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class="RubricLk-gRWSOU fgWnkQ bric__lk" href="/magaze/the-art-world"><span class="RubricName-fVtemz cLxcNi">The Art World</span></a></div></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearHed-NCyCC iUEiRd NbxED hpJvIc">Pisso’s Lt</h1></div><div class="ContentHearAccredatn-lfctVB enhwXT ntent-hear__accredatn" data-ttid="ContentHearAccredatn"><div class="ContentHearDek-bIqFFZ Mtme">Was sex the artist's real me?</div><div class="ContentHearByle-kmPyCa gvUmxJ"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearContributorImage-cvjZXn jKACOU"><picture class="RponsiveImagePicture-cWuUZO dUOtEa ContentHearContributorImage-cvjZXn jKACOU rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="66px"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="66px"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span><div class="ContentHearByleContent-dpPmNn DRFq"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl ContentHearByl-cZqgyJ bqbBYQ"><p class="ByleWrapper-jWHrLH ivtvgj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL eErqIx byle__name-lk button" href="/ntributors/peter-schjeldahl">Peter Schjeldahl</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2001-07-01T20:00:00-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd kYZrFA kEBrdf">July 1, 2001</time></div></div></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div 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story" class="ActnBarButton-dyFOZU cjjxgx bookmark mobile"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG gBDqlf"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">The Mm of Fe Arts, Montreal, has a show, "Pisso Érotique," that will give you h thoughts about the twentieth century's five artist. Here's one of me: all Pisso's pictur are dirty. They are rooted lt and cultivated wh glee. Love has very ltle to do wh them, and fet romance. The word "gallantry" will do for the fer gtur of Pissoid amour, such as the exquise pathos of his "rose perd" rnival folk and the gt monumentaly of his neoclassicism. But even when he is at his most refed the Spanish rooster crows. Pisso said that for him sexualy and art were the same thg, leadg to believe that he ma love as he ma art—that is, wh domeerg dacy and gloatg pri. I image that his every kiss was signed "Pisso." Certaly, his every work of art memorializ self-light: "Pisso is dog this!" As a practil matter, he required nsentg others—willg women, attentive viewers—but to dulge them was beneath him. I'm acctomed to feelg ed up after any Pisso show: shaky wh pleasure and not so much sent on my way as sced and abandoned. Sometim I spise him. But I'll always go back to him.</p><p class="paywall">"Pisso Érotique" is not jt another Pisso show. It is the most illumatg of the many I've seen. It is extensive, wh about three hundred and fifty works, and brgs to vivid foc three prevly blurry perds of crisis for the artist: youth (until 1905 or so), midlife (the Surrealist phase, startg around 1927), and old age (several years before his ath, at the age of nety-one, 1973). The show persuasively argu that Pisso's succsive styl, cludg Cubism, are more or ls transparent masks or stum for his sexual avidy, whatever else they are, too. If "L Demoisell d'Avignon" were prent, the se would be clched by that revolutnary nex of the obscene and the analytil—a handshake between the Marquis Sa and Pythagoras. (Studi for "Demoisell," along wh related works, fill well enough.) The show's ndor is overdue and rehg. It cuts through the miasma of gossip about the artist's mistrs that has long been Pisso scholarship's expedient for pg wh the sex his work. "Pisso Érotique" do provi a time le of photographs and psule bgraphi of his seven leadg ladi, om Fernan to Jacquele, but the art on display quickly nfirms that his chief passn was always for himself actn as an artist and as a lover.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The show opened at the J Pme, Paris, last wter, and will travel to the M Pisso Barcelona—s last stop. It will not vis the Uned Stat, for reasons that I'm aaid are self-evint. It begs wh a fabuloly effective up théâtre by the Montreal curatorial team, led by Jean-Jacqu Lebel—a reproduced, full-sle f--siècle brothel bedroom wh a projectn of ancient, highly explic porn films—that would be nceivable a public mm south of Quebec unls acpanied by a polilly earnt wall text. The stallatn poss the sort of sexual experience that was route for the teen-age Pisso Barcelona. The room is not jt squalid and hot; 's cheerfully so. It assum a worldly, rilient matury viewers. How often do anythg ma Ameri do that? Well, there's somethg to be said for the joys of shockabily. The mky European allure of "Pisso Érotique" gave me a malee h of nostalgia for the art hoe Mneapolis where I first tasted prso and beheld Brigte Bardot onscreen, more than forty years ago. The Montreal show livers what those old, subtled films only hted at. The first picture is a sketch of two donkeys flagrante that Pisso ma when he was twelve years old, and the show proceeds wh works that are graphic more ways than one. The drawgs range om trivial, rnchy ritur of his iends dallyg wh prostut—imag that affirm the social, men's-clubby aspect that brothels had for the artist's circle—to sensive renrgs of sexual activy that breathe a quiet tensy. In a lite drawg blue k, a lover of uncerta genr performs oral sex on a woman who vers her ey wh her hands, perhaps the better to ncentrate on her light. The lovely image nveys a tth—that sexual sensatn is ternal and visible—that Pisso would spend a lifetime battg. The whole urse of his art is marked by the visg of one pictorial strategem after another for turng bodily nscns si out.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">The Montreal selectn of Pisso's early pornographic imag vers the standard repertoire of sexual tast, pl bs of btialy and a visn of murr by strangulatn. Only male homosexualy is exclud—except for one c rtoon joke which an artist, as he grasps the hand of a naked woman labelled "Glory," is buggered by a cric. Odd symbolic motifs clu a female nu who ntl si a god-faced phall and a woman who displays her vaga while reclg another, gigantic vaga. In this ntext, works of bety startle. "La Toilette" (1906), a masterpiece om the Albright-Knox Art Gallery, which shows a willowy nu dog her hair a mirror that is held by a clothed woman, monstrat Pisso's transmutatn of rands to erotic poetry. It also marks the onset of his nfince as a master. Bouts of secury seem to have triggered his reversns to explic sexual them after 1927—when, miserably married, he took up wh the young Marie-Thérèse Walter—and toward the end of his life. In the first stance, he reëngeered the female body as an ensemble of strictly erogeno parts and projected himself as Juper or the Motr, for whom love and rape are terchangeable pursus. Many of the works are faiar, but some that are the show, pictg peratn, are new to me. And I never spected the profn, Pisso's last phase, of al grapplgs, often attend by male voyrs.