Felix d’Eon

emArts & Culture, Mixed & Random 9 Comments

Felix D’Eon is a gay artist from Mexico City. His paintings are delirious fantasies, like fairy tales in the most exuberant book. With the one startling catch that, for all their convincing illusionism, they represent images of queer love.

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His paintings celebrate queer desire in an unabashed and unembarrassed form, speaking in a language commonly associated with the status quo, and projecting into the past a gay sensibility which surly existed, but which could never before have been given voice.

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His beautiful fantasies re- claim a language which had been long denied us, and in the telling create a dream of queer love and sensibility, in which any shame surrounding same sex love and sexuality is stripped away.

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His work allows, in the imagination, a past which could not have been to come into existence, and he fervently hopes it will play its small role in allowing fantasy to become reality; that his fantasy of the past will instead become a promise of what is to be.

Transforming the hidden messages of art | Felix D'Eon | TEDxMexicoCityWomen

Sculpture Saturday *24

emArts & Culture, Sculpture Saturday 1 Comment

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Known in English as the Lucifer of Liège, its actual title is Le génie du mal The Genius of Evil. It was carved by Belgian sculptur Guillaume Geefs in 1848, and it depicts a tortured yet beautiful young man. As idealized as his image is, he is actually a replacement of another Lucifer carved by Guillaume’s younger brother Joseph a few years prior.

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Joseph’s sculpture, L’ange du mal (or The Angel of Evil), was installed in the Cathedral in 1842, but church officials thought that his depiction was too beautiful and a bad influence on the church youth, so his big brother Guillaume was commissioned to come up with a replacement statue that wasn’t so… distracting.

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Muse Monday *45

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Nude Study of Thomas E. McKeller by John Singer Sargent (1856-1925)

The ravishing Nude Study of Thomas E. McKeller (1920) is one of Sargent’s most arresting works. In a provocative departure from his society portraits, McKeller appears completely nude, his genitals a focal point, his tilted head captured in ecstasy.

The story begins in 1916 when, tired of being typecast as the elite’s portraitist, Sargent accepted a commission to paint the murals for Boston’s Museum of Fine Arts. Sargent, who was 60 at the time, struck a conversation with Thomas McKeller, a hunky 26-year-old Black elevator operator, and asked him to become his model on the spot.

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