Two Sculptures by Elisabet Stienstra

(Last Updated On September 30, 2022)

Elisabet Bea Stienstra was born in The Netherlands in 1967. She studied art at Academy Minerva in Groningen and the State Academy of Fine Arts in Amsterdam. She is one of the more famous sculptors working today. Stienstra has a unique style, with realistic figures in surreal situations. She has an ability to work well in various mediums; bronze, marble or wood. Two of Stienstra’s sculptures, Panic in Prato and Virgins of Apeldoorn, are the topic of this post.

Elisabet Stienstra – Panic in Prato (2005)

Panic in Prato is remarkable in that it consists of three statues on top of a factory building in Prato, Italy. The factory building actually becomes part of the sculpture. When Panic in Prato was created in 2005, the textile factory on which the statues were placed belonged to Valdemaro Beccaglia, a connoisseur of art and president of the Pecci Museum of contemporary art. Panic is evident in the faces of the girls in Panic in Prato, but why are they panicked? They appear to be climbing over the rooftops to escape something, but it is not obvious what they are fleeing.

Elisabet Stienstra-Panic in Prato – Standing (2005)

Elisabet Stienstra-Panic in Prato – Climbing (2005)

Virgins of Apeldoorn consists of three bronze sculptures of girls in a park in the town of Apeldoorn, The Netherlands. The girls appear to be floating in the air; one face up, one rolling over, and one face down. Actually, the girls are supported by their long hair and long nightgowns that extend to bases on the ground. Nevertheless the illusion of floating is remarkable.

Elisabet Stienstra-Panic in Prato – Diving (2005)

Elisabet Stienstra-The Virgins of Apeldoorn (1) (2001)

A controversy concerning Virgins of Apeldoorn arose in 2017 when Ferdinand Cacnio unveiled his statue Uplift at University of the Philippines in Manila. Uplift is not on topic for Pigtails because it is the statue of an adult young woman, so I will not include an illustration of it here. Uplift is very similar to the Virgin of Apeldoorn lying on her back. Elisabet Stienstra’s husband wrote on Facebook that, “Elisabet doesn’t do Facebook herself. She [Elisabet Stienstra] would like it to be known however that she sees Mr. Cacnio’s sculpture as plagiarism.” Ferdinand Cacnio denied that he copied his statue from Stienstra.

Elisabet Stienstra-The Virgins of Apeldoorn (2) (2001)

Random Images: AK von Malmborg

(Last Updated On September 21, 2022)

AK von Malmborg is a self-taught Swedish artist who paints mostly large scale oil paintings but has utilized sonic media such as symphony orchestra, electronic opera, performance and has three full-length albums.

I paint what I dream, sometimes I dream the whole image at once and sometimes in installments.

The artist’s process is reportedly highly intuitive and multi-sensory, an organic approach that often results in a “messy consequence”.

AK von Malmborg – Amor Fati (2015)

Into The Night, by Benny Mardones: classic (and controversial) rock song from the ’80s

(Last Updated On September 12, 2022)

Benny Mardones was an American rock singer known for his great success, Into the Night, written with Robert Tepper, where Benny (34 years old at the time) falls in love with a 16-year-old blonde schoolgirl.

Into the Night music video (1980) (screenshot)

Into The Night is the third track on the 1980 album ‘Never Run, Never Hide’, by Polydor Records. The success was immediate, skyrocketing to #11 on the Billboard Hot 100 in that year.

‘Never Run, Never Hide’ album cover (1980)

In the music video, Benny goes to the girl’s house, but her father insists that he leave. After this, Benny calls her, goes to her house, they both exchange touches and finally, Benny takes her onto a flying carpet, where they kiss passionately, ending the video.

Into the Night music video (1980) (ending)

The video is simple in production, but it was enough material to disturb people and be censored for a long time. It was not so recently made available on YouTube. Below are the lyrics and the video can be found here.

