{"id":80336,"date":"2014-12-02T17:02:45","date_gmt":"2014-12-02T22:02:45","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=80336"},"modified":"2014-12-02T18:02:57","modified_gmt":"2014-12-02T23:02:57","slug":"horrific-practices","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/02\/horrific-practices\/","title":{"rendered":"Horrific Practices"},"content":{"rendered":"<p><em>Two centuries after the Marquis de Sade, a French exhibition traces his influence.\u00a0<\/em><\/p>\n<script>\/* <![CDATA[ *\/ portfolio_slideshow.slideshows[427] = {\"timeout\":\"4000\",\"autoplay\":\"false\",\"trans\":\"fade\",\"loop\":\"true\",\"speed\":\"400\",\"nowrap\":\"true\"}; \/* ]]> *\/<\/script><div id=\"slideshow-wrapper427\" class=\"slideshow-wrapper clearfix portfolio-slideshow-centered\">\n<div id=\"slideshow-nav427\" class=\"slideshow-nav\">\n\t<a class=\"pause\" style=\"display:none\" href=\"javascript:void(0);\">Pause<\/a>\n\t<a class=\"play\" 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1\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/10.-moreau_appartion.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"600\" width=\"414\" alt=\"Slide 2\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/cezanne_tentation-saint-antoine.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"504\" width=\"600\" alt=\"Slide 3\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/cezanne_femme-etranglee.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"600\" width=\"474\" alt=\"Slide 4\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/degas_scene-de-guerre.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"350\" width=\"600\" alt=\"Slide 5\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/03.-von-stuck_chasse-sauvage.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"600\" width=\"422\" alt=\"Slide 6\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/02.-delacroix_chasse-aux-lions.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"429\" width=\"600\" alt=\"Slide 7\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/05.-rodin_minautore.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"600\" width=\"445\" alt=\"Slide 8\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/13.-rousseau_la-guerre.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"347\" width=\"600\" alt=\"Slide 9\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/06.-vuillard_figure-de-douleur.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"600\" width=\"249\" alt=\"Slide 10\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/08.-khnopff_futur.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"600\" width=\"450\" alt=\"Slide 11\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/09.-thirion_jeune-homme-nu-debout.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"600\" width=\"340\" alt=\"Slide 12\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/12.-verasis_pierson_comtesse-de-castiglione.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"600\" width=\"456\" alt=\"Slide 13\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/16.-daumier_dupin.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"600\" width=\"562\" alt=\"Slide 14\"><\/a>\t\t<\/div>\n\n\t\n\t\t\t\t\n\t\t\t\n\t\t<div class=\"slideshow-next slideshow-content not-first\">\n\t\t<a class=\"slideshow-next\" href=\"javascript:void(0)\" ><img loading=\"lazy\" decoding=\"async\" class=\"psp-active\" data-img=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/17.-burne-jones_roue-de-la-fortune.jpg\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" height=\"600\" width=\"302\" alt=\"Slide 15\"><\/a>\t\t<\/div>\n\n\t<\/div>\n<div class=\"slideshow-meta\">\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n<\/div><\/div><!