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Claude Cahun and Marcel Moore

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Claude Cahun and Marcel Moore SANS NOM: CLAUDE CAHUN AND MARCEL MOORE Jersey holds the world’s leading collection of work by Surrealist Claude Cahun and avant-garde artist Marcel Moore, two enigmatic French stepsisters who lived and worked here from the 1930s. Louise Downie previews a new exhibition. ARTISTS CLAUDE CAHUN AND family. In 1937 the sisters purchased Marcel Moore were an extraordinary La Rocquaise, a house just opposite couple who worked, lived and loved the hotel, and moved there together for more than 40 years. permanently in 1938. The garden, the Cahun and Moore were the house and the area around the bay pseudonyms for Lucy Schwob and were favourite settings for Cahun’s Suzanne Malherbe, stepsisters who work. While living in Jersey they were were born in Nantes and lived in Jersey generally known by their real names from 1937. and gained a reputation for strange The Jersey Heritage Trust was first behaviour, such as taking their cat for a introduced to their work in the early walk on a lead and wearing trousers. 1990s, when the then curator of art, They remained here throughout the Lucy Marder, was shown a collection occupation, carrying out subversive of their work by Jersey resident John resistance activities for which they were Wakeham. As a result, an exhibition arrested and imprisoned. entitled “Surrealist Sisters – an extraor- Claude Cahun was born Lucy dinary story of art and politics” was Schwob in 1894. She came from a held at the Jersey Museum in 1993. wealthy Jewish family of intellectuals The rediscovery of Cahun’s work in and publishers. In 1918 she adopted the late 1980s, the publication of her the surname of her great uncle Léon biography, Claude Cahun L’Écart et la Cahun, an Orientalist and Novelist. Métamorphose by François Leperlier, in Her forename, Claude, in French can 1992 and exhibitions featuring her be either male or female or, in Claude’s Fig 1 Fashion illustration 1916 by Marcel Moore photographs have encouraged a rapid watercolour JHT/2003/1/20 case, both. burgeoning of interest in her work. Marcel Moore was the pseudonym In 1995 and 2002, the Jersey providing new insights into the work used by Suzanne Malherbe, who was Heritage Trust acquired collections of and lives of these two incredible artists. born in 1892. Her father was a photographs, drawings, manuscripts Claude Cahun and Marcel Moore professor of histopathology at Nantes and other material by Cahun and had a long association with Jersey, School of Medicine. By 1916 Suzanne Moore and today cares for the world’s having spent many childhood holidays had established herself as a graphic most important collection of their in the Island. They usually stayed at artist and her illustrations are typical of work. This material continues to offer St Brelade’s Bay Hotel and became the type of work emerging from the invaluable research opportunities, friends with the owners, the Colley Paris fashion scene at the time, 8 HERITAGE MAGAZINE reflecting the influence of the dynamic fine art scene and a growing interest in non-Western cultures, especially that of Japan. She illustrated books and magazines and produced publicity material for leading figures in the world of the avant-garde theatre and dance. Her work was exhibited in important venues such as the Salon d’Automne (Figs 1 & 2). Claude’s parents divorced and her father remarried Madame Malherbe. They lived in Paris in the early 1920s, becoming closely involved in the artistic and intellectual life, frequenting journalistic and theatrical circles. Claude seems to have identified much more with the men in her family than the women. This striking early Fig 2 Fashion illustration 1915 by Marcel Moore watercolour JHT/2003/1/16 self portrait shows her in exactly the same pose as a photograph of her father - the stark profile emphasises her beak nose, which was a duplicate of her father’s (Fig 3). Her relationship with her mother seems to have been confrontational. Fig 3 Self portrait c.1920 by Claude Cahun photograph JHT/1995/32/a Her parents did not have a happy HERITAGE MAGAZINE 9 marriage. When Claude was four years Although he found her difficult, old her mother had a mental Breton apparently recognised her breakdown and was institutionalised in talent and individuality. a hospital long term. In 1930, Claude published her Cahun published articles in autobiographical work Aveux non journals and in 1929 translated Avenus (Disavowed Confessions) - a Havelock Ellis’ controversial theories compilation of dreams, poems, which introduced the possibility of a philosophical and intellectual third sex, uniting masculine and dialogues, and musings on peculiarity feminine traits but existing as neither and uniqueness. The book was one nor the other. illustrated with a series