Paiderasteia, Photography and the Marketing of Europe’s First Gay Resort…
The Sicilian town of Taormina occupies a site on a lofty hill 300 meters above the Mediterranean sea. The remains of a Saracen castle rise above the city, while portions of its ancient walls crown the brow of the hill. In the distance, the remains of a Greek amphitheatre are visible. This ancient theatre (the Teatro Greco ), is one of the most celebrated ruins in Sicily, on account both of its remarkable preservation and it’s beauty, set high above the sparkling blue waters. The archeological remains speak to Taormina’s turbulent history at the crossroads of the ancient world. Phoenitians, Carthaginians, Geeks, Romans, Arabs, Normans, Aragonese and Bourbons have all held the city, contributing to a varied artistic and cultural heritage.
Taormina’s contemporary history is equally as rich. Famous for its natural beauty, temperate climate and the opportunity of enjoying the personal charms of some of Sicily’s young shepherds, Taormina came to prominence as Europe’s first “gay” resort. It is a story that involves some of Europe’s most distinguished nobility, the advent of a new technology (the camera), the popularity of a new media (the travel magazine) and the “Uranian School” of homosexual poets with their dreams of adolescent love.
Our drama begins in 1787 with the visit to Italy by J.W.Goethe, the famous German intellectual. German poet, novelist, playwright, courtier, and natural philosopher, Goethe would become recognized as one of the greatest figures in Western literature. At the time of his journey to Italy, he had already gained early fame with The Sorrows of Young Werther (1774) in which he created the prototype of the Romantic hero.
In 1786-88, Goethe embarked on a “Grand Tour” of Italy to immerse himself in the remains of classical antiquity and in contemporary art. He journeyed to Roma via Innsbruck spending time in Lake Garda, Verona, Venice and Naples. “In Rome I have found myself for the first time,” he wrote. He drew statues and ruins, collected antique and botanical samples, and the ancient Greek monuments he saw in Italy significantly influenced his growing commitment to a classical view of art.
Goethe also journeyed to Sicily, and discovered the beauties of the island. He wrote intriguingly that ” To have seen Italy without having seen Sicily is to not have seen Italy at all, for Sicily is the clue to everything.” He was particularly taken with Taormina. which he described as a “patch of paradise”. Goethe’s diaries of this period form the basis of the non-fiction Italian Journey (in the German original: Italienische Reise) a book on his travels to Italy. In the years which immediately followed its publication in 1816, Italian Journey inspired countless German youths to follow Goethe’s example.
Otto Geleng
One of those youths was a red-haired Prussian painter named Otto Geleng, whose dramatic landscapes brought Sicily’s beauty to prominence throughout Europe and so established Taormina as a tourist destination. Geleng arrived in Sicily from Berlin at the age of 20 in keeping with a long tradition of young artists training in Italy. What distinguishes Geleng, however, is that he was the first artist to depict Sicily where he captured the spectacular views and the landscapes.
Beginning with low hills in the south and west, the island of Sicily becomes more mountainous to the north and east, ultimately culminating in the island’s most prominent feature, the 10,000 foot-high volcano Mount Etna. Mount Etna is one of the most active volcanoes in the world and is in an almost constant state of eruption. The fertile volcanic soils supports an abundance of wildflowers flowers, and extensive agriculture, with vineyards and orchards spread across the lower slopes of the mountain. The combination of scenic views, abundant vegetation and the azure hues of the Mediterranean sea offered Geleng an almost fantastical setting – none of which was familiar to the rest of Europe. In fact, when his paintings were exhibited in Berlin and Paris, none of the critics could believe that the young Prussian’s landscapes depicted real places. His representations of plum orchards in bloom on the slopes of snow covered Mount Etna were labeled the works of Geleng’s ‘unbridled imagination’.
Recognizing that life did not get much better than in Taormina (certainly when compared to Berlin), Geleng challenged his critics to visit the island offering to pay their costs if he was wrong. He then returned to Taormina and opened the first hotel – which still stands today.
Von Glœden
A young Prussian photographer, Wilhelm von Glœden, was the next German traveler to settle in Taormina . While Goethe’s writings and Geleng’s beautiful landscapes had put Taormina on the map, it was Von Glœden’s photographs of naked shepherd boys in bucolic settings that established pornography as a new growth industry and established the city as a “must visit” tourist destination.
Von Glœden had traveled to Sicily from his home in Germany, seeking a more temperate climate to cure his lung disease. He settled in Taormina, , which he was to call his ‘heaven on earth’. His references were certainly to the stunning landscapes, but almost certainly included the fact that in 18th century Italy, men embraced homosexuality as a practical solution to the prevalence of women’s venereal diseases and the unconscionable conditions of the local “houses”. A pragmatism that was not widely imitated elsewhere in Europe.
