How has the portrayal of lesbian desire evolved?
"Visibility is not about power or control, it's about being seen, being recognized, and validating one's own existence," states queer artist Jeanette Spicer. This profound idea encapsulates the journey of lesbian representation in art, transitioning from male-gaze-driven fantasy to authentic expression. How has the portrayal of lesbian desire evolved to reflect changes in artistic expression, societal acceptance, and the impact on lesbian identity? The first time I encountered a piece of art coded as "queer" was in 2013 when I was thirteen. The artwork, a photograph of two topless women kissing in a Playboy-esque publication, left me feeling strangely unsettled. This marked the beginning of my journey toward understanding my sexuality. Presently, pornographic male-gaze-type lesbian art does not feel authentic to me. It reads as a fantastical representation of lesbian desire, with the intended audience being men who view lesbian sex as a vehicle to satisfy their desires. There’s no question that pornography can be art, but this isn't always the case.
In 2024, there are a lot more constructions of lesbian art available. I resonate the most with artists who are queer themselves, as the representation shines through and resonates deeply with me. The question of authentic representation within the art that depicts lesbian desire has always been present, amidst the male gaze and societal stigmas against same-sex desire. It’s interesting to see how this sapphic art has evolved while emphasizing that authentic depictions of queer desire always have and always will be present. To fully see the evolution, I wanted to look at a historical depiction of lesbianism and a modern one. I chose the painting “Sappho and Erinna in a Garden at Mytilene” (1864) by Simeon Solomon due to its iconic status. For the contrasting modern-day image, I chose a work from Jeanette Spicer’s ( one of my favorite artists) project “What It Means To Be Here” (2021).
Historical Context of Lesbian-Coded Art
To effectively trace the evolution of lesbian-coded art it’s essential to pinpoint the historical context of each work, beginning with that of the 19th century. Society during the 1800s was predominantly patriarchal and heteronormative, with strict gender roles and expectations that marginalized “non-conforming” identities. Lesbianism was largely considered taboo and deviant behavior in 19th-century society. Artists of this period navigated strict moral codes and societal taboos surrounding same-sex relationships, resulting in veiled or allegorical depictions of lesbian desire and intimacy. Lesbian desire was not allowed to be out in the open. Any art depicting queer desire in any form had to be coded in a way that could have multiple interpretations.
Beyond paintings, lesbian desire was subtly woven into various other art forms. In literature, for instance, writers like Sarah Orne Jewett and Mary Wilkins Freeman embedded queer subtexts in their stories, portraying deep, affectionate relationships between women. Artists of this period navigated strict moral codes and societal taboos surrounding same-sex relationships, resulting in veiled or allegorical depictions of lesbian desire and intimacy. Openly depicting queer desire was not allowed, necessitating art that could have multiple interpretations. The legal and social consequences for artists who dared to explore queer themes were severe. They risked social ostracism, legal prosecution, and even imprisonment. The oppressive environment forced many artists to mask their true intentions, embedding their works with layers of meaning that would be understood only by those who shared similar experiences.
lesbian desire: Intro to "Sappho and Erinna in a Garden at Mytilene”
In "Sappho and Erinna in a Garden at Mytilene," Simeon Solomon offers a piercing meditation on female desire and intimacy, weaving together elements of classical mythology and symbolic expression. This artwork encapsulates the tender relationship between two female poets Sappho and Erinna. What’s most interesting about this painting is the history of the painter himself. Simeon Solomon was a gay Jewish artist living in Victorian England. In this sense, the construction of the painting does not fall victim to the typical heteronormative male gaze. While Solomon was not a queer woman himself, he was a queer man and as a result, his representation of lesbian desire has a more authentic feel to it. The main force behind the painting is how Solomon explores themes of female desire and intimacy through the nuanced interaction between Sappho and Erinna.
It’s first useful to break down the symbolism of Sappho, as she is coined as the “woman who has left ripples throughout queer history.” While there is no concrete evidence that Sappho was queer, many historians, writers, and artists believe that her symbolism is so queer-coded because of her obvious queerness [and that] the community itself has refused to let her fade into heterosexual obscurity. After all, Sapho lived on the Greek Island Lesbos and her reputation for loving women and the island name led to the creation of the word "lesbian." The painting itself depicts Sappho embracing her fellow poet Erinna in a garden at Mytilene on the island of Lesbos. This can be interpreted as a subtle message that hints at same-sex desire. It is within this context of coded messages that “Sappho and Erinna” can be viewed for what it was: a depiction of lesbian desire and sapphic relationships.
