Silent Partners: Artist & Mannequin from Function to Fetish
14 October 2014 – 25 January 2015
Free to all
From artists’ tool to erotic plaything, over the past 200 years the mannequin has – quite literally – taken on a life of its own.
Originally a means by which to set up a composition or study the fall of clothing, studio models were a closely guarded secret – a 'trick of the trade'. It wasn't until the 19th century, when designers sought to make more realistic human-size versions with articulated skeletons, that the mannequin began to appear as a subject in its own right.
At first it featured humorously, for example a painting by Heinrich von Rustige shows a farmer doffing his hat to a mannequin in soldier's uniform. But later painters such as Edgar Degas began to represent the mannequin in more troubling ways, playing on the unnerving psychological presence of a figure that was realistic, yet unreal.
Photographers particularly were concerned with the voyeuristic relationship between male painter and female mannequin, and by the 20th century imagery began to allude to potential erotic encounters. The surrealists were among those who celebrated it as an object that could reveal unconscious desires.
This exhibition – one of the Fitzwilliam’s most wide-ranging and ambitious yet – features over 180 paintings, drawings and photographs as well as fashion dolls, trade catalogues and extraordinary patent documents and videos.
It's something of a revelation that the mannequin can be linked to so many major artists. Cézanne, Poussin, Gainsborough, Ford Madox Brown, Kokoschka, Dalì and Man Ray are just some of those whose work is featured. Two pieces by Jake and Dinos Chapman provide additional 21st century context.
But the highlight is bound to be the mannequins themselves; wooden effigies once belonging to Sickert join a horse-hair stuffed child doll that Millais rented as a model for two portraits he produced of his daughters.