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Open a larger version of the following image in a popup: Eduardo Paolozzi, Deadlier than the Male, 1950

Eduardo Paolozzi 1924-2005

Deadlier than the Male, 1950
Collage with ink on indigo paper
26.2 x 20 cms
10 5/16 x 7 13/16 ins
235
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In Paolozzi's early collages of film stars, as in de Kooning's concurrent collages and paintings of women, a gap is exposed between glamour and daily life in which ideal beauty...
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In Paolozzi's early collages of film stars, as in de Kooning's concurrent collages and paintings of women, a gap is exposed between glamour and daily life in which ideal beauty is confronted with ugly reality. Both Paolozzi and de Kooning engage with ideals of womanhood and of female sexuality. In this collage from 1950 the face is a composite portrait assembled from torn strips of photographs of different glamorous women to produce a generic portrait that denies individuation. The caption below it reinforces this. Giving the work its title it declares that the female of the species is Deadlier than the Male.
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Exhibitions

Eduardo Paolozzi. Artificial Horizons and Eccentric Ladders. Works on Paper 1946-1995, British Council, 1996, (cat. 21)
Henry Moore and the Geometry of Fear, James Hyman Gallery, 19 November 2002 - 18 January 2003

Literature

Judith Collins, Eduardo Paolozzi: works on paper 1946-1995, 1996, pp.17-18.
Twentieth-century British Art, James Hyman Gallery, London, 2001, (cat. 9), illustrated p. 19.
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