of photomontages, created in collaboration with Suzanne as Marcel Moore. In 1932 the sisters Fig 5 Claude Cahun in Barbe Bleue May-June 1929 by joined the Association Claude Cahun photograph JHT/1995/30/k des Ecrivains et Artistes Revolutionnaires, leaflets were signed “The soldier which was under the without a name”. Lucy and Suzanne auspices of the distributed the notes themselves, often Communist Party, but travelling into St Helier where there in May 1934 Claude was a denser concentration of soldiers. published a short essay They would secrete them in soldiers’ entitled Les Paris sont pockets or in staff cars. In July 1944 ouverts (place your bets) the sisters were arrested and charged - an attack on with listening to the BBC and inciting Fig 4 Claude Cahun, Solange and Roger Roussot in propagandist cultural the troops to rebellion. The latter Le Mystère d’Adam May- June 1929 by Claude Cahun photograph JHT/1995/31/u policies of the charge carried the death penalty, which Communist party. In was commuted, and the pair were Her association with the Théâtre 1935 she co-founded Contre Attaque imprisoned for almost a year before the Esoterique led by Pierre Albert-Birot is a group of Surrealists and friends Liberation (Figs 6 & 7). evident in some of her photographs. protesting against the rise of Hitler and A portrait of 1945 shows the Many of her self-portraits are theatrical the spread of fascism in France. defiant Claude with the Nazi eagle in nature, with acting, masquerade and In 1937 Claude and Suzanne insignia clutched between her teeth. self-staging (Figs 4 & 5). moved to Jersey permanently. Although she described herself as a When the Germans invaded in Surrealist, Cahun was separated from 1940, they decided to stay in the main Surrealist group. Women the Island. The sisters began rarely participated and none were distributing anti-Nazi leaflets official members. It was very much a intended to demoralise the male dominated group led by André troops and encourage soldiers Breton. The function and image of to desert. Suzanne spoke women in Surrealist art was often in fluent German, although she the role of muse, child or femme fatale. kept this fact a secret from the Women were treated as objects to occupying forces, and would inspire male genius; their bodies were translate BBC radio for use as aesthetic objects and for male broadcasts into German. The desire. Breton is said to have avoided words were then typed or Claude, disliking her unconventional handwritten on small pieces of dress and behaviour. However, Claude tissue paper. The impression had already published articles and given was that they were made self portraits by the time the first written by a German officer. Fig 6 Propaganda leaflets which encouraged the German troops to rebel Surrealist manifesto appeared in 1924. Typically of Claude, these manuscript JHT/1995/45/53 10 HERITAGE MAGAZINE Fig 7 Self Portrait 1945 by Claude Cahun photograph JHT/1995/30/u HERITAGE MAGAZINE 11 CLAUDE CAHUN SELF-PORTRAITS CLAUDE CAHUN WAS AN This is an act of ridicule and enigma. Her work invites but defies parody, of teasing eroticism and explanation, but perhaps some of the blatant denial. It mocks the viewer for biggest clues are in her writings. For being attracted to what is obviously example she wrote: “Masculine? not on offer. Feminine? But it depends on the There are many paintings of situation. Neuter is the only gender women looking at themselves in a that always suits me”, and “I will never mirror. Usually they refer to finish removing all these masks.” narcissism, voyeurism and being the object of the male gaze. However, in this self-portrait, Claude is not looking at herself, she is looking at us looking at her (Fig 10). She wears a long chequered coat, which she holds closed. The coat conceals all of her body apart from her face. Yet in the mirror image it appears almost as if she Fig 9 Self portrait 1927 by Claude Cahun photograph JHT/1995/30/j is opening the coat, revealing the base of her neck. She disrupts the viewer’s In this self-portrait of 1927, Claude is dressed as a body-builder (Fig 9). But perhaps it is not her body she is referring to, but her self, her identity or her multiple identity. She wears a vest, tights and shorts. Her face is made up, the cheeks accentuated with hearts, echoed in the kiss curls above. Her gaze is coy and inviting, almost seductive, but at the same time contemptuous and mocking. Her nipples and pouting lips are darkened Fig 8 Self portrait 1921 by Claude Cahun for emphasis. But emblazoned across photograph JHT/2003/1/3 her flat almost male chest are the words “I am in training do not kiss In this disturbing self-portrait of me”, a straight-forward denial of the 1921, her head is shaved and tipped to invitation evident in the rest of the emphasise the elongation of her skull portrait.
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