--#slideshow-wrapper-->\n<p>The Marquis de Sade died two hundred years ago today, on December 2, 1814. To mark the bicentennial, Annie Le Brun, a French academic and writer, has curated a sprawling <a href=\"http:\/\/www.musee-orsay.fr\/fr\/evenements\/expositions\/au-musee-dorsay\/presentation-generale\/article\/sade-41230.html?tx_ttnews%5BbackPid%5D=254&amp;cHash=3f6f98c92b\" target=\"_blank\">show<\/a> in the Marquis de Sade\u2019s name at the Mus\u00e9e d\u2019Orsay in Paris. The exhibition, \u201c<em>Attaquer le soleil<\/em>\u201d (\u201cAttacking the Sun\u201d), takes its name from a snippet in <em>The 120 Days of Sodom<\/em>, and it traces \u201cthe revolution of representation\u201d occasioned by Sade\u2019s unbridled lasciviousness: how his ideas about desire and violence seeped into the cultural zeitgeist and into some of the most seminal art created during and after his lifetime.<\/p>\n<p>It seems tenuous, at first, to link Sade to a whole host of artistic traditions\u2014traditions that didn\u2019t necessarily need his help to see society as a holding cell, for teeming vices, impulses, and cruelties, all barely contained by etiquette. During a conference introducing the exhibition, Le Brun clarified her premise: \u201cWe didn\u2019t try to illustrate Sade\u2014on the contrary, the propos of Sade illuminates the violence that exists deep within at the moment of mythological, historical, religious painting \u2026 everything that Sade addresses was there before, and will of course continue after.\u201d What Sade tapped into, and what\u2019s elevated in the exhibition, is what Le Brun calls the \u201cexaltation of passions\u201d and the \u201cvertigo of excess\u201d\u2014mixed, of course, with \u201cflagrant atheism.\u201d <!--more--><\/p>\n<p>Sade\u2019s life abounded in <em>f\u00eates<\/em>, <em>d\u00e9bauche outr\u00e9s en petites maisons<\/em>, liaisons with actresses, dalliances with dancers\u2014carried out throughout his marriage, which lasted from 1763 until an official separation in 1790. His rap sheet includes a scandal with prostitutes (1772) and an abduction of five girls of French and Austrian origin (1775). He encouraged political rioting from his jail cell at the Bastille prison (1789), and his plays, performed at the asylum in which he was later interred, drew such big crowds from Paris that they had to be shut down (1811).<\/p>\n<p>Given her subject\u2019s debauched r\u00e9sum\u00e9, Le Brun\u2019s exhibition is suitably orgiastic. It amounts to a \u201crereading,\u201d she says, \u201cof the history of modernity via a Sadeian prism,\u201d and sure enough, through this prism one begins to see Sade everywhere. The exhibition begins in the dark, in a room where film clips\u2014among them Victor Fleming\u2019s <em>Dr. Jekyll and Mr. Hyde<\/em>, Luis Bu\u00f1uel\u2019s <em>El<\/em>, Michael Powell\u2019s <em>Peeping Tom<\/em>, and Pasolini\u2019s <em>Sal\u00f2<\/em>\u2014are projected on six screens. Starting from this vantage is unexpected\u2014it\u2019s intended to destabilize, simply by \u201cbring[ing] Sade into our era.\u201d From there, the exhibition is a labyrinth of somber, low-lit rooms featuring sculptures, paintings, engravings, photographs, and illustrations, all depicting a remarkable range of iniquity and erotica.<\/p>\n<p>The artists on display are renowned for addressing themes of desire, carnage, fantasy, and other id impulses of that ilk. Gustave Moreau\u2019s elaborate, strange <a href=\"http:\/\/www.musee-moreau.fr\/objet\/jupiter-et-semele\" target=\"_blank\"><em>Jupiter et Semel\u00e9<\/em><\/a> (1895) readily fits the Sadeian premise. Delacroix\u2019s <a href=\"http:\/\/www.google.fr\/imgres?imgurl=https%3A%2F%2Fc2.staticflickr.com%2F4%2F3480%2F3975240756_599a85f0ba_b.jpg&amp;imgrefurl=https%3A%2F%2Fwww.flickr.com%2Fphotos%2Fhavala%2F3975240756%2F&amp;h=784&amp;w=1024&amp;tbnid=tCzq9XL9DDghHM%3A&amp;zoom=1&amp;docid=W8HG3mUSCofziM&amp;ei=rqg-VPb8GMzcaurtguAF&amp;tbm=isch&amp;iact=rc&amp;uact=3&amp;dur=2532&amp;page=1&amp;start=0&amp;ndsp=15&amp;ved=0CCMQrQMwAQ\" target=\"_blank\"><em>Chasse