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Conjugal Cubism: Picasso, Braque, and Homosocial Desire
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Abstract
This essay reconsiders the personal relationship and artistic dialogue between Pablo Picasso and Georges Braque in the early 1910s through the lens of homosocial desire. During their so-called ‘conjugal’ years, the two artists forged an intimate bond of collaboration and seclusion that produced the recalcitrant, idiosyncratic Cubist idiom. Close readings of artworks, biographical accounts, and the art-historical reconstruction of this partnership reveal how it both confirmed and challenged dominant heteronormative protocols as well as conventional narratives of Cubism as a masculinist fraternity-cum-rivalry. Instead, Cubism emerges as a practice shaped by queer opacity and homosocial desire: a language of furtive signs, oblique intimacies, and relational entanglements between men. By situating intimacy and desire as constitutive rather than incidental, the essay challenges the historiography of modernism, exposing its blind spots while proposing a queer art-historical method attentive to affective structures at the very core of the canon.
Title: Conjugal Cubism: Picasso, Braque, and Homosocial Desire
Description:
Abstract
This essay reconsiders the personal relationship and artistic dialogue between Pablo Picasso and Georges Braque in the early 1910s through the lens of homosocial desire.
During their so-called ‘conjugal’ years, the two artists forged an intimate bond of collaboration and seclusion that produced the recalcitrant, idiosyncratic Cubist idiom.
Close readings of artworks, biographical accounts, and the art-historical reconstruction of this partnership reveal how it both confirmed and challenged dominant heteronormative protocols as well as conventional narratives of Cubism as a masculinist fraternity-cum-rivalry.
Instead, Cubism emerges as a practice shaped by queer opacity and homosocial desire: a language of furtive signs, oblique intimacies, and relational entanglements between men.
By situating intimacy and desire as constitutive rather than incidental, the essay challenges the historiography of modernism, exposing its blind spots while proposing a queer art-historical method attentive to affective structures at the very core of the canon.
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