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Finalthesis2 2 1 Anatomy of a Pin-Up: A Genealogy of Sexualized Femininity Since the Industrial Age. Submitted by Eleni Lipsos, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, November 2013. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature…………………………………………………………………. 2 Contents. Title page 1 Contents 2 Acknowledgements 3 Abstract 4 List of Illustrations 5 Introduction 13 Chapter 1 – The Precursors to the Pin-Up: Sensual Influences and Pin-Up Aesthetics in Nineteenth-Century Industrial Age America. 34 Chapter 2 – Transgression, Eugenics and the Streamlined Petty Girl: The Proto-Pin-Up of Modernity. 72 Chapter 3 – The Pin-Up as “Promise of Pneumatic Bliss”: How Erotic Femininity Went to War. 110 Chapter 4 – Postwar Pin-Up I: Making “Sexy” Bodies Socially Acceptable in the Era of Excess . 137 Chapter 5 – Postwar Pin-Up II: Fetish Aesthetics, and the Challenge to Conservatism. 178 Chapter 6 – Postmodern Pin-Up and Alternative “Looks”: Retro Revival, Refusal, and the Return to Glamour. 220 Illustrations 248 Bibliography 314 3 Acknowledgements. I wish to thank my supervisors Dr. Corinna Wagner and Prof. Lisa Downing for their unswerving support, enthusiasm, dedication and hard work. Thank you also to Dr. Helen Hanson, Prof. Despina Kakoudaki, Dr. Elliot Kendall, Morwenna Hussey and all the helpful staff at the University of Exeter, Exeter University Library, the Bill Douglas Centre, the British Library, Senate House Library and the British Film Institute Library. Special thanks to Louis K. Meisel, Olivia De Berardinis, Jim Linderman, Nicole Paulus, and Dr. Matt Lodder, as well as Dr. Marilena Mousoulidou, Georgina Vassiliou, Dr. Constantine Athanasiades, Rita Stavrou, Angela Stavrou, Andro Stavrou, Emily Candela, Andrew Adamides, Dr. Katarina Perovic, Dr. David Gooblar, Dr. Jessica Richardson, Dr. Kelso Cratsely, Dr. Yvonne Owens, and my wonderful extended family, especially Isabella Endacott, Andreas Varkaris, Elena Varkaris, Rita Apostolou, George Theophilou, and Yioda Lipsos. My utmost thanks to my loving grandparents, Lenia and Andreas Apostolou, and parents, Kiki and Nicos Lipsos, to whom I dedicate this thesis. 4 Abstract. Pin-up images have played an important role in American culture, in both their illustrated and photographic configurations. The pin-up is viewed as a significant representational cultural artifact of idealistic and aspirational femininity and of consumerism and material wealth, especially reflective of the mid-twentieth century period in America spanning the 1930s to the 1960s. These images not only reflect great shifts in social mores and women’s social status, but also affected changes in both areas in turn. Furthermore, pin-up images internationally circulated in magazines, advertising and promotional material, contributed to the manner in which America was idealized in Europe and beyond. Crucially, they influenced how an eroticized and glamorous, yet unrealistic, example of femininity came to be generalized as a desirous model of femininity. In recent years there has been vital, though limited, scholarly research into the cultural and social impact of pin-up imagery, to which this thesis adds to. This thesis takes a genealogical approach, charting the development of