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The Wandering Libido and the Hysterical Body. Hans Bellmer in The Art Institute of Chicago: The Wandering Libido and the Hysterical Body. In one image, for example, the doll is a tragic amputee, armless and tied on a shadowy stairway with frayed twine. Hans Bellmer. Plate 1. Les Jeux de la poup. Paris, Les Editions premi.
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The Imp of the Perverse. IN THE consideration of the faculties and impulses -- of the prima mobilia of the human soul, the phrenologists have failed to make room for. The Menil Collection in Houston, Texas Loading. The Menil Collection The Menil.
Hand- colored black- and- white photograph. With a second (reversed) pelvis substituting for its chest, the doll is given buttocks for breasts, and these seem incongruously large, considering the undeveloped pudenda and the juvenile hair- bow. The doll's left leg is bound at the knee, while the right thigh ends abruptly in midair, exposing a hollow core. All is passive, inert: one hand lies limply against the banister, and a blank, unseeing eye suggests a loss of consciousness.
Who, one wonders, is responsible for the naked and abject condition of the doll? Plate 9 of Les Jeux de la poup. Paris, Les Editions premi. Hand- colored black- and- white photograph. Here the doll is composed of two sets of hips and legs—with feet shod in shiny Mary Janes—around the central ball joint of the exposed abdomen. Some kind of sexual struggle seems underway, yet the remains of a meal on a table next to the bed give a sense of satiation, and perhaps the pants have been loosened merely to ease the pressure on a bulging stomach.
Such ambiguous readings are not easily resolved, and in fact the power of these photographs often resides in the coexistence and confusion of the perverse and the banal. The peculiar combination of male and female in the postprandial image has prompted speculations about hermaphrodism, while Bellmer scholar Therese Lichtenstein noticed . Indeed, the uncertainty of the child about the possibly violent . The elevated point of view has a destabilizing effect, tipping the floor toward the picture plane so that food, figure, and mattress seem about to slide off to the lower left.
The feeling of vertigo is exacerbated by the insistent downward- left direction of the stripes on the bed covers and tablecloth, the knives on the empty plate, and the fringed edges of the carpets. In late 1. 93. 5 or early 1. Bellmer sent a number of the photographs of the second doll to Paris, where they were received by Breton, Paul . Ten years passed before the full collaborative work was published, by Editions Premi. The Art Institute owns number 1. Paris, Les Editions premi. Fifteen hand- colored black- and- white photographs by Bellmer tipped in, fourteen verses by .
Black construction- paper cover over board with pink construction- paper belly band, ed. On the black construction- paper cover of the book, the artist affixed an image of the second doll, reduced to its spherical belly radiating two pelvises; Bellmer cut the image out of a black- and- white photograph and hand- colored it in yellow and purple. A pink band wraps around the cover, indicating the book's authors and title. Just as he had included .
He had written the latter essay—bizarre and convoluted, in a pseudoscientific tone—in German in 1. Georges Hugnet to translate it into French in 1.
Paris: Editions Jeanne Bucher, 1. Text by Hugnet with twenty- five hand- colored illustrations by Bellmer. Printed in heliogravure and bound with pink paper and a white paper doily, ed. Adding to the object's synaesthetic allure, the first thirty copies of the edition of two hundred and thirty were impregnated with perfume. In certain illustrations, girls are shown innocently engaged, with hoops and diabolos, riding on scooters, in pleated skirts or jumpers; in some instances, however, they are naked, with articulated, doll- like bodies, or are clad in seductive undergarments and high- heeled boots. Projecting his own prurience onto his subjects, Bellmer included one drawing of a girl, legs lifted, examining her genitals in an ornate mirror. There is also something suggestive, moreover, about the book's peculiar title.
The original French phrase, oeillades cisel. Embedded in this punning, found phrase are implications of the desiring male gaze and perhaps, too, wishes to .
On page 2. 8 of the book, an articulated female doll, naked except for a filmy blouse, thigh- high stocking, and lace- up boot, is shown seated at a round table, holding an apple aloft in one hand. Unauthorized use is prohibited. Ryerson and Burnham Libraries.
The Art Institute of Chicago.