Gerda Wegener stands as a fascinating and, for a long time, somewhat overlooked figure in early 20th-century European art. A Danish artist who found her greatest success in the vibrant cultural crucible of Paris, Wegener's work is characterized by its elegance, its engagement with burgeoning Art Nouveau and Art Deco aesthetics, and its often daring exploration of female sensuality and identity. Her life, inextricably linked with that of her spouse, Lili Elbe (born Einar Wegener), one of the first individuals to undergo gender confirmation surgery, adds another layer of profound historical and personal significance to her artistic legacy. This exploration delves into her origins, her artistic development, her iconic works, the societal currents she navigated, and her eventual, poignant return to a Denmark that had largely moved on from her style.
Early Life and Artistic Awakening in Denmark
Gerda Marie Fredrikke Gottlieb was born on March 15, 1886, in Hammelev, a small village near Grenaa in Denmark, into a conservative provincial family. Her father was a vicar of Huguenot descent, a background that perhaps instilled in her a certain resilience and an outsider's perspective. From an early age, Gerda exhibited a clear artistic talent, a passion that set her apart in her rural surroundings. Recognizing her potential, her family eventually supported her move to Copenhagen to pursue formal art education.
She enrolled at the Royal Danish Academy of Fine Arts (Det Kongelige Danske Kunstakademi) in Copenhagen, a venerable institution that was, at the turn of the century, grappling with the influx of modern artistic ideas from the continent. While traditional academic training still held sway, currents of Realism, Naturalism, and the burgeoning influence of French Impressionism were beginning to make their mark. It was within these hallowed halls that Gerda honed her technical skills in drawing and painting. The Academy provided her with a solid foundation, but her spirit was perhaps too independent for its more conservative strictures alone. During this period, artists like P.S. Krøyer and Anna Ancher, leading figures of the Skagen Painters, represented a more established, albeit naturalist, Danish tradition, while younger artists were looking towards more radical departures.
A significant, life-altering encounter at the Academy was her meeting with a fellow student, Einar Wegener. Einar, also a talented landscape painter, and Gerda formed a deep connection, and they married in 1904 when Gerda was just 18 and Einar 22. Their partnership would become central to both their lives and Gerda's artistic trajectory. In these early years in Copenhagen, Gerda began to develop her distinctive style, already showing a preference for elegant figuration and a keen eye for fashion and character. However, the Danish art scene, while evolving, could sometimes be insular, and Gerda's increasingly sophisticated and sometimes provocative style did not always find favor.
The Allure of Paris: A New Artistic Horizon
Like many ambitious artists of their generation, Gerda and Einar Wegener felt the magnetic pull of Paris, then the undisputed capital of the art world. In 1912, they made the pivotal decision to move to the French metropolis. Paris offered an atmosphere of artistic freedom, intellectual ferment, and a cosmopolitan society that was far more receptive to Gerda's evolving aesthetic and thematic concerns than conservative Copenhagen. The city was a melting pot of artistic movements, from the lingering influences of Post-Impressionism and Symbolism to the explosive arrival of Fauvism and Cubism, championed by artists like Henri Matisse, Pablo Picasso, and Georges Braque.
In Paris, Gerda Wegener's career blossomed. She quickly established herself as a successful painter and illustrator, particularly for leading fashion magazines of the era. Her work appeared in prestigious publications such as Vogue, La Vie Parisienne, Fantasio, Le Rire, and the Journal des Dames et des Modes. These commissions not only provided financial stability but also perfectly suited her talent for capturing the chic, modern woman. Her illustrations were not mere fashion plates; they were character studies, imbued with personality, wit, and an undeniable élan. She became known for her elegant, elongated figures, often depicted in luxurious attire and sophisticated settings, embodying the spirit of the Belle Époque and the nascent Art Deco movement.
The Parisian art world was a vibrant ecosystem of salons, galleries, and cafes where artists, writers, and intellectuals congregated. Gerda actively participated in this world, exhibiting her work at important annual Salons, including the Salon des Humoristes, the Salon des Indépendants, and the Salon d'Automne. These exhibitions provided crucial visibility and helped solidify her reputation. Her success in Paris was a stark contrast to the more muted reception her work had sometimes received in Denmark, where her sophisticated, French-influenced style could be perceived as too flamboyant or unconventional.
Artistic Style: Art Nouveau, Art Deco, and the Wegener Woman
Gerda Wegener's artistic style is a captivating blend of the curvilinear elegance of Art Nouveau and the stylized, geometric sophistication of Art Deco. While she was a contemporary of major modernist upheavals like Cubism and Fauvism, her own work carved a distinct niche, focusing on figurative representation infused with a strong decorative sensibility.