She’s just sixteen years old
Leave her alone, they say…
Separated by fools
Who don’t know what love is yet…
But I want you to know…


If I could fly
I’d pick you up
I’d take you into the night
And show you a love
Like you’ve never seen—ever seen…


It’s like having a dream
Where nobody has a heart…
It’s like having it all
And watching it fall apart…
And I would wait till the end


Of time for you
And do it again, it’s true…
I can’t measure my love
There’s nothing to compare it to…
But I want you to know…


If I could fly
I’d pick you up
I’d take you into the night
And show you a love…


If I could fly
I’d pick you up
I’d take you into the night
And show you a love
Like you’ve never seen—ever seen…


If I could fly
I’d pick you up
I’d take you into the night
And show you a love…


If I could fly
I’d pick you up
I’d take you into the night…

Also, I strongly recommend watching the live version too. It’s one of Benny’s best performances, with a lot of passion and quality. The final part where he takes more freedom, looks like a wounded animal: a raging vocal, tremendous skills.

Benny has given some rare interviews about the origin of this song. In one of them, he sums up that he met the girl who inspired him in this song while living in Miami. I find it much more interesting to hear the story directly from Benny than to read my summary. However, for those with little time available, I give a brief summary below.:

During his time in Miami, this 16-year-old blonde schoolgirl lived with her family who had financial difficulties, in the same apartment block as Benny and co-writer Tepper.
The girl was known by both, due to mundane daily interactions. After a while she and Benny became friends.

On a certain day, the girl showed up at Benny’s apartment, in tears, explaining that her parents had suddenly split up. Benny comforted her and her brother, then offered her $50 a week to walk his dog every day before she went to school.

After another night with little sleep, Benny and Tepper were still struggling to make progress writing the song. Early in the morning, someone knocked on the apartment door; it was the girl, to talk with Benny. Tepper was mesmerized by the 16-year-old’s beauty in traditional school clothes: uniform, short skirt, knee socks, with hair done. Benny quickly tells him “She’s just 16 years old. Leave her alone…”. This phrase clicked with them, and fit perfectly with the harmony they developed up to that point.

With this small interaction is born one of the most iconic lines of rock. After that, the music flowed quickly and both managed to finish it in the next few hours.

After the tremendous success of the song, the girl became a celebrity, met a guy, and got married. The girl has always been grateful to Benny for how this song changed her life, always writing to him on Christmas. And Benny was always grateful for how this girl changed his life.

Benny had serious financial and health problems in his senior years, mostly due to drugs. He developed Parkinson’s and had many difficulties paying for the treatment, relying on friends and relatives to help.

Still, Benny at 71 years old gave a last performance of Into The Night in 2017 at the Turning Stone Resort Casino in New York, where he said goodbye to the public. Benny amazed with the vocals (really, really awesome) and said thanks a lot to the audience, accompanied by a fevered response from his illustrious presence. Months later, Benny died from complications from Parkinson’s. Check out this link to his last live performance.

It’s one of my favorite songs. Hope you enjoy it.

Magnus Weidemann

(Last Updated On September 6, 2022)

Magnus Weidemann was born in 1880 in Hamburg, Germany. As a young child he looked up to his older, artistically-inclined brother Theodor. Theodor died young and Magnus inherited his art supplies. By 1898, at age 18, Magnus began his career as a painter, mostly of watercolors. The latest Magnus Weidemann painting I could find is Storm Surf, painted in 1967. He was a painter for at least 69 years.

Mädchenakt mit Vergissmeinnicht (Naked Girl with Forget-Me-Nots) was painted in 1927. In searching for Weidemann’s paintings, I was unable to find many young nudes. Art sites devoted to Weidemann concentrate on his landscape paintings. A few landscapes have a nude adult woman in the painting. I found only two Weidemann paintings of girls, both on auction sites. Mädchenakt mit Vergissmeinnicht was very small on the auction, but Pip provided a better example.

Magnus Weidemann – Mädchenakt mit Vergissmeinnicht (1927)

Some time around 1898 to 1900 Weidemann found his first nude model, who was also his cousin and would later become his first wife. Weidemann was married three times. The names of his second and third wives, but not his first, can be found in online biographies of Weidemann. It would be interesting to know how old the first Mrs. Weidemann was when she started modeling, but I could not find any more information about her.

Magnus Weidemann – Children on the Beach (1944)

Children on the Beach was found on a Czech auction site, and the title of the painting was in Czech. I have used the English translation of the Czech title. Children on the Beach was painted in 1944, during World War II. Weidemann complained during the war that it was prohibited to paint outdoors or to make any pictorial representation of the landscape. Presumably, Children on the Beach was not painted from life.

