12/02/20 Joseph Mallord William Turner
13/03/20 The Garden of Earthly Delights by Bosch Hieronymous
I I am fascinated by the painting ‘ the garden of earthly delights’ by Bosch , this artwork explores a variety of themes supported by the contrast of the fantasy landscape.The painting endures the 3 stages of eternity : the garden of eden , earthly delights and the judgement (hell). For a religious painting I am surprised at the amount of unusual and mad iconography. Once more the delusional interpretations of the symbolism promotes forward thinking beliefs ; a concept i am pleased and inspired by. The painting promotes sexuality and fertility, using the repetition of animals to promote repopulation whilst women and men engage in various sexual activities.However this affirmation of repopulation is contradicted by the by the absence of children and old people ; suggesting an unspoilt and pre moral existence. I am surprised to witness a highly religious artwork that shows stimulation of sensory pleasures and eroticism “passionate couple encased in an amniotic fluid bubble; and a man inside of a red fruit staring at a mouse in a transparent cylinder.”. In my opinion I have never understood any artwork to portray such provocative somewhat anti religious themes. Once more the painting seems to advocate same sex pleasure through the subtle behaviours portrayed , contrasting with the religious beliefs of sodomy.
I find this artwork some what ironic as some of the images contradict the innocence expected in the Garden of Eden. I love the insanity projected in the peaceful garden of eden. Historians have suggested that the paints is indicative of the Christian belief that humanity was doomed from the beginning. I love this. Once more many believed that the first sin committed after Eve tasted the forbidden fruit was carnal lust. On a tree to the right a snake curls around a tree trunk, while to its right a mouse creeps; according to Fraenger, both animals are universal phallic symbols.I view this artwork thoroughly inspiring it subtly projects fluid sexuality and themes of sex positivity, whilst portraying the dismay of God.
The third section depicts an unusual version of hell , referring to many challenges faced in daily life. However this artworks seems to contradict many of its messages , for in hell sexual pleasure is deemed as a sin.During the Middle Ages, sexuality and lust were seen, by some, as evidence of humanity's fall from grace. In the eyes of some viewers, this sin is depicted in the left-hand panel through Adam's, allegedly lustful, gaze towards Eve, and it has been proposed that the centre panel was created as a warning to the viewer to avoid a life of sinful pleasure.The nakedness of the human figures has lost all its eroticism, and many now attempt to cover their genitalia and breasts with their hands, ashamed by their nakedness. Bosch created hell to widen the contrast between pleasure and torture.
Philosophical Egg
Medieval alchemy and mysticism
Within the garden of earthly delights a philosophical egg is depicted representing a controversial new birth of humanity. I am intrigued by the resemblance of this egg. Prior to my research I had never heard of or the history behind the philosophical egg. However after researching I am surprised at the wide spread historical referencing of the alchemy of the egg. I believe the philosophical egg adds an unusual romantics to the artwork ; depicting the romanticism in the birth of humanity.
14/02/20 Female Friendships in the enlightenment era
I want to question the re occurent projection of female desire as unnatural.Homo and Hetero sexual history dictates that any form of sexual desire and fantasy explored by a female to be deemed as an act against nature. I want to explore the historical acts of sexual desire particularly between female friendships. By the mid 18th century , lesbian sexuality was identified as a deviant sexual orientation through the employment of generic terms such as kind and species; by abstract phrases such as " feminine congression" and "accompanying with other women"; and by abundant euphemisms such as "irregular", "unnatural","uncommon and preternatural lust" and " deviation from the natural inclinations"."Romantic friendship" was held to be especially typical of women who loved women, and historians have argued about the degree to which the most intensely passionate affairs were overtly sexual.
Mme Élisabeth et Marie Antoinette s'embrassant by Alexandre Moitte
A Good Read by Guglielmo Zocchi
Sharing secrets by Frédéric Soulacroix
The paradigmatic narrative of intimate female friendship of the Ladies of Llangollen.
