| 词条 | Toyen |
| 释义 |
In 1923, they were reborn when their new name was given to them, in an attempt to de-gender them. The name Toyen was derived from the French word 'citoyen,' meaning citizen.[2] Toyen favored the gender-neutral name and would speak czech in the masculine singular form.[3] Vítězslav Nezval wrote that Toyen "refused... to use the feminine endings" when referring to themself. [4] Quotes"Farewell I am a sad [male] painter" (1923). [4] “You’ll have me and you won’t have me, keeping vigil, a nightlight looming up from the very depths of the chapels of Eros scouring the country, displaying as far as the eye can see for you alone the undersurfaces of owlet-moths. And towards you, from their beds livid swamp, your sweethearts, their blood has only circulated once, will describe in vain a thousand convulsive graphs, as for me I shall only need to slip in order to make the fuchsia seeds and Fuseli’s bubbles sprout in your heart. It is for you that my head turns upside down beneath the comb’s high radar. I advance between light and darkness to meet you: do with me whatever you do not want. If the lower edge of my veil becomes covered with hoar-frost at the crossroads, on no account raise it, it would cost you the shadows of memory, but kiss my cherry-red slipper" (1958). [5] BiographyFrom 1919 to 1920, Toyen attended UMPRUM (Academy of Arts, Architecture and Design) in Prague to study the decorative arts.[4] They worked closely with fellow Surrealist poet and artist Jindřich Štyrský until Štyrský's death. Toyen joined the Devětsil group in 1923 and exhibited with them. The group was inspired by the poetry of Paris and would lead Toyen toward Artificialism. Other members of the group included: artists and writer Jindřich Štyrský, future Nobel prizewinner Jaroslav Seifert, the constructivist architectural theorist Karel Teige, and the poet František Halas. In the early 1920s Toyen traveled to Paris, and soon returned there with Štyrský to live in exile. While living in Paris, the two founded an artistic alternative to Abstraction and Surrealism, which they dubbed Artificialism. Artificialism was defined by Toyen and Štyrský in a leaflet for an exhibition as "The identification of the painter with the poet," where the artist creates poetry without using language.[4] The two would return to Prague in 1928. Toyen's sketches, book illustrations, and paintings were frequently erotic. They had an interest in erotic humor, combining themes of both pleasure and pain. Their imagery often featured disembodied female figures as well as parts of male bodies like genitalia. [2] Their work featured female faces since they focused on the experiences of women.[4] Toyen contributed erotic sketches for Štyrský's Eroticka Revue (1930–33). This journal was published on strict subscription terms based on a circulation of 150 copies. Štyrský also published books under the imprint Edice 69, some of which Toyen illustrated. For example, they illustrated the Marquis de Sade's Justine. Also of note, they contributed pieces in Die Frau als Künstlerin, Woman as an Artist, the prestigious 1928 survey of women artists in Western civilization. In 1930, Toyen would illustrate The Purple Land by W. H. Hudson and that same year design for Charles Vildrac's L'lle rose.[3] Toyen and Štyrský gradually grew more interested in Surrealism. After their associates Vítězslav Nezval and Jindřich Honzl met André Breton in Paris, they founded the Czech Surrealist Group along with other artists, writers, and the composer Jaroslav Ježek. They co founded the Surrealist group in Prague in 1934. Forced underground during the Nazi occupation and Second World War, they sheltered their second artistic partner, Jindřich Heisler, a poet of Jewish descent who had joined the Czech Surrealist Group in 1938. The two permanently relocated to Paris in 1947, before the Communist takeover of Czechoslovakia in 1948. In Paris, they worked with André Breton, Benjamin Péret, once they joined the Parisian Surrealists. Toyen would continue to work in the publishing world, getting commissioned by poets and other writers to illustrate their works. Exploring Sexuality and Gender in SurrealismToyen's artistic identity centered around gender issues and sexual politics. This would have been considerably difficult considering the surrealist movement was male-dominated and was known to be sexist.[6] Toyen was labelled as a woman at birth, but they didn't identify as so. Some people compare them with "other Surrealist women" (Claude Cahun, Leonora Carrington and a handful of others.[7] ), but they were not, in fact, a woman. While Cahun examined the fluidity of gender roles, Toyen often dressed in men's clothing and preferred masculine signifiers,[8] choosing a non-conformist position when it came to gender and sexuality, themes heavily mined in Surrealist art.[9] They were considered a New Woman because they worked, wore pants, and smoked[9]. They address gender and sexuality in humor and fantasy-erotic illustrations. Concurrently, Toyen allowed themself to be hypersexualized by their peers.[6] Surrealists believed that humans are sexual beings and linked sexuality to artistic creativity. They deemed sexuality as the center of citizenship, where genitalia is seen as the center of vitality.[10] Scholarship claims that Toyen was labelled a lesbian, but entered partnerships with men in their lifetime. According to Huebner, it is best to see them as queer and not attempt to categorize their sexuality or gender.[4] Toyen was described as "ambiguously gendered self-presentation," by dressing androgynous or as a cross-dresser. Additionally, they were reported as walking in an unfeminine way and were known to be attracted to woman as well as men.[3] ReferencesScholarship
External links
13 : 1902 births|1980 deaths|Artists from Prague|Czech printmakers|Women surrealist artists|Modern printmakers|LGBT people from the Czech Republic|LGBT artists from the Czech Republic|20th-century Czech painters|20th-century artists|French erotic artists|20th-century printmakers|Burials at the Cimetière des Batignolles |
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