The mask of art is the means through which corruption is spread. The mask makes vice seem beautiful, turns squalor and nastiness into glamorous thrill, seduces the onlooker into the game – and leaves him or her with the corpse on his hands.
Hidden away behind the closed doors of aristocratic and bourgeois privilege, concealed under those ultra-respectable masks of black frock coat and veil, the green glow of corruption flickers into sight, steadies, and spreads everywhere, fostered by L...
Art makes murder into the supreme image of Beauty and in doing so sets free the vengeful God. (referring to Jean Lorrain's LE VICE ERRANT)
Art serves to confront that which is outside order, to give form to the obscene. In the process, it opens it to transformations that can not only make it safe for public consumption, not a powerful vehicle through which to address the public imaginat...
In this image (watching sensual murder through a peephole) Lorrain embodies the criminal delight of decadent art. The watcher who records the crimes (both the artist and consumer of art) is constructed as marginal, powerless to act, and so exculpated...
Here, in Lorrain's poisoned little jewel of a tale (“The Man Who Made Wax Heads”) the consummate achievement of decadent art is caught in miniature. The genius of the artist entangles perpetrators and victims in a sticky web of perverse delights,...
Everyone in a decadent society, Lorrain urges, is guilty. Everyone loves masking murder and everyone takes masochistic pleasure in the risk of discovery and punishment.
The decadent artist markets other people's pain
