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Catalogue of His Famous Collection the Bode Museum (Fig THE SECOND GLANCE All Forms of Love Supported by Co-funded by In cooperation with In Collaboration with 1 All Forms of Love TABLE OF CONTENT 3 Survey of Labelled Objects 4 Introduction 7 Path 1 – In War and Love 12 Path 2 – Male Artists and Homosexuality 19 Path 3 – Art of Antiquity and Enlightened Collecting 22 Path 4 – Heroines of Virtue 28 Path 5 – Crossing Borders 32 Terminology 34 Suggested General Reading and Internet Sources 35 Imprint Cover: Giambologna (1529–1608) Mars gradivus, ca. 1580 © Skulpturensammlung und Museum für Byzantinische Kunst der Staatlichen Museen zu Berlin / Jörg P. Anders. 2 All Forms of Love SURVEY OF LABELLED OBJECTS 1 IN LOVE AND WAR The first path analyses the represen tation of the 210 heroic soldier and the boundaries between 261 209 masculine prowess and bisexuality 211 208 Small Dome 213 212 214 216 215 258 219 2 218 221 217 257 222 220 MALE ARTISTS AND 223 256 246 225 Gobelin 224 Room 255 245 244 252 254 243 HOMOSEXUALITY 226 242 241 The second path deals with works made by male Great 236 250 240 Dome 249 239 homosexual artists or those close to this group 238 237 235 234 233 232 3 ART OF ANTIQUITY 141 AND ENLIGHTENED 106 139 107 Small Dome 108 COLLECTING 109 Male homosexual collectors are the focus of the third path 110 Basilika 134 111 114 113 Kamecke 132 125 4 Room 131 129 130 115 124 HEROINES Great Dome 128 123 122 OF VIRTUE 121 The fourth path concentrates on the representation of women’s intimacy and female-to-female sexual affection Entrance 5 CROSSING Small Dome BORDERS Access Crypt The fifth path introduces both historical characters and 072 interpretations of gender reassignment and gender ambiguity 073 038 3 THE SECOND GLANCE Exhibition 1: Introduction All Forms of Love 1 Zacharias Hegewald (1596–1639) Adam and Eve as Lovers, ca. 1530 Marble, 29,5 x 15,3 cm Inv. Nr. 3120, on loan from the Würth Collection. © Archiv Würth The project »The Second Glance« country every man must get to But an exceptional tolerance in these aims to present the Bode Museum’s heaven in his own way«. Already in earlier times should not be idealised. collection from new and different 1794, the Prussian state recognised Although the representation of love perspectives, which are usually not the right of intersexual citizens to and affection has been a recurrent included in the conventional art freely choose the gender they want- topic within the history of art, the history discourse. The first of these ed to belong to and, consequently, expression of sexual love has usually viewpoints, All Forms of Love, is to be legally judged under the chosen been considered a taboo in human rooted in the history of the city of sex. Only a short time after, plan- history. Indeed, museums were, and Berlin and its open-minded and ning began for the first exhibition often still are, places where this aspect tolerant attitude; as reflected in King hall in the town, this being the germ was not particularly emphasised. Frederick the Great’s (1712–1786) of the present Staatliche Museen zu famous quote from 1740: »in this Berlin. 4 Introduction 2 Leonhard Kern (1588–1662) Vision of Ezechiel, ca. 1640/50 Alabaster, 72 x 84 x 13 cm Inv. Nr. 8482 © Skulpturensammlung und Museum für Byzantinische Kunst der Staatlichen Museen zu Berlin / Antje Voigt It is often overlooked that none of over, they even seem to lie together. between two women or two men can the works of art in the Bode Museum But their sexual attributes, the be homosocial (social relationships was created with the intention of genitals, are covered with a piece between persons of the same sex) being exhibited here one day. Every of cloth held by two pegs as they and / or homosexual. The dividing work of art kept in this museum was are not supposed to be seen at first line between the expression of originally created as a reaction of its glance, at least not by us. friendship or romantic love and creator to a particular context. The sexuality was and still is very vague. presentation in a museum, however, On the other hand, heterosexual In some countries two male friends gave these objects a unique aura that relations have also been integrated commonly hug and kiss as a sign of encouraged misguided interpreta- in the Bode Museum’s collection as friendliness, or two female friends tions. After all, from the moment secondary topics within more complex can walk hand in hand without this they were created, they were ex- scenes, only perceptible to those viewers implying any sexual attraction. The posed to a wide variety of interpre- willing to give them a second glance. impression would be much the tations: by the artist himself, by the In Leonhard Kern’s (1588–1662) opposite when ignoring the cultural client, and by each and every one Vision of Ezekiel, an illustration of context. In other countries the of the millions of viewers who have the resurrection of the dead, the language does not even distinguish seen them to this day – including biblical scene is even difficult to between sexual love and any other yourself. recognise as the prophet fades into type of love. In English, the expression the background of the composition »I love you« can be equally directed The Bode Museum houses many due to the prominent position taken to a sexual partner, to a friend, or to examples where the expression of by the naked couples rising from a member of the family – some- an erotic and sexual desire can only the dead (fig. 2). thing unthinkable for instance in be recognised at second glance. For German, where the expression »Ich instance, around 1530 Zacharias Both Hegewald and Kern have repre- liebe dich« until recently automati- Hegewald (1596–1639) sculpted in sented heterosexual relations. But cally implied romantic love. Think- ivory the figures of Adam and Eve what happened to the representa- ing in fixed categories does not, (fig. 1). They are naked, embracing tion of same-sex affection? Further- therefore, reflect the many forms and smiling at each other, so that more, does every image of affection that love and affection can take. their mutual attraction can be automatically mean sexual attrac- assumed without any doubt. More- tion? Close intimate relationships 5 Introduction In the case of women, heterosexual or homosexual desires have sometimes been assumed to be non-existent. As we can see in a textile fragment, women in Antiquity were active members of the Roman Bacchanalia, festivals celebrated in honour of Bacchus, god of wine and freedom (fig. 3). But after the fall of the Western Roman Empire in the year 476, the expression of the simplest affection among women was artistically ignored until the 9th century. At a time when there is much less certainty regarding sexual norms than ever before, the Bode Museum offers the visitor five paths, conceived as autonomous themes, through which one may unearth new meanings related to all forms of love within the collection. The first path analyses the representation of the heroic soldier and the boundaries between masculine prowess and bisexuality. The second deals with works made by homosexual artists or those close to this group. Homosexual patrons are the focus of the third path, while the fourth concentrates on the repre- sentation of women’s intimacy and female-to-female sexual affection. Finally, the fifth path questions the boundaries of gender assignment. Many of the following artworks were not specifically made under a 3 LGBTIQ* (lesbian, gay, bisexual, Egypt transexual, intersexual, and queer) Fragment of a Curtain with Dionysian Figures (Detail), ca. 5th c. perspective but they simply acquired Linen and wool, 152 x 60 cm Inv. Nr. 5/69 © Skulpturensammlung und Museum für Byzantinische Kunst der Staatlichen Museen zu this connotation from the viewer’s Berlin / Antje Voigt perspective. Other works were revolutionary at their time, just because of showing same-sex affec- James Small, and Andreas Stern- context of human sexuality, it still is tion, even when devoid of sexual weiler, among others. Their publica- the most commonly used designa- implications. tions are recommended for a deeper tion in most European languages. understanding of the subject. A basic With the aim of making the follow- general bibliography and vocabulary ing texts accessible, footnotes have have been added as an appendix. been omitted. However, it must be acknowledged the significant rele- Generally the term homosexual, as vance on the present work of studies opposed to heterosexual, has been by Robert Mills, Samantha J. E. used. Although this word was coined Riches, Sarah Sali, James M. Saslow, in the 19th century in the medical 6 All Forms of Love IN LOVE AND WAR Path 1 – The first path analyses the represen tation of the heroic soldier and the boundaries between masculine prowess and bisexuality 1 Constantinople Central Panel of Triptych with the Forty Martyrs of Sebaste, 10th c. Ivory, 17,6 x 12,8 cm Inv. Nr. 574 © Skulpturensammlung und Museum für Byzantinische Kunst der Staatlichen Museen zu Berlin / Jürgen Liepe The ideal soldier has often been asso- sexual practices were encouraged in Although not openly sexual, medie- ciated with the image of the hetero- the army as a way to establish tight val society also glorified intense sexual male. However, this is a con- bonds of affection among soldiers, emotional bonds, especially between temporary cliché that has little to do promote combative spirit, and keep men, which represented powerful with the representation of the great- the morale high.
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