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The Victorian view of same-sex desire

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The Victorian view of same-sex desire

Best in the West Sex and Sensuality in the Regency. Singer Author's Comments The Workhouse was invented in Victorian Britain mostly England as a solution to the masses of poor and homeless that flooded the streets of the cities. They were created with the best of intentions. Shelter, food, rehabilitation from the scourge of drunkenness, reducing the endemic prostitution, all in the name of social good and godliness. Giant complexes in which the poor were housed, clothed, fed, and put to useful work. But like most good intentions, things quickly took an unexpected turn. The people hired to manage the Workhouses were not motivated by such high ideals.

Nineteenth-Century Britain was famously prim about sex and homosexuality in particular. Or was it? The life and work of the painter Simeon Solomon seem both to confirm and challenge this view, writes Holly Williams. You might expect the show to display a gradual opening up, with increasingly explicit or unabashed imagery. Not so: the work of one of the first artists featured, Simeon Solomon part of the Aesthetic movement and a youthful figure on the fringes of the Pre-Raphaelite Brotherhood potently telegraphs homosexual desire from as early as the mids. Much of his public work also carried a surprisingly bold homoerotic charge.

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