Painting was Weidemann’s passion, but did not pay well enough to support him and his wife. In 1900 he began studying Protestant theology, and in 1908 became the pastor of St. Clemen’s Church in Nebel, Nordfriesland, Germany. At the start of World War I Magnus Weidemann volunteered to serve as a medic in France. Later during the war, Magnus and his wife divorced. When Magnus returned to Nebel he made a studio in the rectory and hired a housekeeper. The housekeeper brought with her a twelve-year old foster daughter. Both the housekeeper and the child modeled for Weidemann.

Magnus Weidemann – Heidewanderin (1926)

Weidemann met Molli Mollenhauer, a twenty-year-old dancer and gymnast in 1919. She became Weidemann’s model, and in 1920 she married him. Magnus resigned as a pastor and moved to the nearby town of Siethwende. Magnus and Molli became involved in Freikörperkultur (FKK, nudism) which was gaining popularity at the time. Weidemann became friends with two other prominent artists: the photographer Lotte Herrlich and the symbolist illustrator Fidus (Hugo Höppener). In 1926 Weidemann moved to the German Island of Sylt, which was then and remains to the present a popular destination for naturists. He continued to live on Sylt for the rest of his life.

Magnus Weidemann – Gretchen (1926)

In the 1920s, Weidemann’s painting came to be eclipsed by his work in photography. His photography documented the FKK movement with images of people of all ages, mostly female. In 1923 he became editor of the nudist magazine Die Freude. Many of his photographs and poems appear in the magazine, and other German FKK magazines. He wrote the preface to Lotte Herrlich’s book Rolf, and wrote books of his own, including Körper und Tanz and Deutschen Baden.

Magnus Weidemann – Gisela (1926)

Heidewanderin (Heath Walker) is from the July 1926 edition of the German nudist magazine Lachendes Leben. Gretchen, the next photograph, is from the May 1926 edition of Lachendes Leben. Gisela is similar to Gretchen in that both are simple poses with the model looking down rather than at the camera. Gisela is from the April 1926 edition of Weidemann’s own magazine, Die Freude.

Magnus Weidemann – Glückliche Kindheit (1927)

These photographs are all from naturist publications available online at the FKK-Museum site, and are from the period of 1926 to 1930. Naturist magazines from the 1920s and 1930s in the FKK-Museum contain many artistically-posed photos, similar to poses in nude paintings. Publications of the 1950s and later have a greater proportion of casual photos, more like family snapshots than fine art paintings.

Magnus Weidemann – Blumen (1927)

Glückliche Kindheit (Happy Childhood) is also from Die Freude; this photo was published in the May 1927 edition. Although Weidemann concentrated on women and girls, he photographed some males as well, as in this photo. In his 1997 book Empire of Ecstasy, Karl Toepfer quotes Weidemann as saying he finds female subjects more suitable for nude photography because males are “active in contrast to the passive-intuitive character of women.”

Magnus Weidemann – Die G’schamige (1927)

Blumen (Flowers) is from the November 1927 issue of Lachendes Leben. Note the similarity of the pose to Gretchen and Gisela. The last two photos are from the book Deutschen Baden by the artist. Weidemann lived and worked on the North Sea coast of Germany, in the area where Frisian is spoken. Die G’schamige is translated from standard German (Hochdeutsch) as “The Shameful” , and from Frisian as “The Shy”. Struwwelpeter is a colloquial term for a child with messy hair.

Magnus Weidemann – Struwwelpeter (1930)

Molli Weidemann moved to Cologne to train as a dance teacher, and Magnus hired a housekeeper whom he married in 1932. He continued working as a painter and photographer until his death in 1967.

Maiden Voyages: September 2022

(Last Updated On September 2, 2022)

I usually feel guilty about not getting these ‘Maiden Voyages’ posted in a timely manner, but this time I’m glad I delayed because early this morning a podcast dropped that illustrates a concerning development near and dear to Pigtails’ history.