popular female-centric “pin-up” imagery in America since the 1860s and up to the 1960s, and its resurgence since the 1980s onwards. In doing so this thesis aims to provide a social, political and cultural context to the emergence of a specific archetypal sexualized femininity, with the aim of challenging the tendency to dismiss sexualized imagery as “anti-feminist” or as trivial. Toward that end, I examine the complexity of intentions behind the production of “pin-up” images. In taking this revisionist approach I am better able to conclusively analyze the reasons for the resurgence and reappropriation of pin-up imagery in late-twentieth- and early-twenty-first-century popular culture, and consider what the gendered cultural implications may be. 5 List of Illustrations. 1. Le Bain Turc, Jean-Auguste-Dominique Ingres, 1862. 2. Nymphs and Satyr, William-Adolphe Bouguereau, 1873. 3. Venus Verticordia, Dante Gabriel Rossetti, 1864-1868 4. Illustration, Trilby, George Du Maurier, 1894. 5. Staircase, Hôtel Tassel, rue Paul-Émile Janson, Brussels (An Art Nouveau House), Victor Horta, 1893. 6. Moët & Chandon, White Star, Alphonse Mucha, 1899. 7. Tako to ama (The Dream of the Fisherman’s Wife), Hokusai, 1814. 8. Applying Lipstick, Kitagawa Utamaro, c. 1794-1795. 9. Fleurs du Mal, Alberto Vargas, 1920. 10. Momoware/Split Peach, Olivia De Berardinis, 2001. 11. Poster, Mme. Warton’s tableau vivants and poses plastiques, London, 1847. 12. Reclining Nude, Bruno Braquehais, c. 1856. 13. Female Nude Reclining with Arm Raised, Julien Vallou de Villeneuve, 1853. 14. Carte de visité, Lydia Thompson, Southwell Brothers, c. 1860. 15. Colour lithographic poster, Bob-Ton Burlesquers show, USA, 1898. 16. Bocca Baciata, Dante Gabriel Rossetti, 1859. 17. September Morn, Paul Émile Chabas, 1910-1912. 18. Police Gazette front page, November 15th 1879. 19. Of Course There Are Mermaids, Charles Dana Gibson, 1902. 20. Woman: The Eternal Question, Charles Dana Gibson, 1901. 21. From The Social Ladder, Charles Dana Gibson, 1902. 22. Poster, Quinquina Dubonnet, Jules Chéret, France, 1895. 23. Poster, Asti Cinzano, Leonetto Cappiello, France, 1910. 24. Poster, Ambigu Comique/Gigolette, Albert Guillaume, France, 1894. 25. Poster, C’est très excitant!..., Jules-Alexandre Grün, France, 1910. 26. Un Bar aux Folies Bergère, Édouard Manet, 1882. 27. M. et Mme. Adam, Henri Gerbault, 1919. 28. Qui veut apprendre à pécher? (Who wants to learn to fish?), Henri Gerbault, 1916. 29. Cover art, La Vie Parisienne, Georges Léonnec, December 1910. 30. Les Lits, La Vie Parisienne, Louis Vallet, 1910. 31. Page d’album, La Vie Parisienne, Gerda Wegener, 1913. 6 32. Illustration, cycling women, Mars, c. 1860-1890. 33. Illustration, female cyclist, Adolphe Willette, c. 1890-1918. 34. Sweet Sexteen, Life, John Held Jr., September 30th 1926. 35. Fantasia, Erté, c. 1920. 36. Memory of Olive, Alberto Vargas, 1920. 37. Merle Finlay (Ziegfeld Girl), Alfred Cheney Johnston, c. 1928-1930. 38. Advertisement, Vitralite, Coles Phillips, 1921. 39. Brinkley Girl, American Weekly, Nell Brinkley, 1920s. 40. Gentlemen with Golf Clubs, J.C. Leyendecker, 1909. 41. The Medicine, Norman Rockwell, 1936. 42. Jean Harlow, Griffiths Park, Los Angeles, Edwin Bower Hesser, 1929. 43. Joan Crawford, MGM, George Hurrell, 1934. 