aux lions<\/em><\/a> (1834) practically emanates animal heat with indistinguishable silhouettes aswirl in yellow and red. Picasso\u2019s <a href=\"http:\/\/www.google.fr\/imgres?imgurl=http%3A%2F%2Fwww.fondationbeyeler.ch%2Fsites%2Fdefault%2Ffiles%2Ffondation_beyeler%2Fsammlung%2Fkuenstler%2Fpablo_picasso%2Fpicasso_lenlevementdessabines_l.jpg%3F1280161600&amp;imgrefurl=http%3A%2F%2Fwww.fondationbeyeler.ch%2Ffr%2Fcontent%2Fl-enl-vement-des-sabines-1962&amp;h=1187&amp;w=940&amp;tbnid=G5YniTZV_Ar3QM%3A&amp;zoom=1&amp;docid=tYlh6PxMU_V62M&amp;ei=1ac-VMdTjrFpquaA8Ac&amp;tbm=isch&amp;iact=rc&amp;uact=3&amp;dur=1944&amp;page=1&amp;start=0&amp;ndsp=15&amp;ved=0CDsQrQMwCQ\" target=\"_blank\"><em>L\u2019Enl\u00e8vement des Sabines<\/em><\/a> (1962) is a black, white, and gray frenzy of sinister silhouettes, including an upside-down head, oversized appendages, flared nostrils, and a dagger. And the Austrian artist Alfred Kubin conjures the lurid with startling thematic synchronicity to Sade. His many ink-and-plume drawings from the turn of the twentieth century\u2014<em><a href=\"http:\/\/www.google.fr\/imgres?imgurl=http%3A%2F%2F4.bp.blogspot.com%2F-9C0yihcAxRw%2FT3byQhuxuQI%2FAAAAAAAAA8Y%2Fks7AHtwxmX0%2Fs640%2FIMG_6313.JPG&amp;imgrefurl=http%3A%2F%2Falfred-kubin.blogspot.com%2F2012_03_01_archive.html&amp;h=444&amp;w=640&amp;tbnid=u5uC3s52uLxOjM%3A&amp;zoom=1&amp;docid=7rEJ-pZMGShpLM&amp;ei=JKs-VIHiEdHlaNCEgKAJ&amp;tbm=isch&amp;iact=rc&amp;uact=3&amp;dur=947&amp;page=1&amp;start=0&amp;ndsp=20&amp;ved=0CCMQrQMwAQ\" target=\"_blank\">Dompteur<\/a><\/em>, <em><a href=\"http:\/\/www.google.fr\/imgres?imgurl=http%3A%2F%2F38.media.tumblr.com%2F1ca18d66918fc867a0760e4ad2a4a4f2%2Ftumblr_n7z6hgbEpw1rjtufgo1_1280.jpg&amp;imgrefurl=http%3A%2F%2Fsausgspdbrezo.tumblr.com%2Fpost%2F90650887080%2Fanimus-inviolabilis-die-grosse-boa-the-large&amp;h=771&amp;w=1230&amp;tbnid=UCyLUcg1oUizAM%3A&amp;zoom=1&amp;docid=PXTZjky-PMiVjM&amp;itg=1&amp;ei=5Ko-VLS7KpfjapOvgbgI&amp;tbm=isch&amp;iact=rc&amp;uact=3&amp;dur=1478&amp;page=1&amp;start=0&amp;ndsp=18&amp;ved=0CCIQrQMwAA\" target=\"_blank\">Die grosse boa<\/a><\/em>,\u00a0<em><a href=\"http:\/\/www.google.fr\/imgres?imgurl=http%3A%2F%2F1.bp.blogspot.com%2F-FA3Hr4il0Co%2FT3chr2khNNI%2FAAAAAAAAA94%2F2BhQS8PI3xU%2Fs1600%2Ffesta-di-macello.jpg&amp;imgrefurl=http%3A%2F%2Falfred-kubin.blogspot.com%2F2012%2F04%2Fschlachtfest-slaughtering-festa-di.html&amp;h=874&amp;w=900&amp;tbnid=OjMw4Ay3YdxmuM%3A&amp;zoom=1&amp;docid=tYcaMoqbCwMvLM&amp;ei=dqs-VI-vI83yasPzgugJ&amp;tbm=isch&amp;iact=rc&amp;uact=3&amp;dur=163&amp;page=1&amp;start=0&amp;ndsp=15&amp;ved=0CCYQrQMwAQ\" target=\"_blank\">Schlachtfest<\/a><\/em>, <em><a href=\"http:\/\/www.google.fr\/imgres?imgurl=http%3A%2F%2Fwww.brooklynrail.org%2Farticle_image%2Fimage%2F4809%2Fbuhmann-web.jpg&amp;imgrefurl=http%3A%2F%2Fwww.brooklynrail.org%2F2008%2F12%2Fartseen%2Falfred-kubin-drawings-18971909&amp;h=478&amp;w=300&amp;tbnid=YFFfaIhkIT2XYM%3A&amp;zoom=1&amp;docid=M1TN3XnSxqhA8M&amp;ei=r6s-VObrEobkaPqcgJgO&amp;tbm=isch&amp;iact=rc&amp;uact=3&amp;dur=822&amp;page=1&amp;start=0&amp;ndsp=20&amp;ved=0CCMQrQMwAA\" target=\"_blank\">Die Dame auf dem Pferd<\/a><\/em>\u2014are the stuff of nightmares. The\u00a0marquee artists, like Andr\u00e9 Masson, Johann Heinrich F\u00fcssli, or Paul Delaroche, evoke perverse scenes with ink on paper. And then there are the occasional surprises, notably Paul C\u00e9zanne, who evidently had a hankering for the macabre. His <a href=\"http:\/\/www.musee-orsay.fr\/fr\/collections\/catalogue-des-oeuvres\/notice.html?no_cache=1&amp;zoom=1&amp;tx_damzoom_pi1%5Bzoom%5D=0&amp;tx_damzoom_pi1%5BxmlId%5D=000792&amp;tx_damzoom_pi1%5Bback%5D=%2Ffr%2Fcollections%2Fcatalogue-des-oeuvres%2Fnotice.html%3Fno_cache%3D1%26nnumid%3D000792%26cHash%3D43b61e15d2\" target=\"_blank\"><em>La