A.I. and Corporate Tyranny: In this story, a father noticed a rash on his toddler’s penis which seemed like more than the normal diaper rash. Contacting the pediatrician and being under lockdown, the doctor advised him to send a picture. Because it was a closeup of the boy’s penis, it triggered a hit in a routine Google AI algorithm which goes through a standard reporting process reaching law enforcement and triggering an investigation. The problem here is that even though the police exonerated the man, Google refused to reinstate his account and was recently informed him that the account would be completely deleted soon. Google seemed completely uninterested in explanations or the fact that he was completely exonerated by the police. This is especially tragic because this man saved a lot of personal material on the cloud which will be lost permanently if the account were deleted. That includes important family memories. As much as this was an inconvenience, it is remarkable that Google refused to change its position and reinstate the account or allow him to at least rescue his files. Also concerning is the fact that pediatricians (and other relevant specialists) are unaware of the risk they put their patients in when requesting these photos. (I personally have sent photos of my forehead to my dermatologist, for instance.) There are a lot of important twists and turns to this story that informs the experiences Pigtails has had in getting “cancelled” and how middle managers err on the side of conservatism so that the company won’t have to expend resources dealing with this fairly. Apple and Facebook also use automated AI algorithms generating thousands of reports, but so far such an extreme case has not come to light. I strongly urge readers to listen to this particular podcast episode because it says so much about abuse of corporate power, why we have had so much trouble keeping this site up and why we have to protect certain images from public scrutiny to stay online.

Refugees and the Human Condition: While we’re on the subject of podcasts, another one really struck me. The entire episode was about why people have personally sponsored refugees whether they were from Nazi Germany, war-torn Vietnam or Assad’s Syria. One of the concerns about taking in refugees is that they may exhibit so-called bad behavior and endanger society. What is not often taken into account is the trauma these people are experiencing and how much their behavior is motivated by survival instinct. One of the most heart-warming stories was about a little Syrian girl who kept wailing and seemed inconsolable. Even the parents didn’t know what to do. Finally, one of the volunteers decided to pick her up and just hold her as long as she needed. She finally calmed down and there was a strong bond between the man and the little girl for a long time after that. Even recalling the story, one could hear the emotion in the man’s voice even now. It is so disheartening to hear how in our dysfunctional society, few people have the instinct to simply comfort a child with touch: hold and perhaps gently stroking him/her. I have personally had to show new parents by example how to soothe their own children when putting them down for a nap! Indeed, we tend to expect the worst when we hear there is an interaction between a grown man and a vulnerable child. Yes, bad things do sometimes happen but the push for media sensationalism has conditioned most of us that this is much more common than it really is.

A Secluded Beauty: Pip sends me interesting leads from time to time. This one is about Walt Disney who brought fantasy and adventure to generations of children. It seems obvious that his grave might depict children in some way, but it is surprising—even to me, a self-proclaimed expert—that one is of a seated nude girl. Pip discovered it while reading an article about how people still visit his gravesite more than 50 years after his death.

Statue at Walt Disney’s Grave

Sublimated Sexuality? A lead from Christian reminded me of Pip’s series on ‘Sublimated Sexuality’. But sometimes the sexuality has more explicit elements. I have not decided if this artist should have a dedicated post at some point, but it is natural in the male and female psyche to explore these ideas and thus I share the work of Gea Philes. I find it hard to say if the work is truly transgressional or simply a frank exploration of sexual fantasy. Readers know when I use the word erotic or sexual, that I am not being provocative. It is a fact of life which children must figure out in their own way and necessarily has to be a part of what we examine on this site. Almost inevitably, artforms on this subject will have symbolic elements that help convey the attitude. There is also an article in French on this artist.

Video Archive: An associate offered this lead which is an archive of vintage videos. This discovery came in the wake of last month’s lead about a YouTube account focusing on children. The Prelinger Archives range all over the place as far as subject matter is concerned but I was told that quite a few do involve children and should be on Pigtails readers’ radar. Naturally, I would hope readers who discover important gems on this site let us know the specifics.

Josef Breitenbach

(Last Updated On August 23, 2022)

Josef Breitenbach was born in Munich in 1896. He attended a technical high school and later trained as a salesman and a bookkeeper. He participated in the 1918 Bavarian coup, and became acquainted with the Munich art community during the time he served in the short-lived revolutionary government. Although he had no formal training in photography, he took it up as a hobby in 1927. In either 1930 or 1932 (sources differ) Breitenbach opened a professional photography studio in Munich.

Josef Breitenbach – Girl Wearing a Hat (1930s)

Breitenbach was a successful photographer of both portraits and artistic, sometimes abstract compositions. Josef Breitenbach is best known for his use of Surrealism, but also employed Modernism and Pictorialism. Clients included celebrities as well as people not widely known. Girl Wearing a Hat is typical of his portraits during this period. Breitenbach did not give a title to this photograph, or to most others in this article. I composed captions for the first ten photos appearing in this article. The last four photos in this article, all taken in Asia, are captioned with titles given to them by Breitenbach.

Josef Breitenbach – Girls on Swings (1950s)

Political activities of Breitenbach and his son, as well as the fact that he was Jewish, made life in Munich difficult for him, so in 1933 he moved to Paris. Paris was the hub of Photo-Surrealism, and Breitenbach’s photos were exhibited with those of Man Ray, Brassaï, Henri Cartier-Bresson, Eli Lotar and Roger Parry. Artistic nude images, which Breitenbach began making in Munich, were also among his Paris photos.

Josef Breitenbach – Girl on a Swing (1950s)

In 1942 Breitenbach moved to New York City, and became a U.S. citizen in 1946. He continued his work as a photographer in America, and also taught photography in college. Breitenbach continued his nude photography in America, often at naturist resorts. Among the 2739 Breitenbach photos in the archive at the University of Arizona Center for Creative Photography are many nudes, nearly all of the nude photos are female, and almost half are photographs of young girls.

Josef Breitenbach – Standing Girl (1950s)

The University of Arizona archive contains duplicate or near duplicate prints of many photos. Sometimes, but not always, the hair style makes it possible to determine if a child photographed from the back is a boy or girl. Breitenbach took close up photos of female external genitals which I was surprised to find online in a public university collection, and which would not be suitable for Pigtails. Since Breitenbach photographed at least one adult model with a shaved pubis, it is not always possible to determine if the pubic close up photos are of a woman or a young girl. As best as I could ascertain, there are 485 nude photographs (including duplicate or near duplicate prints) in the University of Arizona collection. Approximately 96% have only female models, 2% have both male and female in the same photo, and 2% are male only. Of the nude females, approximately half are adult women, and half are children and adolescents. After viewing his photographs, it surprises me that Breitenbach has not inspired more controversy. Could it be that because Breitenbach was an established art photographer, recognized as such by respectable society and by the United Nations, he could get away with edgy work that would mean trouble for less famous photographers?

Josef Breitenbach – Standing Girl with Long Hair (1950s)

The first two nude photos in this article, Girls on Swings and Girl on a Swing, show naturist girls enjoying recreation. Girls on Swings appears to not be formally posed, but not a random snapshot either. Girl on a Swing is more typical of Breitenbach’s carefully-posed photos. The swing is just a prop for the standing girl.

Josef Breitenbach – Girl in a Forest (1950s) (1)

Josef Breitenbach – Girl in a Forest (1950s) (2)

Most of Breitenbach’s nudes are either standing or lying, with significantly fewer sitting poses. Standing models were photographed from the back about as often as from the front. Representative examples of front and rear poses are shown in Standing Girl and Standing Girl with Long Hair. Girl in a Forest (1) and (2) feature the same model, the same background, and almost the same pose. By coming in closer in Girl in a Forest (2), and aiming the camera upward at an angle, Breitenbach was able to obtain a different effect.

Josef Breitenbach – Girl Sleeping Outdoors (1950s)

Josef Breitenbach – Nude Girl Sleeping Indoors (1957)

Josef Breitenbach – Nude Girl Indoors (1957)

Girl Sleeping Outdoors is an example of Breitenbach’s images of lying nudes. Girl Sleeping Outdoors may actually be asleep, but it looks like she may be posed and only feigning sleep. Nude Girl Sleeping Indoors also appears to be intentionally posed. The same model is in the next photo, Nude Girl Indoors. These photos were left untitled by the photographer, but another photo of the same model apparently from the same session is titled New York.

Josef Breitenbach – Nikko (1960)

Josef Breitenbach – Taipei (1963)

During the 1960s Breitenbach went to Asia to do photographic reportage for the United Nations. The last four photos are all from Asia in the period of 1960 to 1967. All have been given titles by Breitenbach, and all but the first, Nikko, were given titles that tell where the photo was taken. Nikko was taken in Japan. Korea, Seoul is unusual for Breitenbach’s work because it is in color. Breitenbach took a monochromatic photograph of a different Korean girl who, like the girl in Korea, Seoul was bare below the waist on a public street.

