DOI Heft:
Nr. 2
DOI Artikel:Henshaw, Julia Plummer: Images of Women in Polish Symbolist Art
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18901#0046
7. Giovanni Segantini, The Evil Mothers, 1894, Vienna, Kunsthistorisches Museum (photo
after Symbolism in Polish Painting 1890—1914, The Detroit Institute of Arts, 1984)
this power is sexual and used in a destructive fashion — the exact opposite of what might seem
like the natural connection between female sexuality and reproductivity. The female harpy
lures man away from the „higher” pursuit of the mind and soul’s creativity towards the physical
world of base sensuality. It is not surprising that the harpy is depicted comfortably sprawled
out in an idyllic landscape, for women — with their mysterious bodily cycles and obvious
physical capacities for child-bearing and nurturing — are commonly associated with „nature”,
that realm seen as inherently separate from and inferior to the male realm of „culture”3. Women
are often depicted as drawing some sort of primitive power from the forces of nature and are
seen as partaking of the lower „animal” world, as indeed the harpy is here, with her human
breasts invisibly joined to her feathered legs beyond the boundary of the canvas. Her eyes are
closed as she is lost in the abandon of sexual reverie. It is clear that, rather than playing the
nurturing role of the muse of creation, this female creature is irresistible to the artist, who will
sacrifice his lofty inspiration to this fleshy creature, giving up the accomplishments of the creative
spirit for the dangerous call of the female body. The harpy’s breasts lure him but her claws will
destroy his accomplishments.
A similar theme appears in Malczewski’s Portrait of Edward Raczyński (1903, National Museum
in Poznań, fig. 10). This reiterates the idea of the sensuality of women as a lewd, irresistible
force that is an eternal distraction for men. It is quite apparent that this is a man of culture, as
evidenced by his elegant attire, carefully trimmed beard, pince-nez, lap robe, and book, who
has been interrupted in the scholarly activity of the mind by a vision of bacchanalian figures.
Here a bare breast is juxtaposed with the male subject’s head and the round nipple with his
eye. Raczyński’s knitted brows suggest that this disruption is a troublesome one, yet it is one
that even such a priviledged man is powerless to resist. Again, the female figures have their
3. See Susan Griffin, Woman and Nature, New York, 1978.
36
after Symbolism in Polish Painting 1890—1914, The Detroit Institute of Arts, 1984)
this power is sexual and used in a destructive fashion — the exact opposite of what might seem
like the natural connection between female sexuality and reproductivity. The female harpy
lures man away from the „higher” pursuit of the mind and soul’s creativity towards the physical
world of base sensuality. It is not surprising that the harpy is depicted comfortably sprawled
out in an idyllic landscape, for women — with their mysterious bodily cycles and obvious
physical capacities for child-bearing and nurturing — are commonly associated with „nature”,
that realm seen as inherently separate from and inferior to the male realm of „culture”3. Women
are often depicted as drawing some sort of primitive power from the forces of nature and are
seen as partaking of the lower „animal” world, as indeed the harpy is here, with her human
breasts invisibly joined to her feathered legs beyond the boundary of the canvas. Her eyes are
closed as she is lost in the abandon of sexual reverie. It is clear that, rather than playing the
nurturing role of the muse of creation, this female creature is irresistible to the artist, who will
sacrifice his lofty inspiration to this fleshy creature, giving up the accomplishments of the creative
spirit for the dangerous call of the female body. The harpy’s breasts lure him but her claws will
destroy his accomplishments.
A similar theme appears in Malczewski’s Portrait of Edward Raczyński (1903, National Museum
in Poznań, fig. 10). This reiterates the idea of the sensuality of women as a lewd, irresistible
force that is an eternal distraction for men. It is quite apparent that this is a man of culture, as
evidenced by his elegant attire, carefully trimmed beard, pince-nez, lap robe, and book, who
has been interrupted in the scholarly activity of the mind by a vision of bacchanalian figures.
Here a bare breast is juxtaposed with the male subject’s head and the round nipple with his
eye. Raczyński’s knitted brows suggest that this disruption is a troublesome one, yet it is one
that even such a priviledged man is powerless to resist. Again, the female figures have their
3. See Susan Griffin, Woman and Nature, New York, 1978.
36