Gay Icon - Historical Examples

Historical Examples

Plausibly the earliest gay icon was Saint Sebastian, a Christian saint and martyr, whose strong and shirtless physique, symbolic arrow-pierced flesh, and rapturous look of pain combined have intrigued artists, both gay and straight, for centuries and began the first explicitly gay cult in the nineteenth century. Richard A. Kaye, a journalist, wrote, "contemporary gay men have seen in Sebastian at once a stunning advertisement for homosexual desire (indeed, a homoerotic ideal), and a prototypical portrait of tortured closet case."

Due to Saint Sebastian's status as gay icon, Tennessee Williams chose to use that name for the martyred character Sebastian in his play, Suddenly, Last Summer. The name was also used by Oscar Wilde – as Sebastian Melmoth – when in exile after his release from prison. Wilde, an Irish writer and poet, was about as "out of the closet" as was possible for the late nineteenth century, and is himself considered to be a gay icon.

Marie Antoinette was an early lesbian icon. Rumors about her relationships with women circulated in pornographic detail by anti-royalist pamphlets before the French Revolution. In Victorian England, biographers who idealized the Ancien Régime made a point of denying the rumours, but at the same time romanticised Marie Antoinette's "sisterly" friendship with the Princesse de Lamballe as – in the words of an 1858 biography – one of the "rare and great loves that Providence unites in death." By the end of the nineteenth century she was a cult icon of "sapphism"; her execution, seen as tragic martyrdom, may have added to her appeal.

Allusions to her appearance in early twentieth century lesbian literature – most notably Radclyffe Hall's The Well of Loneliness – where the gay playwright Jonathan Brockett describes Marie Antoinette and de Lamballe as "poor souls... sick to death of the subterfuge and pretenses." She had crossover appeal as a gay icon as well, at least for Jean Genet, who was fascinated by her story. He included a reenactment of her execution in his 1947 play The Maids.