Josef Breitenbach – Korea, Seoul (1963)

Josef Breitenbach – India, Orissa (near Konarak),Wall Painting Made by Women (1967)

Josef Breitenbach died in 1984 in New York City. Since his death there have been at least 26 one-person exhibitions of his work in America and Europe.

Random Images: Ricardo Gómez Campuzano

(Last Updated On August 9, 2022)

Ricardo Gómez Campuzano (1891–1981) was a famous Colombian painter. The reader who offered this lead could not find much on this particular painting except that it was a direct homage to Goya’s Maja Desnuda.

Ricardo Gómez Campuzano – Le Majita (1925)

The story of this painting is an excellent example of collaboration. First, there was the lead from the reader with a few sparse details. He attempted to find the image online, but was unsuccessful even while browsing the gallery website where the painting is supposedly housed. I casually passed this lead on to Pip in case he ever came across it. He said he may have but didn’t know where it was at the time. I prepared this post in July 2020 anticipating that he would dig it up and later I forgot about it. I came across the draft post while going through and classifying images under the new protocol. I realized I was still missing the image. I was about to delete the draft when Pip came forward with some materials he found stored that I should share with readers and, lo and behold, there is was! So thanks to open communication among the parties involved, all readers can finally see it here.

Robert Frank’s Family on Wellfleet Beach

(Last Updated On August 4, 2022)

Robert Frank – Wellfleet Beach (1962)

Robert Frank took this photograph on the beach in Wellfleet, Massachusetts in August 1962. His wife Mary and their two children, Andrea and Pablo are in the photo.

Robert Frank was born in Switzerland in 1924, and emigrated to the United States in 1947. His first job in America was as a photographer for Harper’s Bazaar. He later worked as a freelance photojournalist, but art photography was his passion. From 1955 to 1957 the Frank family traveled around the United States, and Robert took thousands of photos illustrating American life. Eighty-three of these photographs were published in the photo book Les Américains in France in 1958. Les Américains is Frank’s most famous work, and one of the most influential photo books of the century. As one who grew up in Europe, Frank could see America as an outsider, noticing things that a native of this country would not. The book was published in the United States in 1959 as The Americans.

Frank shifted his interest to making movies at this time. In 1959 he directed the beatnik film Pull My Daisy, written by Jack Kerouac, starring Allen Ginsberg and Gregory Corso. Robert Frank’s most famous movie is his 1972 documentary of the Rolling Stones.

The Wellfleet Beach photo, which was not titled by the photographer, is one of Frank’s most famous. Andrea, nine years old when the photo was taken, is the center of attention. It is obvious from the pattern of her suntan that she did not habitually go nude on the beach. In addition, a nine-year old girl would not be allowed to be naked on a public beach in the USA. The photo was apparently staged in a part of the beach with no people other than the Frank family. Andrea carries an American flag.

Andrea’s mother, Mary Frank, is on the left but her face is not visible. Andrea’s eleven-year old brother Pablo (named after Pablo Picasso) is on the right, and holds a copy of the New York Daily News reporting the death of Marilyn Monroe. Marilyn Monroe was an American icon who was famous not only as an actress, but also as a model for nude photographs in Playboy Magazine. I get the impression that Andrea’s nudity and flag are meant to memorialise Marilyn Monroe.

Maiden Voyages: August 2022

(Last Updated On August 5, 2022)

The months are just not long enough. As usual, I am a little late on this.

More on Pigtails Members: I am getting a little impatient with members not following the instructions I send. I understand that many of you are familiar with WordPress and even though we use the software, we are not on their server. Also because of automated attacks, we have had to modify the system so that our server won’t have to deal with the extra garbage traffic. That means that the login process for registered members is not the usual route that most other WP sites follow. If you attempt to login incorrectly, your IP will be blocked for 24 hours and you will have to wait to try again. So please follow the instructions!

During the registration process, I noticed that Yahoo and AOL are notorious for automatically blocking the automated email that sends you your password. In some cases, you can find it in the “spam” folder—not to be confused with the “junk” folder. Firefox and Mozilla email applications won’t even show you these. Therefore, for those who want to use those email accounts, I am going to have to send you the passwords manually. As if I didn’t have enough work already. Aargh!

