some are autobiographical, sometimes the queerness is in the eyes of the beholder, or comes from a queer sensibility perhaps,” elaborates Barlow. The Tate’s exhibition may start with Solomon, but it goes right up to David Hockney and Francis Bacon, taking in cross-dressing music hall stars, Oscar Wilde’s trial, and the Bloomsbury Group’s experiments in art and living along the way. They’re referred to as masculine in the Latin inscriptions, which say things like “it is the worst thing for the best to become corrupted” or given titles such as The Tormented Conscience.
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She refers to a series of depictions of very tortured Medusa heads, cross-gendered male. But he does produce these incredibly agonised series of highly symbolist works at the end of his life,” says Barlow. “It’s always tempting to read the biography into the work – that’s something which can be illuminating but can also be problematic. Queer British Art is a show that, necessarily, often invites us to read (or re-read) work through the frame of the artist’s life, allowing what we know – or guess – about their sexual desires to open up fresh potential meanings. “If you’re trying to seduce elegant young men in the 1890s, showing them your Simeon Solomon Hollyer editions is not likely to do you any harm,” says Barlow wryly. Frederick Hollyer, the great populariser of the Pre-Raphaelites, sold photographs of his work, and collectors included Oscar Wilde, essayist and critic Walter Pater, and the writer John Addington Symonds. And, later in life, he also achieved something of a cult status within gay circles. “It’s only when Solomon gets caught that all these rumours that have been swirling about decadence and sickliness crystallise into a specific sexual act.”Īlthough there is a sadness to Solomon’s story – famous friends dropped him, and he died in a workhouse in Covent Garden in 1905 – the artist did continue to produce work with impressive tenacity and creative conviction. “Artists at this time can get away with quite a lot providing there’s no hard proof,” points out Barlow. Solomon was admitted to lunatic asylums, and would for rest of his life battle alcoholism, spending the latter part of it penniless and destitute. After once more being arrested for “indecent touching” in a lavatory in Paris the following year, he spent three months in jail. It caused a scandal, with the 32-year-old Solomon charged with “attempted buggery” and given a £100 fine a successful career was abruptly derailed.
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In 1873, however, Solomon rather publicly confirmed all whispered suspicions: he was caught having sex with a man in a public toilet off Oxford Street. Such narratives “veiled the potential homoeroticism of the works,” suggests Barlow. Even works which, to the modern viewer, look blatantly homoerotic could be respectably contained within the framework of the classical male nude, the ideal of Hellenic youthful beauty, or celebration of noble male friendship. Or, at least, confine themselves to a raised eyebrow. But as long as there was a degree of ambiguity – in both the work, and the artist’s proclivities – 19th Century society was prepared to turn a blind eye.