</p><p class="paywall">It is sometim prumed that those voyrs reprent Pisso impotent crepu, but there seems to be no evince for the notn. Ined, the funnit, most sweetly sexy works of the artist's reer take up the theme of voyrism. A special treat of the Montreal show is a sue of twenty-five marvello etchgs—ma the urse of twelve days 1968—that image the pater Raphael dog the ed wh his mol and mistrs La Fornara unr the ey of a male watcher, ually Pope Juli II. The sex is necsarily athletic, bee don't occur to Raphael to let go of his bsh and palette for nvenience's sake. The Pope sometim lurks but more often ss at ease on a throne or on a chamber pot. In some of the pictur, he seems disapprovg. In others, he appears to be havg a whale of a time. (If anyone attendance is gmpy, 's Raphael's rival Michelangelo, who is ocsnally shown hidg unr the bed.) If the eighty-six-year-old Pisso was g his sencence at the time he did the etchgs, he fot the urse of spng hilar fantasi wh sensual panache. The seri celebrat a lir nflatn of art and sex, of lookg and dog—a higher mathematics of eroticism that nsigns the ual physil measur of njugal performance to the stat of dull arhmetic.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Sex served Pisso as an stctible substute for the social agreements and systems of belief that had prevly ground art the world. Not for him the utopian or Ardian, progrsive or quasi-relig programs of other morn artists; he srned both abstractn and ntemporary subject matter. Not that he ma choic the matters. His temperament was his sty. (Dpe his tentns for "Guerni," that great patg fails as propaganda by dissolvg a topil outrage to timels myth. His later attempts to be a good Communist, wh imag of peace dov and the like, acunt for perhaps his only tly bad work.) As a rult, his art n never bee dated, let alone old-fashned. A virtuosic mornizer form, he was a skulkg primive ntent—not only premorn but prehistoril, revellg primal mud. Like the makers of the Lasux petroglyphs, he was sentially a graphic artist. He was a swordsman of the thstg le. His curv often ache to straighten, as if they were bent sprgs; and the rs of his pat-handlg is no smoother than a t's tongue. No matter how attenuated the sexual charge of his work beme, guid his choic of mark and lor. Is there somethg ted about Pisso's bullyg machismo? There certaly is—when you aren't lookg at his art. When you do look, he's got you by the scff of your stctual beg.</p><p class="paywall">We make a mistake when we image that geni mt be plited. It is the oppose. We ordary cizens are plex, g much of our blogil energy jt to keep our agmented selv workg orr. Albert Este reported that his theori were born fantasi of "visual" and "mcular" activi; only when the fantasi felt satisfyg and uld be reproduced at will did he beg dog the math. Compare this to Pisso's famo boast that he never sought but only found. What the tellect of each man required was already prent his body, whose dark knowledge had unimped accs to the dials and levers of abstract reason. "Pisso Érotique" giv teemg evince of a procs by which low-down impuls modulate, as they rise, to prodigi of telligence. The mechanism has a mimum of movg parts. (Pisso n seem to have had jt two, of which one was his bsh.) Most art tn relentlsly emphasiz the great artists' loftit achievements—which, like _E=mc_², rce to cluels awe. Pisso's goatish stuff Montreal tak down the sle, makg the germatn of his art matter-of-factly apprehensible. The phenomenon is no more or ls myster than any other fact of nature—and is as ltle answerable to our approval or disapproval. We needn't live wh Pisso, thank goodns, but only bra surgery uld stop him om livg . ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box ArticlePageSplAdRail-OyjwD jikppc"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="ArticlePageSplAdRailContent-jsltpq iZDmmY spl-ad-rail-ntent"><div class="ArticlePageSplAdRailTop-jUrrVY jzzFg"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="nq7jev"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div><div class="ArticlePageSplAdRailMiddle-tiRvu hiZeZX spl-ad-rail-middle"></div><div class="ArticlePageSplAdRailBottom-dBKMGQ jmCMsn spl-ad-rail-bottom"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="0u4t"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2001/07/09" data-reactroot="">July 9, 2001</a>, issue.</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/peter-schjeldahl"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/peter-schjeldahl">Peter Schjeldahl</a> was The New Yorker’s longtime art cric until his ath, 2022, at the age of eighty. 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data-ttid="SummaryItemHed">The Novelist Whose Inventns Went Too Far</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">After the Ao-Cuban wrer H. G. Carrillo died, his hband learned that almost everythg the wrer had shared about his life was ma up—cludg his Cuban inty.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>D. T. Max</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Lows of the High Life" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Weekend Essay</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Lows of the High Life</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">I had never had money, and then I did. For three days New York, I learned how not to e .</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Andre Dub III</span></span></p></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectnGridSummaryItem-WColm hKqhyj ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-no-id="cg22ve"></div></div></div><div class="SummaryCollectnGridToActnWrapper-gnReGN eGayfk"></div></div></div></div></div></div><div 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