Lady Eleanor Butler and Sarah Ponsonby famously chose to partake in a 'female friendship': defying the social incarnations. Abstaining from the historical pressures of gender and marriage they retreated to Wales; becoming famous for their 'unusual friendship' and were visited by the celebrities of the romantic age. Most historians concur that Butler and Ponsonby were not lesbians just friends ;a romantic relationship between two women who chose to live together and have "marriage-like relationships"
Anne Lister of Halifax
Anne Lister is the only identified open lesbian of the enlightenment. She projected her intimate relationships with women in coded manuscripts. Due to her high class privilege she could secretively partake in intimate affairs with high class women , without 'intruding' on the law. During her life, Anne wrote a four-million-word diary .It describes in great detail her lesbian identity and affairs, as well as the methods she used for seduction. This makes me question how female companionships are projected through literature? I believe this would be a very interesting starting point for research ; I take inspiration across all disciplines so using literature as a medium for research excites me. I believe love is most understood through literature and arts. Therefore I am intrigued to educate myself on the historical acts of love through literature.
"A Garden Stroll" by Auguste Toulmouche
"A shared moment" by Joseph Scheurenberg (1846-1914) Calisto - Jupiter-Zeus Pintura
I want to question the placement of women within rococo art; why did the artist choose to depict tension between females? How did the artist depict the female characters behaviour ; sexual tension of the underlying themes of sexuality in the enlightenment era? The paintings showcase the unusual placement of women; ‘female friendships’. I believe one can understand the tension within the paintings. Tension produced by the restrictions of love ;historical beliefs on sodomy project throughout the artworks.
Reventlow sisters, Countesses Hilda Sophie Charlotte and Malvina Anny Louise by August Heinrich Schiøtt ,1840
The Sisters by Federico Andreotti
15/02/20 The history of Anne Lister: Gentleman Jack
16/02/20 'Spot of Joy'
When we are attracted to someone, blood will flow to our face, causing our cheeks to get red. This happens to mimic the orgasm effect where we get flushed. It is an evolutionary way the body tries to attract the opposite sex. - HuffPost Sept 2013
When a woman blushes, it indicates that her heart is racing, making her blood flow faster. Her adrenaline is up and she is unconsciously showing interest in you!
Charles Darwin first referred to blushing as “the most peculiar and most human of all expressions,” in The Expression of the Emotions in Man and Animals
The blushing English rose - Emile Vernon
On Jean Auguste Dominique Ingres’s “La Grande Odalisque,” 1814: Nars Côte Basque Sheer Pop Multiple,
Spot of Joys within the British Baroque exhibition
19/02/20 Rococo Art Movement
Rocco - Visual research of theatrical art and architecture of the final expression of the Baroque movement
19/02/20 Analysing the romantic desire - The swing by Jean-Honore Fragonard
19/02/20 The swing by Jean-Honore Fragonard
19/02/20 Rococo Art Test Shoot
Outcome without dry brush effect
Outcome with Brush effect
22/02/20 18th Century Molly houses
22/02/20 Pussy Bows
23/02/20 Charles Jeffrey AW19
Charles Jeffrey explores a historic narrative of romanticism through his aw 19 experimentation. Using a refined series of textures and techniques he portrays the fragility of ‘femininity’ ; incorporating a romanticised queer outlook. I always take inspiration from Charles Jeffrey as he aims to tell the narrative of his garments and express the reasoning for his promotion. This is a concept I will embody through my part 3 experimentation , I will use my garments as a platform to express queer romanticism.
24/02/20 Thom Browne SS20
24/02/20 Dilara Findikoglu
Prior to this project I had surprisingly not heard of Dilara Findikoglu, since acknowledging her work I am obsessed with her design , aesthetic and narrative. Her work embodies my concept; I would love to produce work with the same recognition within queer culture.
Once more she project the narrative of her collection through the simplicity of make up , hair and styling. These are processes that I am most inspired by; I always start a project with a photoshoot or performance where I explore the hair and Makeup. I believe this is how I explore the narrative of my project ; by embodying my concept. In addition this makes me even more excited to start my BA in FDM; I can explore my designs as a concept brand , exploring how I will project my aesthetic and narrative.
Furthermore many of her collections take historical references , contrasting with modern day inspirations. This is a process I am exploring through my project. I feel inspired by Dilara’s detailing , each garment explores historical techniques with modern silhouettes to create a fusion of inspiration.