In her earlier Parisian works, the influence of Art Nouveau is palpable. This can be seen in the sinuous lines of her figures, the flowing drapery of their attire, and the often organic, ornamental details in her compositions. There's a delicacy and a romanticism that aligns with the Art Nouveau ethos, reminiscent of artists like Alphonse Mucha in his idealization of the female form, or the more decadent line work of Aubrey Beardsley, whose influence she acknowledged. Her women from this period often possess an ethereal, almost dreamlike quality.
As the 1910s gave way to the 1920s, Wegener's style evolved, increasingly incorporating elements of the emerging Art Deco aesthetic. Her lines became cleaner, her forms more stylized and sometimes more geometric. The opulence remained, but it took on a sleeker, more modern sheen, reflecting the dynamism and glamour of the Roaring Twenties. Her figures became more assertive, embodying the "garçonne" look or the sophisticated flapper. Think of the bold elegance of Tamara de Lempicka, another female artist who captured the Art Deco spirit, though Wegener's touch was often softer and more whimsical. Erté (Romain de Tirtoff) was another contemporary whose fashion illustrations shared a similar theatricality and decorative flair.
Central to her oeuvre is the "Wegener Woman"—chic, confident, often alluring, and always impeccably dressed. These women are not passive objects of the gaze; they possess an agency and a self-awareness that was quite modern. They are depicted with almond-shaped eyes, cupid's bow lips, and an air of playful knowingness. Gerda had an exceptional talent for rendering fabrics – the shimmer of silk, the plushness of velvet, the intricate patterns of lace – making fashion an integral part of her artistic expression. Her color palettes were often rich and harmonious, sometimes employing bold contrasts, at other times favoring more muted, sophisticated tones.
Lili Elbe: A Muse, A Transformation, A Partnership
The most profound and personal influence on Gerda Wegener's art and life was undoubtedly her spouse, Einar Wegener, who later became Lili Elbe. Their story is one of love, identity, and pioneering courage, and it is deeply interwoven with Gerda's artistic output. Einar, initially known for his delicate landscape paintings, found his own artistic path shifting in an unexpected direction.
The catalyst for this transformation reportedly occurred when an actress, Anna Larsen, failed to arrive for a portrait sitting with Gerda. Needing a model with slender legs and ankles to stand in, Gerda playfully asked Einar to put on stockings and heels. Einar was initially hesitant but complied. The experience of wearing women's clothes and being seen as a woman by Gerda and Larsen (who eventually arrived and dubbed Einar "Lili") was a revelation for Einar. It awakened a deeply suppressed female identity.
Gerda, far from being dismayed, was intrigued and supportive. She found in Lili a captivating new muse. Lili began to pose regularly for Gerda, and these portraits became some of Gerda's most famous and compelling works. The paintings of Lili are imbued with a unique intimacy and understanding. Gerda depicted Lili with sensitivity and admiration, capturing her delicate features, her graceful gestures, and the emerging confidence of her female persona. These works often show Lili in fashionable attire, sometimes with an enigmatic smile, embodying the elegance and allure that characterized Gerda's style.
As Einar increasingly identified as Lili, Gerda stood by her. She supported Lili's decision to live full-time as a woman and, eventually, to undergo a series of pioneering gender confirmation surgeries in Germany, starting in 1930, under the care of doctors like Magnus Hirschfeld initially and later primarily Kurt Warnekros. These procedures were experimental and highly risky at the time. Gerda's unwavering support during this period was extraordinary, especially given the societal norms of the era. She accompanied Lili to Germany for the surgeries and provided emotional and practical care.
The Danish king invalidated their marriage in October 1930, as marriage between two women was not legal. Lili Elbe tragically died in September 1931 from complications following her fifth surgery, an attempted uterus transplant. Her death was a devastating blow to Gerda, who had lost not only her spouse and closest companion but also her most profound muse. The story of Gerda and Lili, while fictionalized in David Ebershoff's novel The Danish Girl and its subsequent film adaptation, remains a powerful testament to love, identity, and the complexities of human relationships.
Challenging Conventions: Gender, Sexuality, and Eroticism
Gerda Wegener's art often pushed the boundaries of conventional representation, particularly concerning gender and female sexuality. While her fashion illustrations were celebrated for their chic elegance, a significant portion of her work delved into more ambiguous and erotically charged territory.
