Claude Cahun

French Photographer, Writer, and Political Activist

Claude Cahun Photo
Born: October 25, 1894
Nantes, France
Died: December 8, 1954
St Helier, Jersey, Great Britain
Main
Under this mask, another mask. I will never be finished removing all these faces.
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Claude Cahun
Realities disguised as symbols are, for me, new realities that are immeasurably preferable. I make an effort to take them at their word. To grasp, to carry out the diktat of images to the letter.
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If there is horror, it is for those who speak indifferently of the next war. If there is hate, it is for hateful qualities, not nations. If there is love, it is because this alone kept me alive.
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If I vibrate with vibrations other than yours, must you conclude that my flesh is insensitive?
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Individualism? Narcissism? Of course. It is my strongest tendency, the only intentional constancy [fidelity] I am capable of.... Besides, I am lying; I scatter myself too much for that.
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Shuffle the cards. Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me.
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Until I see everything clearly I want to hunt myself down, struggle with myself.
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Permit me to warn reckless young women: seeing the trap doesn't prevent you from getting caught in it and that doubles the pleasure.
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It is only after many attempts . . . that we can firm up the moulds of our masks.
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I is another - and always multiple.
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The lens tracks the eyes, the mouth, the wrinkles skin deep... the expression on the face is fierce, sometimes tragic. And then calm - a knowing calm, worked on, flashy. A professional smile - and voilà!
The hand-held mirror reappears, and the rouge and the eye shadow. A beat. Full stop. New paragraph.
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Summary of Claude Cahun

Claude Cahun's photographic self-portraits present a dizzying kaleidoscopic mix of mystery, exuberance, and sobriety. Born in France, Cahun lived mostly on the island of Jersey with long-term love, Marcel Moore. Also known as Lucy Schwob and Suzanne Malherbe, they both adopted their preferred gender-neutral pseudonyms during early adulthood. Moore, although often invisible, was always present - typically taking the photographs and also authoring collages - and in this sense was as much artist collaborator as Cahun's personal support. Described in Cahun's own words as a "hunt", through a combination of text and imagery, Cahun's exploration of self is relentless and at times unsettling. From circus performer, clothed in layers of artifice, to a stripped-down Buddhist monk grounded by integrity, Cahun is engaged in an ongoing dialogue with multiplicity. Tragically in line with the fragmentary nature of Cahun's outlook, much of the artist's work was destroyed following an arrest and subsequent imprisonment for resistance against the Nazis. What remains bares interesting parallel to the title of Cahun's diaristic publication Aveux Non Avenus, translated as Disavowels, which enigmatically suggests that for all that is revealed and given, much is still hidden or has been lost.

Accomplishments

Biography of Claude Cahun

Claude Cahun Photo

Claude Cahun was born as Lucy Schwob in Nantes, France, to a middle-class Jewish family in 1894. Lucy Schwob later became Claude Cahun to be gender neutral as an artist and as a writer. Lucy had a brother George, and uncle Marcel Schwob, who was a well-known writer who was part of the Symbolist movement. Marcel Schwob was famous throughout Paris and became a good friend of Oscar Wilde. Cahun's grandfather, David Leon Cahun, was also an important intellectual figure from the Orientalist movement, and thus already in childhood the artist was immersed in a creative and intellectual environment.

Important Art by Claude Cahun

Self Portrait as a Young Girl (1914)

Self Portrait as a Young Girl (1914)

This photograph is one of the earliest known examples of a self-portrait by Cahun and displays an intense and penetrating outward stare. The artist's head is strikingly and disconcertedly disembodied, suggesting an imbalance, as though the head is disproportionately heavy and the body somehow redundant. Lying in bed with the sheets pulled up to the chin, Sarah Howgate, an art historian specializing in Cahun's work, argues that "she looks like an invalid in a hospital bed", and suggests that this may be a visual reference to the periods of acute depression from which both Cahun and Cahun's mother suffered. Indeed, this line of enquiry can be taken further, for it appears that the woman lies dead in a morgue. Unusually though, apparently deathly, Cahun's eyes are wide open and definitely alive, perhaps though constantly burdened by interior knowledge of the darker and more hidden aspects of life.

The artist's abundant flowing hair has a life of its own and immediately recalls Medusa, the Greek mythical and powerful woman/monster who had a head full of snakes, and whose gaze had the power to turn men to stone. It is clear from this interpretation that Cahun has no intention, as was typical of the time, to please men. Instead the artist challenges the viewer and asks questions of them, acknowledging the emotion of female rage that societies and individuals continue to struggle to express today. Although in bed, Cahun is not sleepy, convalescing, or sexually available as may be expected/accepted for a woman in 1914. Instead the image is likely of a combination of depressed, enraged and active artist, all of which were unheard of characteristics for a woman at the time and are still ones struggled with today. In resolute contrast to a painting such as Manet's Olympia (1863), Self Portrait As a Young Girl is quietly revolutionary, re-introducing the complex and staunch presence of an ancient female figurehead, long since silenced by patriarchal hierarchy.

