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His dark, sombre portraits brood over the themes of male identity, isolation, the passage of time and death. This exhibition and catalogue should cement his reputation for many years to come, and, with luck, more paintings will resurface. Even during their time, the Frick paintings were considered of importance. His paintings were acquired by those in the highest echelons of society, from the French aristocracy to novelist Edith Wharton and friends of John Singer Sargent. Hall, the Frick Director of Curatorial Affairs, contributed to the catalogue.


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The exhibition's focus on white male artists is impossible to ignore, with women, trans people and people of color glaringly underrepresented. Chaos and Catharsis in the Paintings of Stephen Hannock. As a gay man himself, Warhol was offering a space for queer audiences within the homophobic language of mainstream America. Consider the interior of Palazzo Barbaro, owned by the Curtis family in Boston, who were friends of Sargent. These expressions of queer desire became more overt in the later 19th and early 20th centuries. An indication of his own preference for transforming interiors is his depiction of the Grand Salon in the Venice Palazzo Barbaro.


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For his painting, Gay renders three of the panels along with eighteenth-century French furniture and gilded boiserie. Known gay men like Oscar Wilde who was later imprisoned because of his sexuality married women for social pretense, and psychiatrists offered dangerous conversion therapies to those desperate to alter their orientation. His work manipulates spaces traditionally associated with heterosexuality, like locker rooms, with a queer aesthetic, continuing Warhol's tradition of transforming the everyday into artistic sites of gay male desire. The satirical piece shows two men in monastic habits, with one of them holding a peacock feather. His paintings were acquired by those in the highest echelons of society, from the French aristocracy to novelist Edith Wharton and friends of John Singer Sargent. Props like peacock feathers and dyed green carnations were worn on jacket lapels, aesthetic signifiers that allowed gay men to identify themselves -- and each other -- without being caught.


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