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29/02/20 Meadham Kirchhoff
01/03/20 Ashmolean Oxford
Visual research from my trip to the Ashmolean museum in Oxford - Exploring 18th century aesthetics
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19/03/20 18th century garment specs and pattern cutting
12/02/20 Romanticism in my daily travels
The romanticism of my commute:
I feel as if I somewhat paint a landscape through my commute. I witness the intensity of the expanding green fields engulfing the bus I ride. The weighted clouds parting to present the skies Turner painted. My commute eases my mind. The bus rides through mindful scenic fields ,making me forget the concrete path parting the fields. My bus optimises sunlight ; I can view the skies and fields. I forget I am being transported by man made machinery.
The fields curve around the earths core. I feel inspired by the forms produced my mounds of dirt. They project delicate lines of evolution. I can identity naturally formed prints produced by farmers taking care of their habitat. I feel an emotional connection to the lands core. I am a creature of the earth , I am moved by the earths rotation. Natural beauty emotionally connects me to the earths elements.
Everyday I view a pearlescent house, reflecting the suns rays. For years I have been intrigued by the White House hidden in the hills.Maybe now is the time to finally identify the architecture that moves me? I imagine the history these fields have witnessed.I daydream about the personalities that have experienced this landscape.I want to tell their narrative , play their life.
12/02/20 Romanticism within landscapes
Titan's Goblet by Thomas Cole
I am attracted to landscapes. I find beauty in the greenery of our land. I believe romanticism shown through landscapes depict a true sense of love and appreciation. These particularly paintings create a raw emotion of awe and lust for the beauty of our earth. Once more landscape artworks project a narrative of our earths history ; making me question what events occurred on this landscape that I now walk on? Who visited these landscapes? What emotions moved the artists to reconstruct natures beauty?
Apple Blossoms by John Everett Millais
Summer by Gunnar Berndtson The Bathing Pool, Hubert Robert, 1753-1808
The little mermaid by Christian Bimingham
The Tower of Babel by Pieter Bruegel
13/02/20 Cultural history of sexuality within mysticism
The garden of earthly delights introduced me to the portrayal of sexuality and eroticism within the Middle Ages. Now I want to explore sexual identity and gender throughout religious mysticism. I want to understand how sexual identity was portrayed. Medieval mysticism frequently identified non gender confirming ‘creatures’ , inhabiting multiples human limbs and representing an outcome past the gender binary. I find it hopeful to know that representation of humans beyond the binary were depicted.
“ The hermaphrodite and androgyny functioned as a multifarious sign whose median position invited authors to oscillate between sex and gender, body and behaviour, literary reference and experientialism”
'Hermaphrodites' within mysticism
hermaphrodite
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a person or animal having both male and female sex organs or other sexual characteristics, either abnormally or (in the case of some organisms) as the natural condition.
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of or denoting a person, animal, or plant having both male and female sex organs or other sexual characteristics."hermaphrodite creatures in classical sculpture"
14/02/20 Sappho of Lesbos
Poems of Sapphos: Girl Friends
EUNEICA
Aphrodite's handmaid,
Bright as gold thou camest,
Tender woven garlands
Round thy tender neck;
Sweet as soft Persuasion,
Lissome as the Graces,
Shy Euneica, lovely
Girl from Salamis.
Slender thou as Syrinx,
As the waving reed-nymph,
Once by Pan, the god of
Summer winds, deflowered.
On thy lips whose quiver
Seems to plead for pity,
Mine shall rest and linger
Like the mouth of Pan
On the mouth of Syrinx,
When his breath that filled her
Blew through all her body
Music of his love.
TELESIPPA
Sleep thou in the bosom
Of thy tender girl friend,
Telesippa, gentle
Maiden from Miletus.
Like twin petals shyly
Closing to the darkness,
Dewy on your drooping
Lids shall fall her kisses.
While her arms enfold you,
On your drowsy senses
Shall her soft caresses
Seal delicious languor.
Warm from her desireful
Heart the flush of passion
On your cheek unconscious,
With her sighs shall deepen.
All the long sweet night-time,
Sleepless while you slumber,
She shall lie and quiver
With her love's mad longing.
15/02/20 Albert Herter (1871-1950) Garden of the Herperides
"they are not strangers to be willing to seek unnatural pleasures with persons of their own sex".
15/02/20 The sexuality of Callisto (mythology)
15/02/20 Romanticism within Literature
Diana Bathing by François Boucher , 1742
Producing poetry is producing an artwork. I am in owe at the historical acts of love ; paintings of literature overload the senses of the lover. I receive artworks from Catarina ; she explores her emotional responses through literature. I am in love with her creative mindset. Once more I feel privileged to receive such deep acts of affection. I can identify a link between Sapphos’ poems of self expression and sexuality; she explores her underlying feelings of forbidden romanticism within literature.
