L'Inconnue de la Seine

"L'Inconnue de la Seine" (French for "the unknown woman of the Seine") was an unidentified young woman whose death mask became a popular fixture on the walls of artists' homes after 1900. Her visage was the inspiration for numerous literary works. [cite news |first=Angelique|last=Chrisafis |authorlink= |coauthors= |title=Ophelia of the Seine |url=http://arts.guardian.co.uk/art/visualart/story/0,,2219993,00.html |work=The Guardian Weekend magazine, page 17 - 27 |publisher=The Guardian |date=Saturday December 1, 2007 |accessdate=2007-12-02 ]

History

According to an often-repeated story, the body of the young woman was pulled out of the Seine River at the Quai de Louvre in Paris around the late 1880s. [Elizabeth Bronfen, "Over her Dead Body: Death, Femininity and the Aesthetic", MUP, 1992, p. 207] The body showed no signs of violence, and suicide was suspected.

A pathologist at the Paris morgue was so taken by her beauty that he had a moulder make a plaster cast death mask of her face. According to other accounts, the mask was taken from the daughter of a mask manufacturer in Germany. [ [http://williamgaddis.org/recognitions/inconnue/index.shtml "l'Inconnue de la Seine"] by Anja Zeidler] The identity of the girl was never discovered. The moulder who took the cast of the face was believed to be based at the Lorenzi family model-making firm. Claire Forestier, a member of the Lorenzi family, believes that the model was not dead when the cast was taken. She works in the family modelling workshop, and says that a dead body from a river would not have such clear features. She estimated the age of the model at no more than 16, given the firmness of the skin. [cite news
author = Angelique Chrisafis
title = Ophelia of the Seine
format = Weekly magazine supplement to the Sydney Morning Herald
work = Sydney Morning Herald
publisher = Fairfax
page = 24
date = 2008-01-19
accessdate = 2008-01-21
language = English
quote = The Inconnue was not dead, more than that I can't say]

In the following years, numerous copies were produced. The copies quickly became a fashionable morbid fixture in Parisian Bohemian society. Albert Camus and others compared her enigmatic smile to that of the Mona Lisa, inviting numerous speculations as to what clues the eerily happy expression in her face could offer about her life, her death, and her place in society.

The popularity of the figure is also of interest to the history of artistic media, relating to its widespread reproduction. The original cast had been photographed, and new casts were created back from the film negatives. These new casts displayed details that are usually lost in bodies taken from the water, but the apparent preservation of these details in the visage of the cast seemed to only reinforce its authenticity.

Critic A. Alvarez wrote in his book on suicide, "The Savage God": "I am told that a whole generation of German girls modeled their looks on her." According to Hans Hesse of the University of Sussex, Alvarez reports, "the Inconnue became the erotic ideal of the period, as Bardot was for the 1950s. He thinks that German actresses like Elisabeth Bergner modeled themselves on her. She was finally displaced as a paradigm by Greta Garbo." [Alvarez, Al. "The Savage God. A Study of Suicide." New York & London: W.W. Norton & Company, 1971. Page 156.]

Artistic portrayals

L'Inconnue in English literature

The earliest mention can be found in Richard Le Gallienne's 1900 novella "The Worshipper of the Image", in which an English poet falls in love with the mask, eventually leading to the death of his daughter and the suicide of his wife.

L'Inconnue in German literature

The protagonist of Rainer Maria Rilke's only novel, "Die Aufzeichnungen des Malte Laurids Brigge" (1910), reflects:: "The caster I visit every day has two masks hanging next to his door. The face of the young one who drowned, which someone copied in the morgue because it was beautiful, because it was still smiling, because its smile was so deceptive – as though it knew.":"„Der Mouleur, an dem ich jeden Tag vorüberkomme, hat zwei Masken neben seiner Tür ausgehängt. Das Gesicht der jungen Ertränkten, das man in der Morgue abnahm, weil es schön war, weil es lächelte, weil es so täuschend lächelte, als es wüßte.“"

In 1926 Ernst Benkard published "Das letzte Antlitz", a book about 126 death masks, writing about our subject that she is "like a delicate butterfly to us, who, carefree and exhilarated, fluttered right into the lamp of life, scorching her fine wings." ("„uns jedoch ein zarter Schmetterling, der, sorglos beschwingt, an der Leuchte des Lebens seine feinen Flügel vor der Zeit verflattert und versengt hat.“")

Reinhold Conrad Muschler's 1934 widely translated best-selling novel "Die Unbekannte" tells the maudlin story of the fate of the provincial orphan Madeleine Lavin, who has fallen in love with the British diplomat Lord Thomas Vernon Bentick and, after a romance, commits suicide in the Seine when Bentick returns to his fiancée. This novel was turned into a film of the same name in 1936.

Vladimir Nabokov's 1934 poem "L'Inconnue de la Seine", written in German shortly after Muschler's book was published, speculates on the identity of the presumed lover who made her commit suicide.

Other examples appear in:
* Hertha Pauli's (wife of Wolfgang Pauli) 1931 story "L'Inconnue de la Seine", which first appeared in the Berliner Tageblatt
* Ödön von Horváth's play based on his friend Hertha Pauli's story, written in 1934 and titled "Die Unbekannte aus der Seine"
* Claire Goll's 1936 short story "Die Unbekannte aus der Seine", in which the protagonist peers into a death mask and dies from a heart attack caused by delusion and guilt as he believes he recognizes the face as his daughter's.

L'Inconnue in French literature

Maurice Blanchot, who actually owned one of the masks, described her as "„une adolescente aux yeux clos, mais vivante par un sourire si délié, si fortuné, [...] qu'on eût pu croire qu'elle s'était noyée dans un instant d'extrême bonheur“" ("a young girl with closed eyes, enlivened by a smile so relaxed and at ease... that one could have believed that she drowned in an instant of extreme happiness")

In 1931, Jules Supervielle once described the perspective of one dealing with the wearies of life as the "First-person narrative of the sense and the nonsense of suicide".

In Louis Aragon's 1944 novel "Aurélien", L'Inconnue played a significant role as one of the main characters attempts to rejuvenate the mask from various photographs. At the beginning of the 1960s Man Ray contributed photographs to a new edition of the work.

CPR doll

The face of the unknown woman was used for the head of the first aid mannequin Rescue Annie. [ [http://www.laerdal.co.uk/document.asp?subnodeid=10929003 Laerdal company history] , accessed 3 September 2007] It was created by Peter Safar and Asmund Laerdal in 1958 and was used starting in 1960 in numerous CPR courses. [ [http://www.snopes.com/medical/emergent/cprannie.asp CPR Annie] , Snopes.com, 21 June 2005. Accessed 3 September 2007] [ [http://www.singlearticles.com/the-girl-from-the-a3576.html Histories: The girl from the Seine] , "New Scientist", 23 July 2005] Therefore, the face has been called by some "the most kissed face" of all time. [ [http://www.mauriceblanchot.net/ www.mauriceblanchot.net] ]

References