femme etrangl\u00e9e<\/em><\/a> (1875) and <a href=\"http:\/\/www.google.fr\/imgres?imgurl=http%3A%2F%2Fwww.impressionniste.net%2Fcezanne_enlevement.jpg&amp;imgrefurl=http%3A%2F%2Fwww.impressionniste.net%2Fcezanne.htm&amp;h=228&amp;w=300&amp;tbnid=YTOnxVtHBQCZsM%3A&amp;zoom=1&amp;docid=sgPjzHYfjG2qvM&amp;ei=_kk9VMWpH5bZaoGigLAH&amp;tbm=isch&amp;iact=rc&amp;uact=3&amp;dur=1528&amp;page=1&amp;start=0&amp;ndsp=12&amp;ved=0CCQQrQMwAA\" target=\"_blank\"><em>L\u2019Enl\u00e8vement<\/em><\/a> (1867) make one wonder just what was happening out of frame from all those pear-filled still lifes. To underscore the seamy themes, quotations are posted on the walls throughout\u2014from Nietzsche\u2019s 1887 treatise <em>On the Genealogy of Morality<\/em>, for instance: \u201cThis world has never quite lost a certain odor of blood and torture.\u201d<\/p>\n<p>It\u2019s often held that Apollinaire broke Sade into the mainstream conversation about French literature at the turn of the twentieth century, but Le Brun maintains that he was present well before that: she points out that Sade\u2019s ideas had made headway, albeit clandestinely, only some fifty-odd years after his death, and that his influence is apparent in the very nomenclature of important French texts that followed: <em>Les Fleurs du Mal<\/em> (Charles Baudelaire, 1857), <em>Les Diaboliques <\/em>(Barbey d&#8217;Aurevilly, 1874), <em>Le Jardin des Supplices<\/em> (Octave Mirbeau, 1899). These titles articulate what Le Brun calls \u201ca <em>prise de conscience<\/em> of what lives within: pleasure and pain.\u201d<\/p>\n<p>Le Brun dedicates an entire room to old anatomical drawings, principally by Antonio Serantoni. The exhibition takes in photography, too: Man Ray\u2019s explicit mise-en-sc\u00e8ne for William Seabrook in a 1930 gelatin print in which a woman is being tied down, and Hans Bellmer\u2019s images, like <em>La Poup\u00e9e<\/em> (a fusion of two lower halves at their waists), which evoke perhaps less sex and more dread. There are twenty-six aristotypes of vaginas photographed in close-up, circa 1880, and an image of a cut-up body found in a suitcase. These images are just some of the uncomfortable exemplars of the deeply problematic\u00a0gender issue\u00a0that\u00a0lurks throughout the circuit. Sade glorified the exploitative sex crime as something decadent: \u201cferocity is always either the complement or means to lust,\u201d he wrote in <em>La Nouvelle Justine<\/em>, 1797. Granted, willful female desire is by no means absent here, nor is female savagery\u2014one of the show\u2019s opening pieces, F\u00e9lix Vallotton\u2019s <a href=\"http:\/\/www.google.fr\/imgres?imgurl=http%3A%2F%2Fartension.um2d.com%2Fwp-content%2Fuploads%2F2013%2F11%2FBLOG-3.jpg&amp;imgrefurl=http%3A%2F%2Fartension.um2d.com%2Ffelix-vallotton-le-dernier-nabi-un-texte-inedit-de-guillaume-robin%2F&amp;h=626&amp;w=500&amp;tbnid=I-XSgMVJbqVbiM%3A&amp;zoom=1&amp;docid=OROJP-gB8YWoqM&amp;ei=qUk9VM3VL9PxaLnQgZgB&amp;tbm=isch&amp;iact=rc&amp;uact=3&amp;dur=1680&amp;page=1&amp;start=0&amp;ndsp=19&amp;ved=0CCIQrQMwAA\" target=\"_blank\"><em>Orph\u00e9e depec\u00e9 par les M\u00e9nades<\/em><\/a> (1914), shows Orpheus being dismembered by a coven of women. Still, there\u2019s no refuting that, throughout the ages, women were subjugated to the whims of male impulses a thousand fold more than they instigated their own. The exhibition never communicates any judgment on the long history of the subjugation of women\u2014the viewer has to saddle any discomforts in private.