Poems by Catarina Dias Silva
spot of joy:
i’ll let go of a prayer for you.
indigo has spread all throughout my heart
and now i’m so deeply blue.
your thoughts, your gaze and your words are art.
honey, you’re the sea
i never thought i’d float in.
you’re the ocean yet sweet
like the quality streets you give me.
your fragile lines, dainty and frown,
i would kiss them forever
if it weren’t for the pixels in between our screens.
i’m jealous of your plants
who get to be nurtured by your caring hands.
i don’t want to say i’ve predicted our future when i write open wounds on scars
so lets not keep words held in our chests
as there’s no need for sutures, in both ends.
we ran along wavering lights and crossed paths, on a bright street
now, we run park on the empty underground, finally.
my room remains colour blocked in red
long after you’ve left
because this hue holds the scent of you.
play me, baby.
these tonalities of love are deja vus from a sleepless dream.
parma violet knives
prick me, deathly eyes.
our dance was a film, effortless and blissful
loving you is simple.
move closer till we collide
moved lips, moved hips and a moved mind.
yesterday, i embraced cries of happiness and pride
as you wore beauty under-skirted in black, red and white.
yesterday, our city of words was seen from above
making our pirate smiles gleam of love.
you are the hands i felt that warmed my dreams and eased my fears
you are caressed hope i have waited for, for years.
February is filled with opportunity,
of shared arms in windy balconies,
of illustrated messages in cherry magazines
and hopefully two lockers in Kings Cross
in between our classrooms and the library.
i can’t believe the way we flow:
what colour was i before i moved you?
i think i remember i was tender pink
and now i understand why.
you make me paint myself a tonality of summer i didn’t know i desired:
a shade of missed sunlight during winter time.
lucky is my skin, to be adored by your rays of sunshine,
lucky are my lips, my legs and my hips
to be intertwined by the celestial beauty of your body and mind:
an eclipse.
i want you to know: my shoulders are home
for your head to rest
when we’re underground and alone.
o, and the moon has been full
and i’m sure it’s because of you
my bites haven’t chipped the tears you drew
for my sickening aged habits and me.
i love you for caring, for breathing
and i love you, simply, for existing.
is this how certainty feels?
hidden away in between violet hair strings?
i only know i know entirety
i know it well and i know it deeply,
especially since you’ve moved me utter and profoundly.
16/02/20 Katharine Phillips
To my Excellent Lucasia , on our Friendship.
I did not live until this time
Crowned my felicity –
When I could say without a crime
I am not thine, but thee.
This carcass breathed, and walked, and slept,
So that the world believed
There was a soul the motions kept;
But they were all deceived.
For as a watch by art is wound
To motion, such was mine:
But never had Orinda found
A soul till she found thine
Which now inspires, cures and supplies,
And guides my darkened breast:
For thou art all that I can prize,
My joy, my life, my rest.
No bridegroom’s nor crown-conqueror’s mirth
To mine compared can be:
They have but pieces of this earth,
I’ve all the world in thee.
Then let our flames still light and shine,
And no false fear control,
As innocent as our design,
Immortal as our soul.
17/02/20 My Last Duchess by Robert Browning
Lucrezia de' Medici, by Bronzino
My Last Duchess - Robert Browning
That’s my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Fra Pandolf’s hands
Worked busily a day, and there she stands.
Will’t please you sit and look at her? I said
“Fra Pandolf” by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, ’twas not
Her husband’s presence only, called that spot
Of joy into the Duchess’ cheek: perhaps
Fra Pandolf chanced to say “Her mantle laps
Over my lady’s wrist too much,” or “Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat”: such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart—how shall I say?—too soon made glad,
Too easily impressed; she liked whate’er
She looked on, and her looks went everywhere.
Sir, ’twas all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace—all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men,—good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody’s gift. Who’d stoop to blame
This sort of trifling? Even had you skill
In speech—(which I have not)—to make your will
Quite clear to such an one, and say, “Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark”—and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and made excuse,
—E’en then would be some stooping; and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene’er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will’t please you rise? We’ll meet
The company below, then. I repeat,
The Count your master’s known munificence
Is ample warrant that no just pretence
Of mine for dowry will be disallowed;
Though his fair daughter’s self, as I avowed
At starting, is my object. Nay, we’ll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!
