« tes bras sont rougis par l’étreinte chaque
ligne de ta peau fut aimée »

Pierre Louÿs, Les Chansons de Bilitis, 1898
« tes bras sont rougis par l’étreinte chaque ligne de ta peau fut aimée »
Pierre Louÿs, Les Chansons de Bilitis, 1898
The project mainly explores the notions of the female gaze on the male nude with a series of film photographs, sometimes very intimate and sometimes very factual, on the stripping of the body and the objects of
a lovemaking scene.

The few words present are daring puns referring to types of roses described in a 19th century botanical book for women (an encyclopedia of roses) found in a second-hand bookstore.

Pierre Louÿs is also quoted with his "Chansons de Bilitis" (1894), poems attributed to Bilitis, a fake antique poetess imagined by the author.
The project mainly explores the notions of the female gaze on the male nude with a series of film photographs, sometimes very intimate and sometimes very factual, on the stripping of the body and the objects of a lovemaking scene.

The few words present are daring puns referring to types of roses described in a 19th century botanical book for women (an encyclopedia of roses) found in a second-hand bookstore.

Pierre Louÿs is also quoted with his "Chansons de Bilitis" (1894), poems attributed to Bilitis, a fake antique poetess imagined by the author.
The few typographical parts of the book are composed in Baskervville, made by the ANRT (Atelier National de Recherche typographique), Nancy, 19 × 28,5 × 1,4 cm, 44 pages.
The few typographical parts of the book are composed in Baskervville, made by the ANRT (Atelier National de Recherche typographique), Nancy, 19 × 28,5 × 1,4 cm, 44 pages.
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