Sappho, Bion, Moscus [and] Anacréon. Two separate folio volumes bound in full uniform patterned paper over boards, each illustrated throughout with forty engravings after Girodet by his student, Chatillon; Sappho with sixteen; Bion and Mochus with twelve each, some foxing; Anacréon similarly illustrated with fifty-four engravings, some foxing to each volume, each 35 1/2x26 1/2 cm. (2) Paris: Didot, 1829 &1863.Paris: Didot, 1829 &1863.
Girodet's relationship to queer erotic art has been studied in great detail by art historians. According to Jamianessa Davis, Girodet's gaze "both enforced the codified closeted neoclassical doctrines and broke from tradition to allow subtle statements of homosexuality within his art. [...] Through the simultaneous containment and releasing of sexual and erotic excess between men, Girodet created for himself a method of and space for identity construction." (Queer Theory and Nineteenth Century Homoerotic Photography, UC Davis, 2013.)
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