The engagement with the female anatomy in erotic depictions was the central subject matter in Hans Bellmer's work since the s. This also includes his photographs of mannequins, which he dismantled and put together with other materials such as wood, metal and plaster to new bodies or body fragments. Only a few of the original presumably 50 copies are still existing today. Condition: The book is overall in very good condition with only minor signs of age and use.
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The inspiration for Bellmer's first doll was allegedly his unfulfilled sexual desire for his underage cousin Ursula Naguschewski who was then living with him and his wife. He created the doll from wood, glue, plaster and straw in his studio - obsessively driven to create what he called a "real object to be possessed. In this photograph a breast, part of the stomach, and the buttocks are exposed, while the angle of the head, gazing at the viewer, makes the face uncharacteristically real.
In many of his doll photographs her face is a blank mask onto which the viewer can project whatever they feel, but here she has character. Bellmer's interest in girlish things is made more explicit in an unrealized element of the work - he had originally intended to project a film through the doll's navel. His adult evocation of child sexuality created a furore when he reflected in Memories of the Doll Theme , of seeing "young girls" whose "minxes' legs" and "pink pleats" frolicked around him.
The Surrealists believed in resurrecting childhood as a time when viewers were closest to real life, but Bellmer resurrected his childhood darkness, inviting allegations of deviancy and pedophilia still levelled against him today. After Bellmer shot to fame via the Surrealist infatuation with his doll, he created this series of photographs, posing this new doll in over a hundred scenarios.
The title 'games' seems to be implying that the doll is a willing partner but from what the viewer sees, it would appear not. The two torsos, severed and stuck together next to a tree, are utterly defenceless and powerless. The one enjoying the games is the puppet-master, the shadowy voyeur in a long dark coat and boots, hiding behind a tree. Again, disturbing references to childhood are raised; the body could be child or woman, but the white socks and shoes suggest a youth, rather than an adult.
Bellmer chose to carefully hand-tint each photograph, and his choice of the pink and yellow aniline dyes was a nod to the erotic postcards of the time. However, his choice of red for the body suggests violation, while the yellow tinted forest suggests a feeling of sickness. The overall feeling is one of a sick fairy tale, where the woods hold the fears of violation, threat, and observation.
The last three decades of Bellmer's life were mainly devoted to producing pornographic works dealing with sadist, erotic, sexual transgressions. As such he was a perfect choice as the illustrator for Bataille's graphically pornographic novel L'Histoire de l'oeil The Story of the Eye , Bellmer's illustrations for this later edition took graphic sex to new heights.
The story narrates an eyeball removed from a corpse and includes a notorious scene in which a teenage seductress asks: "milk is for the pussy, isn't it? Do you dare me to sit in the saucer? Bellmer's fixation with the octopus-liked Cephalopod , marked the start of a motif that would become a dominating theme for the rest of his life. He often depicts this head-footed creature as a head or two heads with legs, sometimes wearing stockings and heels.
The Cephalopod motif developed his experiments with the doll in terms of body as manipulated metaphor. Set against a net the creature appears as a hybrid of parts, joining head to foot, with the torso as the pivot. His desire to literally fuse and become one with Unica was repeatedly expressed in pornographic representations as well as his later self-portraits, which show his face inside her body, as if he is looking out at the world from inside her womb.
Gouache, brown ink, watercolor and pencil - Private Collection. This photograph appeared on the cover of Le Surrealisme, Meme in It takes his earlier doll-work to new heights as instead of manipulating the doll, he is now arranging a real, female body for his pleasure. Here she is just a torso, trussed like a joint of meat ready for the oven. With no face, no arms, and no legs, she is dehumanized.
Worse still, the string is cutting into her flesh making it bulge. The accompanying caption read "Tenir au Frais" "Keep Cool. However her words are disturbing: she recalled that he was infinitely gentle, but she also said that the person "who is sketched by him, or photographed Impossible for me, to render him greater praise. Bellmer shared the Surrealist fascination for the writings of the Marquis de Sade, the notorious French writer infamous for his obscene, pornographic stories.
Sex, power, and subconscious desire were all core to Bellmer's work. These late drawings are technically brilliant and beautifully executed, but the content is nonetheless highly disturbing.
His earlier experiments in reforming the body seem to reach their peak here, the body as such is just a series of apertures open for penetration. There is a complete depersonalisation of the orifices, and as such the work appears cold rather than erotic. Speaking of these works, Bellmer said: "I admire de Sade very much, especially his idea that violence towards the loved one can tell us more about the anatomy of desire than the simple act of love.
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Hans Bellmer
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Die Puppe (The Doll)
Bellmer constructed his first doll—"an artificial girl with multiple anatomical possibilities," he said—in in Berlin. He conceived it under the erotic spell of his young cousin Ursula, but he was also inspired by Jacques Offenbach's fantasy opera Les Contes d'Hoffmann The Tales of Hoffmann , , in which the hero, maddened by love for an uncannily lifelike automaton, ends up committing suicide. In Bellmer constructed a second, more flexible doll, which he photographed in various provocative scenarios involving acts of dismemberment. These transformations of the doll's body offered an alternative to the image of the ideal body and psyche popularized in German fascist propaganda of the s. All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at firenze scalarchives. For licensing motion picture film footage it is advised to apply directly to the copyright holders. For access to motion picture film stills please contact the Film Study Center.
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Hans Bellmer Artworks
Hans Bellmer 13 March — 24 February was a German artist, best known for the life-sized pubescent female dolls he produced in the mids. Historians of art and photography also consider him a Surrealist photographer. Up until , he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka Der Fetisch ,
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The inspiration for Bellmer's first doll was allegedly his unfulfilled sexual desire for his underage cousin Ursula Naguschewski who was then living with him and his wife. He created the doll from wood, glue, plaster and straw in his studio - obsessively driven to create what he called a "real object to be possessed. In this photograph a breast, part of the stomach, and the buttocks are exposed, while the angle of the head, gazing at the viewer, makes the face uncharacteristically real. In many of his doll photographs her face is a blank mask onto which the viewer can project whatever they feel, but here she has character. Bellmer's interest in girlish things is made more explicit in an unrealized element of the work - he had originally intended to project a film through the doll's navel. His adult evocation of child sexuality created a furore when he reflected in Memories of the Doll Theme , of seeing "young girls" whose "minxes' legs" and "pink pleats" frolicked around him. The Surrealists believed in resurrecting childhood as a time when viewers were closest to real life, but Bellmer resurrected his childhood darkness, inviting allegations of deviancy and pedophilia still levelled against him today.