Jul 072016
 



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Aussie Cyril

Aussie Cyril’s photo is in the style of Emmanuel Sougez’s 1930-40s nudes, which “are meant to be sexually admired, but… represent the old-fashioned discreet view of women; an ideal of femininity reminiscent of 18th century artists Fragonard and Boucher,… purely and simply feminine, …seeming to shrink before our admiring gaze”. Yeuch.


My ‘alarm clock’ ( Bel’s hacking cough) goes off early today, but she manages to settle back into dozing.
    So I have got up well before her; left her rattling under her duvet. As I’m putting on my coat I call, ‘Make sure you get a chest x-ray in Antwerp.’ I pop back into to the bedroom, looking for my hat.
     Bel rouses her head. ‘More creativity with Cyril, this morning?’ Did that wheeze have a cynical tone?
    Look, I don’t want his pictures any more. I’m doing this purely for the money.’ I stare at her. ‘You look grey, Bel. I’m phoning the office for you. Don’t go to work. You can’t breathe.’

On the Metro to Moganshan Lu I become terrified I’ll arrive home to find Bel dead in her bed. An asthma attack. Heart failure. A strain of pneumonia that brings instant death.

Alone in Shanghai… God. I would die too.

    But she answers my text.

Am ok tanx. Hav good morning.

At the studio Aussie Cyril’s ten-day-old marriage proposal hangs in the air; brings an intimacy (uncomfortable, unwanted), like ten days into an engagement.
    I don’t refer to it. Maybe it will sink away, be forgotten…
    ‘Over to you, Cyril. You choose the poses.’
    Or should I do something about it? At least they would understand my poetry in Melbourne…
    ‘Thank you, Suki. Today I’m aiming to reproduce the classical nude portraiture styles of Harry Callahan, or Ruth Bernhard; also a fashion photographer who turned to Art Nude called Jean-Loup Sieff, who took “lively portraits of interesting girls”, to quote Peter Lacey.’
     ‘Girl? I’m not exactly a spring chicken.’

In the evening I receive an email with his “classical nude portraits” attached.

My dearest Suki-muse, permit me to regale you with information about the gentlemen who have been my influences. Here is a link to a fine example of Emmanuel Sougez’s figurative female nudes. Though his technique attends to composition, line and form, the individual femininity of his models is not subordinate to these concerns. Then there is Harry Callahan who creates images that are representational of the model’s nature or character (yes, a stark contrast to Edward Weston). Callahan brings out femininity and modesty, coupled with a psychological remoteness and elusiveness. He has chosen women: feminine, demure women; “like mythical beings” they are revered and turned into fantasy (quoting Peter Lacey). While Callahan’s pictures are not remotely pornographic – he maintains a distance and respect – his way of relating to the image of woman is nothing if not sexual.
     By the way, did I ever say, I love those images in which your eyes twinkle? Cyril x

I rattle off –

As so often, you are again trying to make something pretty of me. I don’t mind not being pretty. I’d rather not be. ‘Callahan-esque’ is a style I really don’t like. I’m not a mythical being. I am not remote.

But I must not sound so churlish. Cyril is still paying me. So I delete this, and write –

Thank you Cyril.
These are beautiful. I love looking at beautiful women. I am not one. But they are lovely. Thank you. Look forward to more sessions. Do suggest a date. Suki

Clearly Cyril is hovering somewhere, awaiting my responses. I immediately receive his reply:

Dear Suki, my darling muse, how about another shoot on Monday morning, first thing? Then lunch at the Peace Hotel? Let me know.



 

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  One Response to “Page 32”

  1. Re: photographic modelling being more lucrative than modelling for artists:

    I’ve always thought that [the difference in remuneration] is to do with the possibility of repeat bookings. In a day with a model, I might expect 3 or 4 drawings, some of which I might turn into paintings, which would require the model to come back several times. I assume, perhaps incorrectly, that a photographer could produce many images in a 4 or 5 hour session (my usual defintion of a day’s work) and would not need the model again.

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