Many of Glœden’s pictures focuses on typical Sicilian peasant scenes – young girls and old men, fishermen, water-carriers and priests, country roads and town squares. These were turned into postcards and achieved widespread popularity for their engagingly sentimental and charmingly “typical” views of Mediterranean life. But von Glœden also took thousands of photographs of Sicilian boys, often in states of partial or complete undress. Drawing on the widely esteemed traditions of classical antiquity, von Glœden presented his pictures as ‘illustrations of Homer and Theocritus’, which was a subterfuge to justify his models’ nudity and is also the reason for the camp style of some of his pictures.
It is worth noting that von Glœden’s was a very good photographer at a time when the photographic arts were in their infancy. He pioneered the field of filters and of transparent colors brushed directly onto the photographs which subtly altered the tonalities and intensities of the finished print. Around this time, Von Glœden developed an emulsion of milk, olive oil, glycerin, and scent which he used on the models to give their skin a soft, even glow. Many of the world’s famous photographers were attracted to him – requesting to learn new techniques.
It is true that von Gloeden not only did nudes, but also portraits, landscapes, genre pictures and so on. Though he apparently never photographed anything openly sexual, the erotic implications of his nude pictures are clear enough. Curiously, his trade was not underground, as one might imagine, considering the homophobic atmosphere of the time. Many of the pictures were published in trend-setting periodicals as “The Studio” and Velhagen & Klasing’s “Kunst für Alle” (Art for Everyone) and were shown at important international, where they were awarded prizes. His more carefully draped studies were regularly reprinted in hundreds of travel magazines and brochures advertising the joys of a Mediterranean holiday, and was even noted in Baedeker. The British concept of what constitutes “the romantic Mediterranean” was invented by von Glœden. .
Von Glœden’s more evocative nudes were avidly collected. Their suggestion of ancient places, use of artifacts and classic compositions helped to divert or at least excuse their sexual impact. Von Glœden’s photographs of lightly-clad or naked boys were circulated among the extensive coterie of the “Uranian School” of homosexual poets, as well as in many of the “physique and health” magazines spawned by the German Korperkulture (physical health/naturalism/nudism) and Wandervogel (boy scouts/hiking) movements. His theme of love for the adolescent boy, inspired by the paiderasteia of the ancient Greeks, was extremely erotic for the upper class of Victorian Europe.
Likewise Von Glœden’s wealthy and educated friends could not keep secret the beauty of his Greek vision. They spread the word and Von Glœden found himself becoming famous and wealthy once again from his work, for which he initially had no desire nor hope of profit. By the turn of the century, poets and actors, painters and famous society figures flocked to Taormina, making it a must on their grand Italian tours. After touring the city’s charming Ancient Greek theatre, the travelers would pay a visit to von Glœden at his studio.
Mr and Mrs Alexander Graham Bell visited von Glœden in 1898, and came away the proud possessors of several of his photos of native Sicilians, which they graciously presented to the National Geographic Society. Prince August Wilhelm of Prussia, King Alphonse of Spain, Wilhelm II and the gentle King of Siam Paramandra Maha Chulalongkorn were also visitors. King Edward VII of England (who carried Von Glœden’s nude photos back to the U.K. in his diplomatic pouch) stayed at the von Gloeden estate. Well-known bankers and industrialists as Rothschild, Morgan, and Vanderbilt were amongst his guests, as were the composer Richard Strauss and the celebrated author Rudyard Kipling.
German industrialist and munitions manufacturer Frederich Alfred Krupp, was a frequent visitor and purchased large quantities of Von Glœden’s works. His patronage came to a rather abrupt end when he found himself at the center of a pederastic scandal involving youths Krupp had “procured” in Capri and transported to the Bristol hotel in Berlin. The scandal threatened to topple the House of Krupp, taking his entire industrial empire with it. Krupp did what was the required thing for his time and situation: he put a bullet through his brain. Krupp’s main patron, the then Kaiser Wilhelm himself continued to be a frequent guest to Taormina, where he would anchor the Imperial Yacht in the picturesque bay, perhaps to remember his friend Krupp, but more likely to sleep with one Von Gloeden’s boys.
Partly because of Von Glœden’s fame, Taormina became one of Southern Europe’s first destination resorts, an achievement that was recognized in 1911 when von Glœden was awarded a medal by the local government. By this time Taormina had become, in the words of one English author, “a polite synonym for Sodom“. Still, it is largely due to the photographer that Taormina, which at the time of his arrival had been forgotten and impoverished, became a playground for Europe’s rich and famous, which, I guess, in the eyes of the locals was better than goat herding.