Instagram Artists: I have gotten a spate of leads having to do with Instagram accounts with quality images by skilled photographers—amateur or otherwise. Young people are fond of sharing selfies but these few seems to be of higher production quality. Readers may even see posts here on some of these account holders in the future. Here are some of the leads I have received so far: here, here, here and here.

Quality Foreign Films: When I use the term “foreign”, this is from an English-speaking perspective. I really mean international films that were never intended for an international market. Someone turned me on to a YouTube channel with a collection (over 600) of foreign films in a wide range of languages. In one case, I found a much higher quality version of the film Du sel sur la peau (1984). I was intending to take new screen shots and update them on the post but the specific shots I captured weren’t really that bad. The problem was avoiding the hard-coded French subtitles and really poor sound quality. The channel in question has the theme of children in cinema which includes boys and girls so I would appreciate any readers willing to go through these and identify those dealing with girls that are not already included in the ‘Pipeline: Films’ page. The account seems to have been started in January 2022 which indicates to me that this person’s account is periodically cancelled due to “community standards” issues. Copyright issues are unlikely given the age of these films.

An Ethical Conundrum: I got a report about a pornography video—I believe a full-length film—that contains a child. Of course children engaging in sexual behavior with adults is almost universally illegal but this filmmaker seems to be pushing the edge and I wanted to hear comments—thoughtful, of course—about this tactic. According to the lead, the girl in question is not in any scene with an adult. In the story, the scene with the young girl (9 years old) is included as a flashback of one of the main characters in the film. The child’s genitals are visible for a few seconds because the scene is about her “playing doctor” with three little boys. The boys are also shown but the scenes were shot in such a way so the naked girl is not actually in the same room with the boy actors. To further complicate things, I am told that the girl’s face is recognizable in some shots which adds the possibility of stigmatization for having acted in the film. We have often discussed how nudity should not imply a sexual connotation (and therefore not stigmatized) but this little actress has been deliberately included in a porno film. Assuming the girl was otherwise treated well during filming, where do you fall on the ethics of this? Was it really necessary to show the girl’s genitals so prominently? Maybe because of the typical production values of pornos (low, in case you didn’t already know), maybe the filmmaker didn’t give it that much careful thought, but they seem to be skirting the edges of legality here. What do you think? Also, for the morbidly curious among you, I will not be divulging the title of the film, where it can be found and, no, I have not looked at the film myself so don’t bother asking!

George du Maurier’s Facetious Victorian Girls

(Last Updated On July 28, 2022)

I have no education or background in art, so there are many artists of whom I never heard before I started reading Pigtails and writing articles for it. In most cases it never bothered me that I had not known of these artists previously, but George du Maurier is an exception. Not knowing of him made me feel uneducated. He is the man who gave the English language the word “svengali” and the terms “in the altogether” for naked and “bedside manner” for a physician’s rapport with the patient. He is responsible for naming the trilby hat and the town of Trilby, Florida. His granddaughter Daphne du Maurier wrote The Birds, which Alfred Hitchcock made into a movie. George du Maurier inspired Gaston Leroux to write Phantom of the Opera, and his grandchildren inspired J. M. Barrie to write Peter Pan. George du Maurier himself was one of the most prominent cartoonists of Victorian England.

George du Maurier – A Young Humanitarian (1887)

George Louis Palmella Busson du Maurier was born in France in 1834. He studied chemistry and painting. His passion for art was greater than his inclination for chemistry, and loss of vision in his left eye made drawing easier than painting for him. In 1865 he joined the staff of Punch, Britain’s leading satire magazine. His cartoons satirizing British society were very popular. I do not have the dates for most of the illustrations in this post, but all are probably from the period between 1865 and 1891 when du Maurier was an active cartoonist.

Du Maurier draws like Dickens writes, with plenty of elaborate detail. Du Maurier’s humor is subtle and droll. The caption for Chacun Pour Soi (Everyone for Himself) is “Mamma (sternly) ‘Now, Miriam, say Grace’. Miriam (who, for previous Misconduct, has been deprived of Pudding). ‘For all they have Received, let them be Truly Thankful.'”

