Genders and Sexualities in History Sculpture, Sexuality and History (QFRXQWHUVLQ/LWHUDWXUH&XOWXUHDQGWKH$UWV IURPWKH(LJKWHHQWK&HQWXU\WRWKH3UHVHQW EDITED BY JANA FUNKE AND JEN GROVE Genders and Sexualities in History Series Editors John Arnold King’s College University of Cambridge Cambridge, UK Sean Brady Birkbeck College University of London London, UK Joanna Bourke Birkbeck College University of London London, UK Palgrave Macmillan’s series, Genders and Sexualities in History, accom- modates and fosters new approaches to historical research in the felds of genders and sexualities. The series promotes world-class scholarship, which concentrates upon the interconnected themes of genders, sexuali- ties, religions/religiosity, civil society, politics and war. Historical studies of gender and sexuality have, until recently, been more or less disconnected felds. In recent years, historical analyses of genders and sexualities have synthesised, creating new departures in his- toriography. The additional connectedness of genders and sexualities with questions of religion, religiosity, development of civil societies, poli- tics and the contexts of war and confict is refective of the movements in scholarship away from narrow history of science and scientifc thought, and history of legal processes approaches, that have dominated these paradigms until recently. The series brings together scholarship from Contemporary, Modern, Early Modern, Medieval, Classical and Non- western History. The series provides a diachronic forum for scholarship that incorporates new approaches to genders and sexualities in history. More information about this series at http://www.palgrave.com/gp/series/15000 Jana Funke · Jen Grove Editors Sculpture, Sexuality and History Encounters in Literature, Culture and the Arts from the Eighteenth Century to the Present Editors Jana Funke Jen Grove University of Exeter University of Exeter Exeter, UK Exeter, UK Genders and Sexualities in History ISBN 978-3-319-95839-2 ISBN 978-3-319-95840-8 (eBook) https://doi.org/10.1007/978-3-319-95840-8 Library of Congress Control Number: 2018948660 © The Editor(s) (if applicable) and The Author(s) 2019 Chapters 8 and 10 are licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/). For further details see license information in the chapters. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affliations. Cover credit: Thomas Rowlandson, ‘Exhibition “Stare” Case’ (1811). The Metropolitan Museum of Art. The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959 This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland SERIES EDITORS’ PREFACE Sculpture, Sexuality and History: Encounters in Literature, Culture and the Arts from the Eighteenth Century to the Present, Jana Funke and Jen Grove’s ground-breaking scholarly collection, addresses the sexual and erotic appeal of sculpture from the early 1700s to the present. The orig- inality of the book lies in the way all the authors interrogate questions not only of eroticism but also of temporality. They argue that statues are a useful lens through which to refect on the uses of the past and diverse felds of knowledge about history. The changing nature of the sensory appeal of sculpture tells us a great deal about the shifting mean- ings ascribed to sex, embodiment, and aesthetics. It is an interdiscipli- nary book, embracing insights from art history, literature, flm studies, museum studies, classics, and queer theory. In common with all the volumes in the ‘Gender and Sexualities in History’ series, Sculpture, Sexuality and History is a multifaceted and meticulously-researched, scholarly study. It is an innovative contribution to our understanding of gender and sexuality in the past. John Arnold Sean Brady Joanna Bourke v ACKNOWLEDGEMENTS This volume originates in the Wellcome Trust-funded Desiring Statues: Statuary, Sexuality and History conference, jointly organised by both editors at the University of Exeter in April 2012. Jana and Jen would like to thank all speakers and participants who contributed to the con- ference. Some of the chapters collected in the present volume were frst delivered on this occasion and subsequently revised and rewritten. Other chapters were commissioned later to cover a wider range of themes and topics. The Desiring Statues conference was part of the Wellcome Trust- funded Sexual Knowledge, Sexual History project, directed by Kate Fisher and Rebecca Langlands, at the University of Exeter. We are enormously grateful to Kate and Rebecca for their long-standing support of our research and careers and for giving us the opportunity to work together on the conference. The writing and editing of the book was completed as part of the Wellcome Trust-funded Rethinking Sexology project. We would like to thank the Wellcome Trust for their generous support of our work and the other Rethinking Sexology team members, especially Sarah Jones and Ina Linge, for their encouragement. Over the years, we have ben- efted greatly from conversations with other colleagues and friends at the Centre for Medical History, the Department of English and Film, and the Department of History at the University of Exeter. Claire Keyte, in particular, has been an invaluable source of advice throughout our time at Exeter. Beyond Exeter, the writing and editing of this book has been shaped by productive conversations with Viccy Coltman, Laura vii viii ACKNOWLEDGEMENTS Doan, Stefano Evangelista, Jennifer Ingleheart, Laura Marcus, Sebastian Matzner, Daniel Orrells and many others. We are grateful to Ian Jenkins for being an enthusiastic supporter of the project from the start. We would like to express our gratitude to all of the authors who contributed chapters to this volume. It has been a pleasure to work with them. Thanks are also due to the series editors of the Genders and Sexualities in History series, John H. Arnold, Joanna Bourke and Sean Brady, and the editorial and copy-editing team at Palgrave, especially Carmel Kennedy and Emily Russell. On a personal note, Jana would like to thank her family—Annegret Funke, Werner Funke, Nikolas Funke, Edith Fuchs, Sherri Lynn Foster, Guffey and Monday—and her friends and colleagues Chiara Beccalossi, Katey Coffey, Ben Davies, Sheetal Pillay, and Felicity Gee and Florian Stadtler (#JFF). Jen would like to thank her family, friends and col- leagues, Jan and Dan, the Grove-Whites, the Gallaghers, Wendy and Paul, Jez and Rog, Wendy Benstead, Sanja, Abi, Karen, Alex, and, above all, RH. PRAISE FOR SCULPTURE, SEXUALITY AND HISTORY “This superb collection of learned interdisciplinary essays will intrigue any reader interested in Western sculpture. It investigates sculpted and sculptural intersections of temporality, sexuality, antiquity, and moder- nity, emphasizing the power, diversity, and complexity of eroticized receptions and gender dynamics and especially the possibilities of queer response as engaged by artists and writers from Winckelmann to sexol- ogy and psychoanalysis and beyond. The reader will come away deeply informed about what sculpture can do—and what it can’t—in fguring and provoking human desire.” —Whitney Davis, George C. and Helen N. Pardee Professor, University of California at Berkeley, USA “We all know the uncanny feeling that sculptures can cause in us as we perambulate around them in museums or reach out to touch their cold surfaces. But what does it mean to conceive of the aesthetic encounter with sculpture in terms of eros? Sculpture, Sexuality and History shows that there is much more to this question than the myth of Pygmalion and Galatea. The essays in this stimulating book offer a series of original and sometimes surprising perspectives on the affective power of sculpture as an artistic medium and its role in the history of sexuality.” —Stefano Evangelista, Associate Professor, University of Oxford, UK “Sculpture, Sexuality and History is as timely a publication as it is impor- tant. The editors of this attractive and compelling volume bring new ix x PRAISE FOR SCULPTURE, SEXUALITY AND HISTORY vigour to the study of the capacity of human beings to reinvent the body as material artefact and to turn it into an object