Sphinx
Europe

The revived Mannerist sphinx of the late 15th century is sometimes thought of as the "French sphinx". Her coiffed head is erect and she has the breasts of a young woman. Often she wears ear drops and pearls as ornaments. Her body is naturalistically rendered as a recumbent lioness. Such sphinxes were revived when the grottesche or "grotesque" decorations of the unearthed Domus Aurea of Nero were brought to light in late 15th-century Rome, and she was incorporated into the classical vocabulary of arabesque designs that spread throughout Europe in engravings during the 16th and 17th centuries. Sphinxes were included in the decoration of the loggia of the Vatican Palace by the workshop of Raphael (1515–20), which updated the vocabulary of the Roman grottesche.

The first appearances of sphinxes in French art are in the School of Fontainebleau in the 1520s and 1530s and she continues into the Late Baroque style of the French Régence (1715 – 1723). From France, she spread throughout Europe, becoming a regular feature of the outdoors decorative sculpture of 18th-century palace gardens, as in the Upper Belvedere Palace in Vienna, Sanssouci Park in Potsdam, La Granja in Spain, Branicki Palace in Białystok, or the late Rococo examples in the grounds of the Portuguese Queluz National Palace (of perhaps the 1760s), with ruffs and clothed chests ending with a little cape.

Sphinxes are a feature of the neoclassical interior decorations of Robert Adam and his followers, returning closer to the undressed style of the grottesche. They had an equal appeal to artists and designers of the Romanticism and subsequent Symbolism movements in the 19th century. Most of these sphinxes alluded to the Greek sphinx and the myth of Oedipus, rather than the Egyptian, although they may not have wings.

The Decadent Movement, a European movement that was attributed to the notion of “decadence” around the 1890s, implores the main notion of finding beauty in the decline of civilization in the form of macabre or taboo subjects such as the sphinx. The motif of the sphinx can also be connected to the motif of the “femme fatale” figure in decadent texts in which a typically female-like figure or beast seduces and murders men. The “femme fatale” is used to establish a decline or decay ranging from perversion, death, prostitution, and other taboos of Victorian society.

Deborah Barker discusses, in “The Riddle of the Sphinx: Elizabeth Stuart Phelps’s The Story of Avis", how the painter Avis used the Sphinx as a representation of what women truly were in the nineteenth century. Avis thought that she could solve the prejudice that resulted from her gender and race through the Sphinx to show how she is an artist by tapping into the logic of Western Culture and visual recognition and classification. Napoleon on the other hand felt that the Sphinx was a representation of the empire he created, while Avis’ father Hegel Dobell thought that the Sphinx represented just an idea.

Oscar Wilde, a known Decadent writer, utilized this motif in his poem “The Sphinx”. The poem itself establishes a connection between the Sphinx and the French due to underlying social decline such as the French Empire collapsing. Wilde describes the sphinx as a sort of half-cat and half-woman that is connected to many mythological events, typically that of Egypt and Greece, as well as how the mysterious creature is surrounded by lust and death. The writer James Thomson, similarly to Wilde, also utilizes the motif of the sphinx in his poem “The City of Dreadful Night”. The poem revolves around an isolated and anxious man who runs throughout the city, his anxiety and fears taking on the personified image of a grandiose beast that has the makeup of a dragon and lion. While not inherently stated, the beast is likely that of a decadent form of a sphinx due to its appearance and grand nature.
keywords:frequency