Self Portrait, Head Between Hands (1920)

Self Portrait, Head Between Hands (1920)

In this striking photograph, the artist has further transitioned from the childhood/teenage identity of Lucy Schwob to the gender-neutral persona of Claude Cahun. The long hair is gone, and is replaced by a shaved scalp, stripping away traditional associations of allure made between women and their flowing locks. The bald-headed portrait is one of a number made in the same year. This version bears reference to Edvard Munch's existential image of The Scream (1893), whilst another depicts Cahun hand on hip dressed in a man's suit, and a further hairless picture shows the artist cross-legged in profile meditating in a monk-like pose. All three of the images present a vision of gender-neutrality, which - produced whilst immersed within a flourishing Parisian lesbian avant-garde community - well illustrate Cahun's personal journey at the time. Indeed, it is noteworthy that throughout post-war Europe, an overall questioning of gender constructions becomes significant. This was definitely the case for Frida Kahlo, who typically wore a man's suit in family photographs during the 1920s and then later, in 1940, painted Self Portrait with Cropped Hair.

By contrast to the highly expressive face repeatedly painted by Munch, Cahun photographs herself with an air of detachment and general lack of feeling. Thus most likely, the way in which the artist's hands are placed on either side of a vacant face is done not only to recall the intensity of lived experience like The Scream, but also to create the illusion that they hold a mask. Influenced by involvement in contemporary experimental theater, Dada performativity, and a general interest in African art, Cahun makes references to masks in many artworks. The mask motif is explored as early as 1905 when Picasso portrays Gertrude Stein, the lesbian poet at the center of early-20th-century Parisian salon culture, imbuing her presence with timeless weight and androgyny. The mask, as such, alludes to the hidden depths of identity that societal conformity regularly denies. Cahun embraces this metaphor and seems to touch upon contemporary theoretical discussions that associate masks with one's daily acceptance/rejection of identity and gender performances.

The photograph, however, is not only a comment on shifting gender politics. As a Jewish person, with a physically stripped-down identity made sexless by hair removal, the image hauntingly looks forward to the heinous crimes of the holocaust. Furthermore, it universally mourns past, present, and future abuse suffered/to be suffered by women who stood/stand out as 'different'. For example, those labeled as 'witches' in the 16th century or women who took German lovers during World War II, as 'punishment' for what in reality was free living, they were all required to remove their offending hair.

Photograph from the series "I am in training don't kiss me" (c.1927)

Photograph from the series "I am in training don't kiss me" (c.1927)

Unlike in earlier works, in this image and others made in the latter years of the 1920s, Cahun presents an obviously constructed identity using props, highly stylized clothing, and make-up. The photograph comes from a series of images in which Cahun adopts the paradoxical representation of a feminized strongman and performs various poses as such. Using this persona, Cahun conflates masculine and feminine stereotypes: Cahum holds charmingly painted weights, psuedo-nipples are sewn onto the flat costume shirt, and even the traditional weight-lifter handlebar mustache has been displaced onto the curls of cropped hair. With coquettishly pursed lips, the English words across Cahun's chest humorously read: "I am in training don't kiss me." With a gaze coy and inviting, it is at the same time contemptuous and mocking, ridiculing the viewer for being attracted to what is blatantly not on offer. The theatrical nature of the strongman series combines contradictory notions of gender to highlight the interesting space of slippage between opposite poles of identity. Indeed, it was not long after this photograph was taken, in 1929, that Cahun published articles in journals stating controversial theories that introduced the possibility of a third sex, uniting masculine and feminine traits but existing as neither one nor the other.

Once rediscovered and subsequently written about by art historian, François Leperlier, from 1994 onwards it was Cahun's experiments with constructed identity that set the prescient for a post-modern performative sentiment. The highly staged photographs look forward to Cindy Sherman's identity-shifting self-portrait photographs (e.g. Untitled Film Series, 1977-80), and Gillian Wearing's more recent 'mask' work. Cahun's images are a product of their artistic and social milieu, but also paradoxically deal with issues of identity that recur through all ages. I am in training, don't kiss me can be viewed in context with Coco Chanel's fashion forward boyish look, Josephine Baker's provocative performances, Romaine Brook's androgynous self-portrait (1923), and the many unruly flappers who bobbed their hair, shortened their skirts and started enjoying a newly found sexual freedom. As feminism was making headway, including suffrage, which was sweeping across the USA and most of Europe, the concept of the "New Woman" emerged with vigor during the Roaring Twenties. As a part of this moment in history but also apart from it, Cahun breaks through gender boundaries and represents herself simply as an active human rather than as a woman or man defined by their sex.

Influences and Connections

Influences on Artist
Claude Cahun
Influenced by Artist
Open Influences
Claude Cahun
Influences on Artist
Friends
  • No image available
    Marcel Moore
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    Henri Michaux
Claude Cahun
Influenced by Artist
Friends
  • No image available
    Marcel Moore
Close Influences

Useful Resources on Claude Cahun

Content compiled and written by Anna Souter

Edited and revised, with Summary and Accomplishments added by Rebecca Baillie

"Claude Cahun Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Anna Souter
Edited and revised, with Summary and Accomplishments Ideas added by Rebecca Baillie
Available from:
First published on 25 Oct 2017. Updated and modified regularly
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