Abstract

This article examines the art of Paul Hoecker (1854–1910) as a visual negotiation of queer desire, repression, and transgression in late 19th-century Germany. One of the first progressive professors at the Munich Art Academy, Hoecker remains an understudied figure in queer art history. In a private letter to the sexologist Magnus Hirschfeld, he acknowledged his same-sex desire. Focusing on his recurrent depictions of handsome young men—often in the guise of Pierrot—alongside his numerous images of nuns, this article reads Hoecker’s work as a site of tension between desire, Catholic imagery, and social constraint. It further addresses the allegations surrounding the use of a male sex worker as a model for a depiction of the Virgin Mary. Finally, Hoecker’s later, more overtly erotic works, mostly produced for Jacques d’Adelswärd-Fersen, will also be considered, interrogating their problematic aspects, particularly the sexualization of youthful bodies. This research is conducted as part of the Paul Hoecker research group at the Forum Queeres Archiv München.

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