Olsen’s faceless maidens, with their pink, sun-kissed flesh, confront their mortality and heartbreak with the age-old symbol of vanitas – a grinning, bleached skull. Much like Persephone dragging the lush flora down with her descent into Hades, Olsen’s subjects embrace the darkest part of their ego within a state of botanic euphoria.
Death & the Maiden’s co-founder Lucy Talbot sees Harold & Maude as the ultimate death positive film. Originally released in 1971, the film was a box office flop. Only in the 1980s did it begin to profit and build a cult following. The lessons that Countess Mathilda Chardin has for young Harold Chasen will change hisContinue reading ““I think I’d like to change into a sunflower most of all””
Film maker Wesley Chambers shares his top five “Death and the Maiden” films with us. These are not only must see movies but also the masterpieces that influenced his latest film Ligatures. You can watch Wesley’s short film by following the link and find yourself on a seductively surreal journey with two deathly maidens.
Even today, Death and the Maiden, depicted together, have lost nothing of their morbid and unsettling charm. And they still speak to the most hidden part of our souls; on one hand reminding us of the fleeting nature of the body, but suggesting on the other hand that there’s a secret complicity between beauty andContinue reading “Skeletons & Young Girls”
The last girl standing has been debated by horror fans and academics alike. We can track her evolution through the main stream of horror but her story existed long before the 1970s. For every final girl we find a fallen woman. Looking back at Victorian fiction we find that sex equaled death long before masked serial killers stalked and brutally murdered teenagers.
Dr Christina Welch explains that Europe has had a long history with Sex and Death, one intimately tied to religion. This post explores a genre of art produced during this time period that melds these themes. It examines ‘Death and the Maiden’ artworks by Germanic proto-and early-Reformist artists who highlighted the folly, futility and transience of earthly vanities, through the use of erotic death imagery that juxtaposed an eroticized woman, who stood as a symbol of life and fecundity, with a male/masculine representation of death.