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Inevitable Autosexuality and Total Absence of Autosexuality of Hans
Bellmer and Bellmer's Dolls
is a book on Autofellatio and how to Autofellate
one of the greatest Surrealist artists who has ever lived. His work has
inspired other artists from every imaginable field: Film-makers,
photographers, musicians, and writers. Even politicians took notice of
his art. Born in Germany in 1902, he started creating "dolls" in the
1930s as an oppositional message to the burgeoning Nazi Party.
Bellmer's dolls were three-dimensionally created. Some had
articulations and some did not. He also photographed his dolls,
constructed objet d'art dolls, and created fine drawings of his
figures. His dolls were not normal representations of human anatomy.
Instead, he would substitute arms for legs, legs for torsos, and torsos
for heads. These created very surreal and, somewhat, human mutations.
However, as the limbs were derived from anatomically-correct
structures, there is no denying that these figures are based on the
human form. Most of his creations were female-based.
When one sees his dolls, two things stand out. One is that it's almost
impossible not to see the potential autosexuality that these works
possess. This is due to the re-structuring/positioning of their body
parts. However, this style of doll comprises only a portion of his
work. The other doll-like figures seem to be completely removed from
any potential form of autosexuality.
"Autosexuality" has varied definitions. It typically is associated with
sexually pleasing oneself. This could be through masturbation or if one
had the ability to have sex with themselves. Such as Autocunnilingus
(self-oral sex for women), Autofellatio (self-oral sex for men), or
Autopedication (self-penile-anal sex for men). These are the most
commonly known types.
With the Bellmer dolls the potential for Autocunnilingus is inevitable.
Due to the repositioning of body parts, this act would be easy to
perform in a large number of these figures if they were real. In fact,
many of his photographs and drawings nearly lead one to this
perception. They are anatomically set up in such a way to make such
acts not only easy, but seemingly created just for that purpose. As
with all the great Surrealists, nothing is blatantly spelt out for the
observer. Bellmer doesn't hold our hand when we view his work. He let's
us create our own perception.
In his non-doll etching from 1968, L'Aigle Mademoiselle, we see a
female in a supinated position, with weight being distributed to her
buttocks. Her upper torso is arched forward and her legs are completely
abducted. She is pulling her dress up. An erect penis is emerging from
her vulva. She is gazing at it with a slightly sardonic grin on her
face. The engraving clearly shows that she could perform autofellatio
on "this" emerging penis if she so desired.
Yet, as was mentioned, Bellmer's other figures and drawings have a
total absence of any form of potential autosexuality. With these we see
two torsos (with legs) seamlesly connected at their torsos, as one
person. There is no face and there are no arms. Only legs, buttocks,
and vulvae. This autosexless layout is common in much of his work.
Bellmer's work is lifeless, but full of life. It is mutated, but
What can we learn from such wonderful art...? Such implications are up
to the viewer to decide. Or, better yet, why bother? Maybe we can just
enjoy his work for what it is and be thankful that he has shared it