17/02/20 Catharine Gray Lady Manners
18/02/20 British Baroque : Power and Illusion
British Baroque : Power and illusion
Tate Britain
Placement of Females
Use of animals
The Romanticism of Framing
Colour Palette
18/02/20 Colour Journey of the Tate Britain
20/02/20 Female Friendship Photoshoot
21/02/20 The romantics of animals within Rococo Art
The Scent - Charles Spencelayh Portrait of a princess wearing the imperial star cross order (Sternkreuzorden) with her pet dog
Whilst researching into Rococo Art I identified the re occurent inclusion of animals within paintings. I believe animals , in particular dogs are used as an accessory for romance. The use of a dog shows fondness and delicacy with love ; a fragile love that will be applied from dog to human. A dog shows vulnerability and empathy. If one is projected to show affection to a dog then historically they are ‘emotionally suitable’ for romance. I would like to further explore this concept of dogs as an aid to romance.
Marie Pomponette Reine de France, painted by the famous Elisabeth Pepée Lebichon
Girl with a Dog - Jean-Honore Fragonard Young Woman Fastening a Letter to the Neck of a Pigeon - Johann Christian von Mannlich
The Souvenir by Jean-Honoré Fragonard
23/02/20 Lap Dogs in the Enlightenment era
A 17th-century engraving of a poodle
A toy Spaniel, a dwarf Spitz and a Maltese next to a basket (1855) by Johann Friedrich Wilhelm Wegener
Princess Ekaterina Dmitrievna Golitsyna with a Pug, 1759.
Historically , a dog shows vulnerability , a metaphor for a women’s openness to affection. I believe lapdogs are seen as an accessory rather than a companion or pet. I want to explore the objectifying historical projections of dogs within the enlightenment era. I can identify a similarity between the restrictions of women’s romance and the obeying nature of lapdogs ; Submissive personalities.
I can identify many similarities between Rococo Art and the vulnerability of lapdogs as an accessory to romance. Therefore I decided to visually explore these links. I am thoroughly inspire by the similarities of aesthetics between poodles and Rococo art. Social pressures for women to present themselves fit for a Rococo artwork alongside human dictation that a lap dog must fit within the social historical expectations. In particular I find a link between obsessive beauty standards for poodles through best in show competitions and the high standards of historical female etiquette. I believe this visual research is a very interesting starting point to refine my concept.
Similarities between Lap Dogs and Rococo Art
25/02/20 Poodle Best In Show Competition
Extreme Poodle grooming
“ Picasso had his white canvas , I have my white dog”
I am intrigued by the delusional yet ‘entertaining’ culture of extreme competitive poodle grooming. I believe this ludicrous industry shows a direct link between my concepts of 17th century romanticism through poodles and kitschy queer culture. Although I do not agree with dog grooming , I am fascinated by the sculptural and artistic outcomes produced. I will take my main inspiration from the kitschy colour palettes and patterns produced , using the poodles as a stimulus for camp and kitschy expression.
I find it hard to comprehend the mindset of the poodle owners ; I have to question their morals and ethics if they will purposefully harm their dogs for the purpose of ‘art?’
25/02/20 Extreme poodle grooming documentary
26/02/20 Pam Hogg
SS20
AW19
Pam Hogg depicts a fragment of my research into competitive dog grooming through collections.I am hugely inspired by her portrayal of concepts. She allows herself to emphasise a kitschy aesthetic and enjoy the experimental process of design.In my opinion I do not like her final outcomes as I ironically think they are too kitschy. However I can appreciate her design and concept process.
27/02/20 Tulle: Molly Goddard
Fabric analysis: Tulle
I am fascinated by the theatrical exaggerated impact Tulle has on the aesthetics of a garment. I can identify the historical use of tulle within oversized silhouettes of the 17th century; crinolines and ‘heaths’. I would like to use tulle within my work to help achieve an overemphasised silhouette whilst portraying fragility within romanticism. However I do not like the texture and finish produced by tulle , I believe it can look cheap and tacky. Therefore I want to experiment sampling with tulle to gain an understanding of the malleability of the fabric. Once more this will help me identify if I like the aesthetics and finish produced. I will explore designers and historical uses of tulle to help me justify my decision.