44. Carole Lombard, Paramount Pictures, George Hurrell, 1933. 45. The Flapper, Life, F.X. Leyendecker, February 2nd 1922. 46. Louise Brooks, Eugene Robert Richee, 1928. 47. Teaching Old Dogs New Tricks, Life, John Held Jr., 1920s. 48. Salvation Army Brinkley Girl, Nell Brinkley, 1920s. 49. Cover art, Dawn, Edwin Bower Hesser, 1930s. 50. Diagram demonstrating streamline flow. 51. Sterling Streamline Iron, 1930. 52. Robert Heller Airflow Table Fan, 1937. 53. Norman Bell Geddes Streamliner Train, 1930-1933. 54. Jean Harlow wearing satin evening dress, 1930s. 55. Petty Girl, Esquire, George Petty, December 1939. 56. Advertisement, The Lesser Slim Figure Bath, George Petty, 1929. 57. Petty Girl, Esquire, George Petty, November 1935. 58. Advertisement, Jantzen, George Petty, 1941. 59. Petty Girl, Esquire, George Petty, March 1938. 60. Cartoon, Esquire, George Petty, 1934, 1938. 61. Cover art, Metropolitan, Rolf Armstrong, January 1919. 62. First World War US recruitment poster, H.R. Hopps, c. 1917. 63. Postcard, Thinking of You All! Napoleon said: “I am France”. I feel the same way, with all this French mud on me, F. Mackain, c. 1914-1918. 64. The Art Gallery, Vendôme, “pin-ups” mostly from La Vie Parisienne, c. 1914- 1918. 7 65. “Pin-ups” in Royal Naval Air Service officers’ billet, 1916. 66. Ma Marraine, Raphaël Kirchner, 1910s. 67. La première voilette, Raphaël Kirchner, 1910s. 68. Recruitment poster, Gee!! I wish I were a man, I’d join the navy, Howard Chandler Christie, 1917. 69. Cover art, Wonder Woman issue no. 1, Harry G. Peter, Summer Issue 1942. 70. Jane, Norman Pett, 1944. 71. Betty Grable, 20th Century Fox, Frank Powolny, 1943. 72. Rita Hayworth, Bob Landry, 1946. 73. G.I. approaching Iwo Jima with Varga Girl pin-up, 1941-1945. 74. Army Air Corps. pilot and Varga Girl pin-up, 1941-45. 75. There Will Always Be A Christmas, Alberto Vargas, 1943. 76. Pin-up embellished bomber jacket, 401st Bomb Group, 1945. 77. Pin-up embellished bomber jacket, 401st Bomb Group, 1945. 78. The Memphis Belle and crew, 1943. 79. I’m the one with the part in the back, Esquire, Alberto Vargas, April 1941. 80. We Can Do It!, Howard J. Miller, 1942. 81. Rosie the Riveter, Saturday Evening Post, Norman Rockwell, 1943. 82. Prophet Isaiah fresco, Sistine Chapel, Vatican Palace, Vatican City, Michelangelo, c. 1508-1512. 83. La Grande Odalisque, Jean-Auguste-Dominique Ingres, 1814. 84. The Wave and the Pearl, Paul-Jacques-Aimé Baudry, 1862. 85. Olympia, Édouard Manet, 1863. 86. Venus With A Mirror, Titian, 1555. 87. Ziegfeld Follies poster art, Alberto Vargas, 1922. 88. Varga Girl, Esquire Military Edition, Alberto Vargas, April 1944. 89. Varga Girl, Esquire calendar, Alberto Vargas, January 1942. 90. Bachelor Girl’s Calendar, Eyeful, 1950s. 91. Down at Jimmy Kelly’s, Reginald Marsh, 1936. 92. Nude, Andre de Dienes, 1954. 93. Bettie Page, Playboy, Bunny Yeager, December 1955. 94. Bettie Page, Bunny Yeager, Florida, 1954. 95. Advertisement, The sensation of color of ’51 Gotham Gold Stripe Cheesecake, Gotham Gold Stripe, 1951. 96. Pin-up girl, Pearl Frush, 1950s. 8 97. Cover art, Ladies’ Home Journal, Al Parker, 1945. 98. Illustration, Ladies’ Home Journal, Al Parker, c. 1942. 99. “Give and take” say I, The Coca-Cola Company, Haddon Sundblom, 1937.
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