Many of her paintings and drawings feature women in intimate, suggestive poses, sometimes with an explicit lesbian undertone. These works, often created for private collectors or for risqué publications, depict women with a knowing sensuality, celebrating female beauty and desire in a way that was quite radical for its time. Her figures often have an androgynous quality, with short, bobbed hair, slender frames, and a playful subversion of traditional feminine tropes. The presence of Lili Elbe as a model, a person assigned male at birth presenting as a woman, further complicated and enriched the gender dynamics in Gerda's art.
These "erotic" works, sometimes labeled "lesbian erotica," were not merely titillating; they explored themes of identity, performance, and the fluidity of gender. The women in these images are often self-possessed, engaging directly with the viewer or with each other, their expressions ranging from playful to languorous. Wegener's ability to capture the nuances of female intimacy and desire set her apart. Artists like Henri de Toulouse-Lautrec had depicted the demimonde of Paris, but Wegener's focus was often on a more stylized and psychologically intriguing portrayal of female relationships and self-expression.
Her willingness to tackle such themes, even if sometimes discreetly, placed her at the vanguard of artists exploring new modes of representing femininity and sexuality. In a society still largely governed by patriarchal norms, Gerda Wegener's art offered a space where female desire and non-conformist identities could be visualized and celebrated, albeit often within the confines of a sophisticated, bohemian subculture.
Wegener in the Parisian Art Milieu: Salons, Awards, and Contemporaries
Gerda Wegener was an active and recognized participant in the Parisian art scene. Her regular exhibitions at the major Salons were crucial for maintaining her visibility and reputation. The Salon des Humoristes, for instance, would have showcased her witty and characterful illustrations, while the Salon des Indépendants and the Salon d'Automne provided platforms for her more ambitious paintings. These Salons were highly competitive and attracted artists from across the globe, making her consistent presence a mark of her standing.
A significant moment of recognition came at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris – the landmark exhibition that retrospectively gave the Art Deco movement its name. At this prestigious event, Gerda Wegener was awarded two gold medals and one bronze medal for her work, a testament to her mastery and her alignment with the prevailing modern decorative style.
While in Paris, Gerda and Lili moved in bohemian circles, frequenting cafes and studios where artists and writers gathered. They would have been aware of the major artistic currents of the time. While Gerda's style was distinct from the more radical experiments of Cubists like Picasso and Braque, or Expressionists like Edvard Munch (whose influence was more strongly felt in Germanic and Scandinavian countries), she was part of a broader Parisian milieu that valued innovation and individuality. Her work shares a certain affinity with other artists who focused on elegance and the modern woman, such as Kees van Dongen, whose vibrant portraits captured the fashionable society of the era, or even Amedeo Modigliani, with his stylized, elongated figures.
Her friendship with the Danish ballerina Ulla Poulsen was also significant. Poulsen became a frequent model for Gerda, appearing in numerous paintings and drawings, often depicted in ballet costumes or elegant attire. These portraits capture Poulsen's grace and stage presence, further highlighting Gerda's skill in portraying dynamic and expressive female figures. Another Danish artist of note in Paris around that time was the sculptor Rudolf Tegner, known for his powerful, monumental works; while their styles differed, they were part of the Danish artistic diaspora in the French capital.
Notable Works: A Glimpse into Wegener's World
Gerda Wegener's oeuvre is extensive, encompassing paintings, watercolors, and countless illustrations. Several works stand out as representative of her style and thematic preoccupations.
Many of her most iconic images are those featuring Lili Elbe. These portraits, created over several years, document Lili's transformation and Gerda's evolving perception of her muse. They range from tender, intimate portrayals to more stylized, fashionable depictions. For example, a painting titled Lili with a Feather Fan (or similar descriptions of Lili in elegant attire) showcases Gerda's ability to combine portraiture with a keen sense of fashion and atmosphere.
Her illustrations for magazines like La Vie Parisienne are quintessential examples of her Art Deco flair. These often depict witty vignettes of modern life, featuring stylish women in chic interiors or engaging in leisurely pursuits. Titles like Les Après-midis d'un Faune (a series of illustrations) or individual plates for fashion stories capture the era's sophistication.
Works like Sur la Route d'Annam (On the Road to Annam), if this is a specific known title, or similar pieces depicting exotic or theatrical scenes, highlight her imaginative range. She often incorporated elements of fantasy and masquerade into her art.
