What follows is excerpted from a longer piece that will soon appear in The Line of Dissent, a collection of the author’s essays published in this magazine over the years. Some of the material that follows has previously appeared in these pages (in 2017)—in a three-part essay on impresario Lincoln Kirstein, who cofounded the New York City Ballet with George Balanchine—but much of it is brand new.
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The Communist Party attracted a wide array of progressives: labor and union organizers, garment workers, farm workers, miners, steel workers, artists, and entertainers. Official membership peaked in the late 1940s, then declined after 1947 during the Cold War. The postwar “Red Scare,” a Communist witch hunt, was concurrent with a “Lavender Scare”—an attempt to purge “sex perverts” from the government.
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John Amos Chaffee was born in 1823 in Woodstock, Connecticut, and Jason Palmer Chamberlain two years earlier in Windsor County, Vermont, but they met in Worcester, Massachusetts, where Chaffee worked as a wheelwright and Chamberlain as a carpenter. The attraction was immediate and mutual, and they pledged to spend their lives together, but New England was not a welcoming place for men who loved men.
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“I PAINT PICTURES which don’t exist and which I would like to see” (“Je peins des tableaux qui n’existent pas et que je voudrais voir”). That is how Léonor…More
Detested by most of his contemporaries and undervalued by his immediate posterity, [Jean] Lorrain’s amalgam of lowlife culture and preciosity, of exhibitionist journalism and artistic aspirations, has come to be seen as forerunners of Jean Cocteau and Jean Genet. His musky writing may be an acquired taste, but, then, so is caviar.
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The Grand Affair is not reductive; it’s a full-scale, fascinating story of an exceptional artist, informed by the new freedom to discuss homosexuality in a way that was not possible before. And it makes a persuasive case that Sargent, whether or not he acted on his feelings, was drawn to other men.
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Bonheur painted herself into The Horse Fair as a participant, dressed in the standard attire of the other (all male) riders.
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Gustave Courtois was born in 1852 in the tiny town of Pusey in eastern France, about 35 miles north of Besançon. He was raised by his single mother, Jeanne Jobard, a laundress who hardly made enough money to pay the bills. Thanks to his remarkable artistic talent, he received a scholarship in the spring of 1869 to join the atelier of Jean-Léon Gérôme, a renowned Orientalist painter and professor at the prestigious École des Beaux-Arts in Paris.
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The Benedick opened its doors in the autumn of 1879. It offered 33 apartments for unmarried men and included on the top floor four artists’ studios available for rent, studios that were accessible via that sine qua non of New York sophistication: an elevator.
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In Caillebotte’s first major painting, The Floor-Scrapers, men are depicted laboring in a bourgeois apartment. Kneeling, their arms extended before them, their torsos bare, the men are depicted in remarkably submissive poses. Such a presentation flew in the face of traditional concepts of manhood and its artistic representation, and the canvas was rejected by the jury of the 1875 Paris Salon.
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