Molly Goddard’s exaggerated silhouettes and forms showcase the simplistic yet effective use of tulle. Goddard famously incorporates tulle within all her garments showcasing a delicate skilful approach to using tulle ; this is a technique I would like to explore. However I am concerned about the harsh texture of tulle, I want my garment to have a welcoming tactile nature. I want my audience to feel enticed by the soft and welcoming tactility. Therefore I am concerned that tulle may not fulfil these requirements.
28/02/20 Pleather and queer leather culture
Analysis of fabric: Pleather and queer leather culture
To help me identify the correct materials for my project, I am analysing the properties and connotations of certain fabrics. I wanted to explore the queer and labouring history of leather. However whilst producing samples I opted for a vegetarian equivalent of pleather.
I believe Leather has many connotations ; a hard wearing, durable fabric used for heavy duty uses. I can find many uses of leather within 17th century history , in particular its use within manual labourers. Furthermore historically leather was featured within animal accessories ; horse and dog harnesses. I am particularly interested in the use of leather within dog leashes. I want to explore how I can use dog leashes to depict queer leather culture. I am planning to explore the restraining nature of leashes through video or photographic experimentation.
Once more leather is widely known for its symbolism within the queer community. I decided to research into queer leather culture to accompany my research into leather dog restraints. Leather depicts huge symbolism within the uprising of queer culture ; merging into themes of masochism and domination. I want to include aspects of leather culture within my work, it will create a huge contrast to my gentle research into romanticism. This is a concept I want to showcase : the various aspects of queer culture and its contrasting nature.
I can make a link between queer leather culture and my collaboration with Catarina; our projects both explore restraints however I will look at this topic from my research into harnessing dogs. Where as Catarina is exploring the topic of restraints through masochism and sex.
I showcased the contrast of themes through my pleather sampling ; using the delicate ruffles of dog rosettes to produce a ‘kinky’ restraining rosette. I want to further develop this sample as I can view a lot of potential into future design ideas. I love using pleather whilst creating contrasting connotations. I love to contrast themes within my work.
03/03/20 Human Puppies
05/03/20 Crufts
Crufts 2020
To gain an educated understanding of competitive show dog competitions I watched crufts. Crufts is an annual dog show , exploring grooming , agility and analysis of breeds. Therefore I found this very informative and useful for my project. I gained information about different breeds of poodles and how the differ. I believe this will provide useful knowledge when producing textile samples ; I want to take texture inspiration from crufts. Once more my visual research into dog grooming , gave me inspiration for silhouettes and forms. Crufts has made me justify my experimental research into rosettes due to their high regard. I will continue to explore the texture silhouettes of rosettes whilst using my knowledge of dog breeds for texture inspiration.
07/03/20 Aubrey Beardsley
Aubrey Beardsley
My knowledge of Aubrey Beardsley appeared during experiencing the Tim Walker ‘Wonderful Things’ exhibition. However I gained a greater understanding of the provocative manner of his artworks when I attended a lecture by Tim Walker. Beardsley pushed the boundaries of the 18th century by producing subtle homoerotic kink positive engravings. His fine fragile use of ink contrasts with the heavily controversial themes he explored. I feel very inspired by Beardsley’s seductive acts of queer romanticism. Furthermore I feel inspired to collage with Beardsley’s work; creating an array of subtle queer art.
09/03/20 Kitsch
Kitschy aesthetic
I want my garment to portray a kitschy 17th century queer aesthetic. I will purposefully create somewhat un-tasteful prints and textures to represent the kitschy aesthetic I want to portray. I have gathered a wide range of sources to fund my mood board; majority sources from baroque artworks and ceramics. I want to merge my research into dog grooming and rococo art to produce an exaggerated garish effect. I want to clarify that I am not aiming to produce a naff and disgusting outcome. I will take aspects from my derided kitschy aesthetic that I find beautiful and transform them into my new setting. I will merge rococo Kitsch and queer culture aesthetics.
Bubblegum poodle by Johnny Evans Unused look by Jamie-maree Shipton
Moschino FW 20/21
12/02/20 18th century kitsch in colour
Eighteenth Century French Fashion in full colour from the 'galerie des modes' by Stella Blum
18th century Camp style
A selection of camp engravings from 18th century publications