Two Cocottes with Hats (circa 1920s), which graced the cover of the ARKEN Museum's exhibition catalogue, is a prime example of her confident, stylish female figures. The two women, with their fashionable cloche hats and direct gazes, exude an air of independence and camaraderie.
Her more explicitly erotic works, often published in limited editions or for private collections, such as illustrations for collections of erotic poetry or stories (e.g., Les Délassements d'Éros or Une Aventure d'Amour à Venise by Giacomo Casanova, for which she provided illustrations), are characterized by their graceful lines and their frank depiction of female sensuality. Titles like Amour Etrusque (1915) or Les Femmes Fatales (1933) hint at these themes. Other specific titles from her early career include Den skøne Ubekendte (The Beautiful Unknown, 1912) and L’Anneau ou la Jeune FILLE imprudente (The Ring or the Imprudent Young Girl, 1912). Her depictions of the ballerina Ulla Poulsen, such as Ballerina Ulla Poulsen in the ballet Chopiniana, are also highly regarded.
Later Years: Return to Denmark, Obscurity, and Death
Following Lili Elbe's death in 1931, Gerda Wegener's life underwent a significant change. She was deeply affected by the loss. In 1931, she married an Italian officer, Major Fernando Porta, who was ten years her junior, and moved with him to Morocco (Marrakech and Casablanca). However, this marriage was not a happy one, and they divorced in 1936. During this period, she continued to paint, sometimes signing her work "Gerda Wegener Porta."
In 1939, with Europe on the brink of war and her personal life in disarray, Gerda returned to Denmark. However, the artistic landscape she returned to was vastly different from the one she had left. Her Art Deco style, once the height of fashion, now seemed dated. Functionalism and more austere modernist aesthetics had gained prominence. She found it difficult to secure commissions and struggled financially. She held her last exhibition in Copenhagen in 1939, but it did not revive her career.
Her final years were marked by loneliness, financial hardship, and a reliance on alcohol. She lived in relative obscurity, reportedly making a meager living by selling hand-painted postcards. The vibrant, celebrated artist of Paris was largely forgotten in her homeland. Gerda Wegener died in Frederiksberg, an enclave of Copenhagen, on July 28, 1940, at the age of 54, shortly after the Nazi occupation of Denmark. Her death went largely unnoticed.
Legacy and Rediscovery
For many decades after her death, Gerda Wegener remained a marginal figure in art history, her work overshadowed by the more dominant modernist narratives and perhaps by the sensational aspects of Lili Elbe's story. However, in recent years, there has been a significant resurgence of interest in her art and life.
The publication of David Ebershoff's novel The Danish Girl in 2000, and particularly the 2015 film adaptation, brought the story of Gerda and Lili to a wider global audience. While these are fictionalized accounts, they sparked curiosity about the real individuals behind the story.
More importantly, art historians and curators have begun to re-evaluate Gerda Wegener's artistic contributions. Major retrospective exhibitions have played a crucial role in this rediscovery. The ARKEN Museum of Modern Art near Copenhagen mounted a large-scale exhibition of her work in 2015-2016, showcasing around 200 pieces and reintroducing her to the Danish public and international art enthusiasts. This was followed by other exhibitions, such as one at Millesgården in Stockholm in 2017. Her works are also held in collections such as the Centre Pompidou in Paris. More recently, her work was featured in the "Judy Chicago: Herstory" exhibition at the New Museum in New York in 2023, placing her within a broader context of pioneering female artists.
Today, Gerda Wegener is recognized for her technical skill, her distinctive style that bridged Art Nouveau and Art Deco, and her insightful, often provocative, portrayals of women. Her art offers a unique window into the cultural life of Paris in the early 20th century, the world of fashion and illustration, and the evolving understanding of gender and sexuality. Her unwavering support for Lili Elbe also marks her as a figure of remarkable compassion and courage.
Conclusion
Gerda Wegener's journey from a small Danish village to the heart of Parisian artistic life is a story of talent, ambition, and adaptation. As an artist, she captured the elegance and dynamism of her era with a distinctive and alluring style. Her fashion illustrations defined a certain chic, while her more personal works explored the complexities of female identity and desire with a rare frankness. Her life with Lili Elbe adds a layer of profound human drama and historical significance, highlighting themes of love, transformation, and acceptance against a backdrop of societal change. Though her later years were marked by hardship and obscurity, Gerda Wegener's art has now been rightfully rediscovered, securing her place as a significant and captivating artist of the early 20th century, whose work continues to resonate with contemporary audiences for its beauty, its boldness, and its humanity.
