Count St. Genois d’Anneaucourt; Christian Schad
Inkjet on watercolour paper
90 x 67.5 centimetres
Christian Schad’s 1927 Neue Sachlichkeit (New Objectivity) portrait of the suavely dressed Count pictures him casually facing the viewer while in the background a transsexual looks bitchily at a female — the implication is the count is a man around town whose sexual predilection isn’t strictly confined to females. However much I like the humanity in the Schad portrait I had no hesitation in re-orienting the mood to suggest a more transactional arrangement where the count displays the ease wealth can bring while his sexual consorts’ expressionless posture suggests they are there his property while the money is forthcoming.
During the early stages of this work I had much difficulty in modelling the negligees the consorts wear and accordingly decided to leave them naked. The gasps expressed by some people who viewed it wasn’t necessarily a bad reaction, but it was not what I wanted and I had to wait until my modelling skills improved to the point where it became possible to form the garments that a more nuanced result was possible. Nonetheless, the transvestite’s negligee was made slightly parted to reveal her manhood in a peek-a-boo fashion.Count St. Genois d’Anneaucourt by Christian Schad: Popmpidou Centre
Review in the New Yorker magazine