
The Mask, 1920s

images that haunt us









Role models. Many female dancers dealt with given role structures and criticized gender specific role attributions. The nun is seen as embodiment of a nonsexual woman who dedicates her life to God. Hence the play with the nun’s costume is a game with female physicality and sexuality. Here we meet Mura Ziperowitsch, who by wearing a nun similar costume refers to the female corporality.
source Vienna Pride at Kunsthistorisches Museum Wien




Fini’s owl mask originates with the New Year’s Eve party called the Bal des Oiseaux given at the Palais Rose on the avenue Foch, Paris, by Vicomte Charles Benoist d’Azy at the end of 1948. Webb writes, “she wore an owl mask of white feathers with headdress and gown of black-and-green-striped feathers. A series of dramatic photographs of her in this costume, as well as in the costumes for other balls of 1947 and 1948, were taken by Andre Ostier and widely published in newspapers and magazines, and Pauline Reage used the same mask in the final scene of her erotic novel Histoire d’O (Story of O), which was later illustrated by Leonor.”
Quotation from Peter Webb’s biography: Sphinx – The Life and Art of Leonor Fini
Retrieved from Story of O



It has been suggested that this photograph, the only [known] nude by de Meyer, has some connection to the Ballets Russes, but the nature of that link remains mysterious. The image vibrates with an uneasy erotic tension, a product of the figure’s exposed torso, startled body language, and disguised identity. (quoted from The Met)

The duplication of images is due to errors in the process of importing files from tumblr (the images were not loaded in hi-res): tumblr post, here



