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H EROTICISM, IDENTITY, and CULTURAL CONTEXT: TOYEN and the PRAGUE AVANT-GARDE by Karla Tonine Huebner BA, University of Califor

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H EROTICISM, IDENTITY, and CULTURAL CONTEXT: TOYEN and the PRAGUE AVANT-GARDE by Karla Tonine Huebner BA, University of Califor EROTICISM, IDENTITY, AND CULTURAL CONTEXT: TOYEN AND THE PRAGUE AVANT-GARDE by Karla Tonine Huebner BA, University of California at Santa Cruz, 1981 MA, American University, 2002 Submitted to the Graduate Faculty of The School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2008 h UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Karla Tonine Huebner It was defended on December 8, 2008 and approved by Helena Goscilo, Professor, Slavic Languages and Literatures Kirk Savage, Associate Professor, History of Art and Architecture Terence Smith, Andrew W. Mellon Professor, History of Art and Architecture Dissertation Advisor: Barbara McCloskey, Associate Professor, History of Art and Architecture ii Copyright © by Karla Tonine Huebner 2008 iii EROTICISM, IDENTITY, AND CULTURAL CONTEXT: TOYEN AND THE PRAGUE AVANT-GARDE Karla Huebner, PhD University of Pittsburgh, 2008 This dissertation situates the life and work of the artist Toyen (Marie Čermínová, 1902–80), a founding member of the Prague surrealist group, within the larger discourses of modernism and feminism/gender studies. In particular, it explicates Toyen’s construction of gender and eroticism within the contexts of early twentieth-century Czech feminism and sex reformism, the interwar Prague avant-garde, and Prague and Paris surrealism. Toyen’s interest in sexuality and eroticism, while unusual in its extent and expression, is intimately related to her historical and geographic position as an urban Czech forming her artistic personality during first a period of economic boom, avant-garde optimism, increased opportunities for women, and sex reformism, and then a period of economic crisis, restriction of women’s employment, social conservatism, and tension between the subconscious and the socialist realist. Toyen’s ambiguously gendered self- presentation, while again unusual, needs to be considered in light of her enthusiastic reception within three predominantly male avant-garde groups (Devětsil, Prague surrealism, and Paris surrealism). I stress that the social and cultural environment of her childhood and youth created an atmosphere that enabled her to pursue lifelong personal interests and obsessions in a manner that was unusually public for a female artist of her generation. As a case study of one artist working within a specific avant-garde movement, this project contributes to critical re-evaluation of surrealism, the Central European contribution to modernism, and the role of female artists in the avant-garde. This intervention in the history of iv surrealism makes its intellectual contribution by changing our perception of the movement, giving vivid evidence of the Prague group’s difference from and influence on the Paris group, and presenting a more complex and nuanced view of women’s role in and treatment by surrealism. This dissertation employs a mixed methodology that combines investigation of historical context with aspects of feminist, psychoanalytic, iconographic, and semiotic approaches. No previous study of Toyen or the Czech interwar avant-garde has been done in this manner. v TABLE OF CONTENTS PREFACE .................................................................................................................................... XI 1.0 INTRODUCTION ........................................................................................................ 1 1.1 RATIONALE AND APPROACH ...................................................................... 3 1.2 TOYEN IN THE LITERATURE ....................................................................... 9 1.3 THE MYTH OF TOYEN .................................................................................. 21 1.3.1 The Construction of Toyen as Mysterious Other. ...................................... 22 1.3.2 Toyen as Androgyne ...................................................................................... 26 1.3.3 Toyen in the Eyes of the Surrealists ............................................................. 33 1.3.4 Toyen Outside the Myth ............................................................................... 38 2.0 TOYEN’S EARLY INFLUENCES: FEMINISM, ŠTYRSKÝ, AND THE DEVĚTSIL GROUP ................................................................................................................... 41 2.1 THE ABANDONED CORSET: CZECH FEMINISM .................................... 45 2.2 THIS IS INEVITABLE: TOYEN’S PARTNERSHIP WITH ŠTYRSKÝ ... 53 2.2.1 Toyen and Štyrský as Working Artists....................................................... 59 2.2.2 Gender Exchange ........................................................................................... 64 2.3 OUR WORLD: DEVĚTSIL ............................................................................... 67 2.3.1 Poetism and Picture Poetry .......................................................................... 74 2.3.2 Devětsil and the Surrealism of Ivan Goll .................................................... 81 vi 2.3.3 Devětsil between Moscow and Paris ............................................................ 84 3.0 TOYEN IN PARIS 1925-1928 ................................................................................... 90 3.1 CIGARETTE SMOKE: CZECHS IN PARIS .................................................. 91 3.2 SEX IN PARIS ................................................................................................. 101 3.3 PROMETHEUS: EARLY PARIS SURREALISM ....................................... 107 3.4 FINIS TERRAE: ARTIFICIALISM ............................................................. 116 3.5 MELUSINE: SURREALIST APPROACHES TO WOMEN AND SEXUALITY ..................................................................................................................... 126 3.5.1 Convulsive Beauty, Mad Love, and Desire ............................................... 130 3.5.2 Versions of the Muse ................................................................................... 133 3.5.3 Surrealism and the Marquis de Sade ......................................................... 137 3.5.4 Fetishization and the Phallic Woman ........................................................ 140 3.5.5 Czechs and the Informe .............................................................................. 143 3.6 NEITHER SWAN NOR MOON: WOMEN ON THE VERGE OF ATTRACTION TO SURREALISM ............................................................................... 146 3.6.1 Women’s Imagery........................................................................................ 150 3.6.2 True Surrealists? ......................................................................................... 154 4.0 SEX IN THE CZECH CONTEXT ......................................................................... 156 4.1 SEXOLOGY AND PSYCHOANALYSIS ..................................................... 157 4.1.1 Freud ............................................................................................................. 163 4.1.2 Rank .............................................................................................................. 165 4.1.3 Reich ............................................................................................................. 168 4.2 CZECH GENDER IDENTITY ...................................................................... 172 vii 4.2.1 The New Woman ......................................................................................... 173 4.2.2 Sexual Minorities ......................................................................................... 178 4.3 HYGIENE AND SEX-REFORMISM ........................................................... 181 4.3.1 Interwar Czech Sex Reform in Print ......................................................... 184 4.3.2 Female Sexuality .......................................................................................... 190 4.3.3 Dance............................................................................................................. 194 4.4 THE CZECH EROTIC ................................................................................... 198 4.4.1 Fin-de-Siècle Eroticism ............................................................................... 202 4.4.2 Czech Surrealist Erotic Projects ................................................................ 208 5.0 THE TURN TO SURREALISM ............................................................................ 222 5.1 VOICE OF THE FOREST: THE CZECH RECEPTION OF SURREALISM 223 5.1.1 The Literary Lineage................................................................................... 225 5.1.2 The Second Manifesto and the Generation on Two Chairs ..................... 230 5.1.3 Poesie 1932.................................................................................................... 236 5.1.4 The Ehrenburg Fracas ................................................................................ 238 5.2 CHAIN OF HAPPINESS: THE FORMATION OF THE PRAGUE SURREALIST GROUP ................................................................................................... 241 5.2.1 Breton in Prague .......................................................................................... 246 5.2.2 Czechs in Paris ............................................................................................. 250 5.2.3 Czech Precursors ........................................................................................
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