Claude Cahun

Claude Cahun (French: [klod kaœ̃]; born Lucy Renée Mathilde Schwob; 25 October 1894 – 8 December 1954) was a French surrealist photographer, sculptor, and writer.

Schwob adopted the pseudonym Claude Cahun in 1914. From 1920 onwards she began to appear publicly under this name. Her photographic work is characterised by self‑stagings, light reflections and shadows. The artist saw herself as a master of transformation and used photography to record her metamorphoses. Cahun is best known as a writer and self-portraitist, who assumed a variety of performative personae.

In her writing, Cahun mostly referred to herself with grammatically feminine words, but she also said that her actual gender was fluid. For example, in what is generally considered to be her masterpiece, 'Aveux non Avenus' (1930), available in English as Cancelled Confessions or Disavowals, Cahun writes: "Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me." Cahun is most well known for her androgynous appearance, which challenged the strict gender roles of her time.

During World War II, Cahun and lifelong partner Marcel Moore launched a two-person resistance campaign against the Nazis who had occupied Jersey. For this they would be sentenced to death (saved at the last minute by the Armistice). They were also active in the leftist group Contre Attaque, a union of communist writers, artists and workers, alongside André Breton.

Cahun was born in Nantes in 1894, into a well-off literary family. Her mother, Mary-Antoinette Courbebaisse, was Catholic, her father, Maurice Schwob was Jewish. Cahun would later embrace her Jewish identity, adopting her paternal grandmother, Mathilde Cahun's surname. Avant-garde writer Marcel Schwob was her uncle and Orientalist David Léon Cahun was her great-uncle. When Cahun was four years old, her mother, Mary-Antoinette Courbebaisse, began suffering from mental illness, which ultimately led to her mother's permanent internment at a psychiatric facility. In her mother's absence, Cahun was brought up by her grandmother, Mathilde.

Cahun attended a private school (Parsons Mead School) in Surrey after experiences with antisemitism at high school in Nantes. She attended the University of Paris, Sorbonne. She began making photographic self-portraits as early as 1912 (aged 18), and continued taking images of herself throughout the 1930s.

Around 1914, she changed her name to Claude Cahun, after having previously used the names Claude Courlis (after the curlew) and Daniel Douglas (after Lord Alfred Douglas). During the early 1920s, she settled in Paris with lifelong partner Suzanne Malherbe, who adopted the pseudonym Marcel Moore. The two became step-sisters in 1917 after Cahun's divorced father and Moore's widowed mother married, eight years after Cahun and Moore's artistic and romantic partnership began. For the rest of their lives together, Cahun and Moore collaborated on various written works, sculptures, photomontages and collages. The two published articles and novels, notably in the periodical Mercure de France, and befriended Henri Michaux, Pierre Morhange, and Robert Desnos.

Around 1922 Cahun and Moore began holding artists' salons at their home. Among the regulars who would attend were artists Henri Michaux and André Breton and literary entrepreneurs Sylvia Beach and Adrienne Monnier.