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Slavery
is a Woman: Race, Gender and Visuality in Marie Benoist's Portrait
d'une négresse (1800) |
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by Phylis A. Floyd
When Edouard Manet's Olympia hung in the Salon of 1865, the artist complained to his friend Charles Baudelaire: "all this outcry is disturbing and clearly somebody is wrong," a reaction that has confused historians who read the nude simply as a courtesan. This essay argues that Manet's painting depicts a different type of sexualized woman—a camélia—and that it alludes to a specific individual, Marguerite Bellanger.
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| Manet/Velázquez:
The French Taste for Spanish Painting [exhibition] Reviewed by Alisa Luxenberg |
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| Manet/Velázquez:
The French Taste for Spanish Painting by Gary Tinterow and Geneviève
Lacambre, with Deborah Roldán and Juliet Wilson-Bareau [catalogue] Reviewed by Alisa Luxenberg |
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| The
Rescue of Romanticism, Walter Pater and John Ruskin by Kenneth
Daley Reviewed by Julie L'Enfant |
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| The
Victorian Illustrated Book, ed. Richard Maxwell Reviewed by Julie L'Enfant |
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| Vénus
et Caïn: Figures de la Préhistoire, 1830-1930 Reviewed by Maria Gindhart |
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| Édouard
Vuillard Reviewed by Katherine Kuenzli |
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| Charles
Conder Reviewed by Petra Chu |
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Constructing
the Canon: The Album Polish Art and the Writing of Modernist
Art History of Polish 19th-Century Painting by Anna Brzyski A look at the serial album Polish Art, published in Krakow in the early twentieth century, and its role in establishing the modernist canon of Polish nineteenth-century painting. |
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Anatomy
of a Motif: The Fetus in Late 19th-Century Graphic Art by Elizabeth K. Menon A number of fin-de-siècle artists created images of fetuses modeled after specimens in French medical collections. This multivalent motif is considered within the context of depopulation fears and the rise of the Women’s Rights movement. |
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The Significance
of the "temple idea" in William Lethaby's Architecture,
Mysticism and Myth (1891) by Deborah van der Plaat In Architecture, Mysticism and Myth, the English architect and theorist William Lethaby developed a syncretic theory of modern architectural invention in which the subjective world of the “imagined” is reconciled with that of the objective or "known." |
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