#queerculture

smoking with the boys

Art Nouveau, Bathhouses, and Winter Gardens Art, Body, and the Beginnings of LGBTQ+ Liberalization The Art Nouveau movement, also known as Jugendstil, developed between 1890 and 1910 as a reaction to industrial materialism and the often strict, puritanical morality of the Victorian era. Art Nouveau celebrated nature, the aesthetics of the human body, as well as the expression of emotions and individuality through organic forms, flowing lines, and floral motifs. This movement, which manifested in architecture, design, painting, and sculpture, played a crucial role in questioning and dissolving outdated societal norms. Although Art Nouveau as an independent art movement ended in the 1920s, its stylistic elements and ideas continued to influence architecture and design in the decades that followed.

The Victorian era (1837-1901) was characterized by strict morality, rigid gender roles, and a conservative view of sexuality. The body was often regarded as something shameful, and sexual openness or the recognition of LGBTQ+ relationships were socially taboo and even criminalized. Art Nouveau broke with these restrictive norms. The movement emphasized the beauty and sensuality of the human body without moral judgment. Artists such as Gustav Klimt, Aubrey Beardsley, and Alfons Mucha created works that celebrated sexuality, intimacy, and the human body in ways far removed from Victorian prudery. This opened up new ways of thinking about the body, sensuality, and human connections.

In parallel with the Art Nouveau movement, luxurious bathhouses and winter gardens emerged across Europe. These spaces not only served as places for relaxation and retreat from hectic urban life but also became symbols of the interplay between nature, the body, and art. Art Nouveau bathhouses were exquisitely designed, often lavishly decorated venues where architecture, art, and the human body harmoniously merged.

Winter gardens, originally found in the homes of the wealthy upper class, were often glass oases where nature was artfully integrated into urban spaces. These spaces offered refuge from the outside world and became places of self-discovery, contemplation, and sometimes expressions of non-conforming sexual orientations.

In this era, bathhouses and similar venues often existed on the fringes of societal norms and began to take on special significance for the emerging LGBTQ+ subculture. Bathhouses, particularly in major cities like Paris, Berlin, and Vienna, became meeting places for people who sought to explore their sexual orientation in a time when homosexuality was often still suppressed or criminalized.

Bathing itself, long symbolically associated with purity and cleansing, transformed in the context of Art Nouveau into a symbol of liberation from restrictive norms. The corporeality openly displayed in these spaces provided LGBTQ+ individuals with an opportunity to meet outside the rigid societal rules and explore their identity.

The Art Nouveau movement and its associated new openness toward the body and sensuality offered artists and intellectuals a platform to advocate for the rights of individuals who deviated from the conservative norms of the time. Writers like Oscar Wilde and Magnus Hirschfeld fought for the decriminalization of homosexuality and laid the groundwork for the later liberation movements of the LGBTQ+ community.

The Art Nouveau era marked a turning point in Western culture and society. It was not only a celebration of art and nature but also an era of upheaval and emancipation from strict moral norms. Bathhouses and winter gardens became places of retreat, freedom, and intimacy, especially for those who did not fit into the rigid corset of Victorian society. The Art Nouveau movement and its associated aesthetics paved the way for new perspectives on the human body, sexuality, and the acceptance of LGBTQ+ individuals in a society that was slowly but steadily changing.

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there's something so freeing and comforting in the way she strokes my legs and marvels at the softness of the hair on them, how she kisses the trail of hair from my naval downward. the way she grips my thighs and tells me she *loves* my body hair.

there's something safe in standing nearby while she does her makeup so that I can compliment the rosy sheen on her cheeks, the wings of her eyeliner. or how excited she is to show me her nails when she has them done

there is absolutely nothing heterosexual about the way she loves me, and I finally understand the depth of butch/femme relationships in a way I haven't been able to before

I was always afraid to step too close to butch as a label, afraid of the way it would alter perception, but the more I fall for her, the more I fall for that label in myself in the same way I fell in love with calling myself a lesbian

it feels like home in queerness