<\/p>\n<p>Throughout this\u00a0litany of incendiary images,\u00a0one may think on how\u00a0this\u00a0exhibition could have taken any number of shapes\u2014Le Brun herself acknowledges that\u00a0\u201ccertain tableaux could be replaced with others, yes, and often they could be replaced by\u00a0<em>many\u00a0<\/em>others\u201d\u2014yet this\u00a0version is\u00a0convincing in its thoroughness. It is a\u00a0veritable Pandora\u2019s box of ferocity and sexuality,\u00a0seen through the art-historical canon\u00a0as well as a freaky, rather extraordinary\u00a0fringe underbelly.\u00a0In\u00a0<em>Aline et Valcour<\/em>\u00a0(1789), Sade expressed \u201cthe desire to preserve horrific practices\u00a0that\u00a0you could not renounce,\u201d and\u00a0<em>Attaquer le soleil<\/em>\u00a0certainly does highlight those irrepressible urges. It\u2019s terrifying to think about what would happen if we exulted in everything that propriety hasn\u2019t beaten\u00a0out\u00a0of us. But it\u2019s also exhilarating to see those desires conveyed\u00a0beyond the imagination.<\/p>\n<p><a href=\"https:\/\/twitter.com\/SarahMoroz\" target=\"_blank\"><em>Sarah Moroz<\/em><\/a> <em>is a freelance cultural journalist\u00a0and translator based in Paris. <a href=\"http:\/\/sarahmoroz.tumblr.com\/\" target=\"_blank\">Her work<\/a>\u00a0has appeared in the<\/em>\u00a0New York Times<em>, the\u00a0<\/em>Guardian<em>, and <\/em>Publishers Weekly<em>, among other publications.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Two centuries after the Marquis de Sade, a French exhibition traces his influence.\u00a0 The Marquis de Sade died two hundred years ago today, on December 2, 1814. To mark the bicentennial, Annie Le Brun, a French academic and writer, has curated a sprawling show in the Marquis de Sade\u2019s name at the Mus\u00e9e d\u2019Orsay in [&hellip;]<\/p>\n","protected":false},"author":744,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[13502,16243,16241,16244,16242,5812,16240,12266,1936],"class_list":["post-80336","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-alfred-kubin","tag-annie-le-brun","tag-bicentennials","tag-delacroix","tag-gustave-moreau","tag-marquis-de-sade","tag-musee-dorsay","tag-paul-cezanne","tag-picasso"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Marquis de Sade at 200<\/title>\n<meta name=\"description\" content=\"Two centuries after the Marquis de Sade\u2019s death, a French exhibition traces his influence in art, photography, and literature.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/02\/horrific-practices\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Horrific Practices by Sarah Moroz\" \/>\n<meta property=\"og:description\" content=\"December 2, 2014 \u2013 Two centuries after the Marquis de Sade, a French exhibition traces his influence.\u00a0 The Marquis de Sade died two hundred years ago today, on December 2,\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/02\/horrific-practices\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2014-12-02T22:02:45+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-12-02T23:02:57+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"675\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Sarah Moroz\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Sarah Moroz\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/02\/horrific-practices\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/02\/horrific-practices\/\"},\"author\":{\"name\":\"Sarah Moroz\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/67b78e640223ca0c778f12adef8f48ef\"},\"headline\":\"Horrific Practices\",\"datePublished\":\"2014-12-02T22:02:45+00:00\",\"dateModified\":\"2014-12-02T23:02:57+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/02\/horrific-practices\/\"},\"wordCount\":1177,\"commentCount\":2,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"keywords\":[\"Alfred Kubin\",\"Annie Le Brun\",\"bicentennials\",\"Delacroix\",\"Gustave Moreau\",\"Marquis de Sade\",\"Musee d'Orsay\",\"Paul C\u00e9zanne\",\"Picasso\"],\"articleSection\":[\"Arts &amp; 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