21st Century Queer Art + Symbolism
In the 21st century, where queer representation in art is more normalized, artists do not have to rely on symbolism and veiled imagery to illustrate same-sex desire. Of course, much modern art features symbolism but it typically outwardly represents queer desire rather than subtly alluding to it. Throughout history, queer artists have often faced marginalization and censorship, among other struggles. The 21st century has brought about increased visibility and acceptance of queer art across various mediums. The context in which 21st-century works are perceived is much different than how queer art was perceived during Solomon’s time.
It’s within this backdrop that Jeanette Spicer’s work exists. She is a contemporary New York-based artist who works with videography, photography, and other mixed media intending to engage and interact intimately with the folks in her life. Her work portrays marginalized lesbian identities through a raw, realistic lens. One of her goals is to challenge viewers to re-think their conceptualization of intimacy and relationships through the creation of a world where bodies can be free to explore the space around them and the folks who share that space with them. When speaking of her work Spicer notes that “...something that’s become increasingly important is the lesbian gaze and questioning and countering the lack of lesbian representation.” In this sense, it’s immediately obvious that Spicer’s work expands upon the echoes of queer desire within Solomon’s through a modernized lens. The question of accurate lesbian representation still lingers and Spicer’s work exists in a world that has evolved past the nineteenth-century depiction of sapphic desire but still has a ways to go.
Lesbian Desire: Gender Roles Analysis
In the 19th-century example, there is the presence of a sort of heteronormative gender structure. Sappho, sitting on the right in a golden drapery takes on a dominant more masculine appearance while she embraces Erinna. Erinna on the other hand appears more submissive and overtly feminine, draped in a rose-colored gown that ever so slightly slips off her shoulder, nearly revealing her breast. Sappho also appears more masculine in her facial features, whereas Erinna appears softer and feminine. This clear gendered representation of same-sex desire is most likely a result of the period, an ideology that still lingers today. Society still struggles to wrap its head around the thought that there isn't necessarily a presence of a“man” and “woman” in a lesbian relationship. Sometimes both women are feminine, sometimes masculine. Solomon was already pushing the boundaries with this encoded message of female desire. I’m not sure the thought of depicting the woman as equally feminine or masculine ever crossed his mind.
Spicer provides evidence that juxtaposes Solomon’s hetero-gendered portrayal of lesbian desire. This is largely in part due to the modern birthdate of her work in contrast with Solomon’s 19th-century painting. There are no echoes of the male gaze, whether it be the standard hetero gaze or the unique gay male gaze, present within Spicer’s work. It’s due to this that her work feels so raw and engaging for those in the queer community; it feels like a more accurate representation. The specific photo I chose does echo this notion of romanticism that Solomon's work projects. The fact that these two works convey a romanticized desire in such different ways is telling of the historical progression of how queer intimacy is depicted in art.
The Future: Art, Representation, and lesbian desire
Overall, the journey of queer art from the 19th century to the 21st century showcases a powerful sense of resilience and creativity. This evolution reflects an increasing queer visibility while also acknowledging the marginalization and oppression that queer individuals continue to face. The journey toward complete and authentic queer visibility in art is far from over, but it is heartening to see the significant progress made over the centuries. Looking ahead, it is exciting to envision future directions for lesbian representation in art. Emerging artists and trends hold the potential to further transform the landscape, fostering a richer and more inclusive narrative.
Artists like Spicer are already rewriting the narratives shaped by male gaze and Playboy-esque imagery, offering new perspectives that challenge and redefine these representations. Representation in art is crucial; it not only influences and reflects cultural shifts in understanding sexuality and gender but also allows queer individuals to connect deeply with art and trace the lineage of their identities. As we move forward, the continued expansion of diverse and authentic queer representation in art will undoubtedly play a pivotal role in shaping a more inclusive cultural understanding.
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Written by: Alyssa Morterud