Abstract:
It is 1808. After many centuries, Ingres reinstated the Sphinx as a protagonist in monumental painting. In line with historicism, the confrontation between Oedipus and the Sphinx follows the Greek mythological story almost to the letter. Moreover, the duo is modeled after representations of Greek vase-paintings. The encounter shows a seated female Sphinx with high upraised wings contemplating Oedipus. But unlike her Greek examples, her attractions are made all the more tempting by her voluptuous naked breasts: Ingres found examples at the Lycians.
The reintroduction was a success: from that moment on the Sphinx inspired Neo-classical and Symbolist artists. But she stepped from her Doric or Ionic pillar as the artists paid scant attention to mythological accuracy. Able to use whatever pleased them, a variety of sources were drawn upon: the archetypical pose of the Egyptian Sphinx was especially popular – resting flat on the belly with outstretched paws. The mythical mix of human and lion expanded with a fusion of classical backgrounds. In my contribution I argue that the iconography developed in these 19th century Neo-classical and Symbolist paintings, was the starting point of how the Sphinx is used in 20th century advertisement and promotional photography.
Especially interesting is the fact that the Sphinx was also recast to explore a new phenomena; the femme fatale. In her new guise as an unearthly beauty she seduces, ruins and ultimately destroys men. When Oedipus, and thus the original story, leaves the stage, the Sphinx performs a striptease. Around the turn of the century, artists strip her of her ‘lion’s garb’: her fur, tail and even her paws are gone. All that is left of her feline incarnation is her posture and especially her clawing hands. Advertisement –for cigarettes and perfume- focuses on this erotic sphere of exotic sensuality.
With her fur gone, she almost changes into a mortal woman. And from this moment on, female celebrities are attracted to her. While playing a role, they profile themselves as Sphinxes: Greta Garbo manipulates her face over that of the Giza-sphinx and dancer Ida Rubinstein stretches herself out on a sofa to recall the dangerous and mysterious character of the Sphinx. In advertisement, these are exactly the elements that producers like to add to their products: Revlon promotes in the sixties the ‘Sphinx-pink smile’ as ‘shockingly chic’. Actresses in both promo-pictures as in advertisement are exotically but decent dressed: Triumph even provides them a bra, called Sphinx.
But when times go by, a striptease is carried out again, although it apparently needs a bit of a legitimation: when Madonna is photographed in 1979, an added pussycat strengthens her lion like appearance.
Has the meaning of the Sphinx been hollowed out in modern times to a simple pose for a pin-up? Or does the Sphinx still keep some of her ancient authority and mystery?