George du Maurier – Chacun Pour Soi (unknown date)

Girls in Victorian England were stereotyped as being quiet and demure. It is more unexpected, and therefore funnier for a girl to use a prayer to complain of her punishment than it would be for a boy to do the same. This could be one reason that girls are prominently featured in du Maurier’s satire, but I think there is another reason: girls and women are prettier than boys and men. Du Maurier may have simply liked drawing girls better than he liked drawing boys. In Chacun Pour Soi, he drew everybody at the table as female. In the last illustration in this article, Gentle Terrorism, it was necessary to draw an ugly character, and du Maurier drew that character as a man.

George du Maurier – A Hint (1879)

A Hint is captioned “Oh, Mamma, did you see those pretty flowers in the conservatory? I wish you’d buy me one! “It would fade before you got Home, Darling?” “Would it? Now, Buns don’t fade.”

George du Maurier – An Unpleasent Social Duty (unknown date)

An Unpleasent Social Duty illustrates a difference between boys and girls that can still be seen today. Girls typically enjoy dancing to music and will do so all by themselves as young children. They often continue to like dancing throughout their lives. Heterosexual boys usually do not dance until they approach puberty, and then only as an excuse to socialize with girls; most boys never really enjoy dancing. An Unpleasent Social Duty is captioned, “Hostess- ‘Geoffrey, I want you to dance with that little girl!’ Geoffrey- ‘Oh, well, if I must, I must…!'” Note that in Victorian England, women’s hemlines were floor length, while young girls’ hemlines were knee length.

George du Maurier – Delicate Consideration (unknown date)

The next drawing is titled Delicate Consideration. I have not found the original caption for the drawing. Perhaps the boy playing with girls is something Victorians would find humorous, but I don’t get it.

George du Maurier – An Introduction (unknown date)

An Introduction satirizes the Victorian reserve that requires a formal introduction, or at least something significant in common in order to socialize with an unknown person. The girl is saying to her aunt, “Auntie, darling, this is my new friend, Georgie Jones. He is nice. And isn’t it funny, my birthday is the ninth of January, and his is the tenth, so you see we only just escaped being twins!” An Introduction brings to mind the poem Etiquette by W. S. Gilbert. Note the proper high society beachwear.

George du Maurier – Modesty and Duty in Comfort (unknown date)

Modesty and Duty in Comfort spoofs the difference between beachwear for the upper class woman and the lower class children. At first I thought that all five children in the illustration were girls. All have long hair, and none have male genitalia. On second thought, probably only the two children in the water with very long hair are girls, and the ones with moderately long hair are boys, drawn with some censorship. At any rate, the upper class woman in the voluminous swimsuit seems to look on them with disapproval. The two nude children with long hair (I assume girls) in the right foreground appear to be moving away from the shorter-hair children (I assume boys) on shore. Many of you will have seen the PDF files of photographs at Graham Ovenden’s Garage Press site. A photo there shows a nude boy together with nude girls on the beach at Brighton in 1904. I suspect the children in that photo are from the lower social class.

George du Maurier – A Cry from the Heart (1881)

A Cry from the Heart is about a girl who doesn’t like school.
Little Dunce (looking up suddenly from her History book).— “Oh, Mummy darling, I do so wish I’d lived under James the Second”
Mamma.— “Why?”
Little Dunce.— “Because I see here that Education was very much neglected in his reign.”

George du Maurier – Proxy (unknown date)

The caption for Proxy is, “Proxy — As you’re going to say your Prayers, Maud, please mention I’m so dreadfully tired I can’t say mine to-night, but I’ll be sure to remember to-morrow! ”

George du Maurier – I must have this tooth out! (unknown date)

I must have this tooth out! shows a girl with no sympathy for her sister’s toothache. “I must have this tooth out, it hurts so!”
“Oh, please don’t, for I shall have to wear it, as I do all of your left off things!”

George du Maurier – Mothers Darlings (unknown date)

Mothers Darlings needs no caption. The point is obvious.

George du Maurier – Gentle Terrorism (unknown date)

Gentle Terrorism is the last du Maurier illustration in this post. The Professor.— “Will you give me a kiss, my dear?”
Effie (an habitually naughty girl).— “Oh, Mammie . . . . I’ll be good. I’ll be good . . . . I promise”