Leonardo, Homosexuality, and Sublimation

The Italian renaissance polymath Leonardo da Vinci, who is currently the focus of the art world, arguably sublimed his homosexuality into his art.

Leonardo never showed any interest in women and even wrote that heterosexual intercourse disgusted him. Perhaps unsurprisingly, he never married, and chose instead to surround himself with beautiful young men, in particular Salai (a nickname meaning ‘little devil’) and Melzi, both of whom Leonardo included in his last will. In 1476, at the age of 24, Leonardo was twice charged with sodomy, even though the charges were dropped for want of witnesses.

As in his life so in his art: Leonardo drew many more male than female nudes, and gave much more careful attention to the male sexual organs. Many of the figures in his paintings appear androgynous, especially the John the Baptist (pictured) who, complete with the fine curls of Salai, looks nothing like the biblical cousin of Jesus and everything like Salai or, indeed, Mona Lisa. There is also a drawing entitled The Incarnate Angel from the school of Leonardo that appears to be a humorous take on the John the Baptist, depicting John (and therefore Salai) with an erect phallus. Salai’s name is even inscribed – and has at some point been crossed out – on the back of the picture.

Then, in the famous Last Supper, Leonardo painted a female figure, often interpreted as Mary Magdalen, in the privileged position to the immediate right of Jesus. However, it is generally understood that it is in fact St John who occupied this position. In the Bible, John 13:23, it is written (presumably by John himself), ‘Now there was leaning on Jesus’ bosom one of his disciples, whom Jesus loved.’ And again at 21:20, ‘Then Peter, turning about, seeth the disciple whom Jesus loved following; which also leaned on his breast at supper, and said, Lord, which is he that betrayeth thee?’ In his Spritual Friendship, St Aelred, Abbot of Rievaulx in the 12th century, contrasts St John with St Peter. To Peter, he says, Jesus gave the keys to his kingdom, but to John ‘he revealed the secrets of his heart’. ‘Peter … was exposed to action, John was reserved for love.’ Whatever the relationship between Jesus and St John, for Leonardo to have placed a female figure in the place of St John, all the more in a painting of the Last Supper designed for the dining hall of a monastery[1], might be thought of as rather more than just a mistake.

Adapted from Hide and Seek: The Psychology of Self-Deception.


[1] The monastery of Santa Maria delle Grazie in Milan.

About these ads

2 Comments (+add yours?)

  1. Duane Powers
    Feb 29, 2012 @ 06:36:35

    What an interesting article! I’ve always felt myself at ease around gays and drawn to their artistic sensibilities and hunger for spiritual connection, for the eyes of a father who sets them at ease with love and blessing and affection. Having a gay brother, I use to think there must be a gay gene. That was until I came across the writings of Leanne Payne and Jeffrey Satinover. The two help me to see the symbolic and scientific explanations in ways that have liberated me to love more deeply, because I can love with more understanding now.
    I look forward to reading more of your articles as I find the time.

    Reply

  2. Duane Powers
    Feb 29, 2012 @ 06:39:29

    Forgot to mention you might try the Chilean Cab-merlot blend by Vina Maipo. Inexpensive and sublime. :-)

    Reply

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

Follow

Get every new post delivered to your Inbox.

Join 178 other followers

%d bloggers like this: