Chapter 1
Gustave Courbet and Revolutionary Realism

Gustave Courbet, Le Désespéré, 1843-45.

Gustave Courbet, The Stone Breakers, 1849.

1.1  Revolution and Reform

Franz Xaver Winterhalter, Louis-Philippe I, King of the French from 1830 to 1848, 1841.

Karl Marx, The Class Struggles in France, 1848-1850. With an introduction by Frederick Engels. Translated from German by Henry Kuhn. National Executive Committee, Socialist Labour Party, first printing, 1924; online edition, 2018.

Honoré Daumier, The Uprising, ca. 1848

Ange-Louis Janet, Louis-Eugène Cavaignac, ca. 1872.

Charles François Thibault, Barricades rue Saint-Maur-Popincourt avant l’attaque par les troupes du général Lamoricière, le dimanche 25 juin 1848, 1848.

Charles François Thibault, Barricades rue Saint-Maur-Popincourt après l’attaque par les troupes du général Lamoricière, le lundi 26 juin 1848, 1848.

Charles François Thibault, La barricade de la rue Saint-Maur-Popincourt le Dimanche matin, d’après un planchet daguerréotypée par M. Thibeault, 1848.

1.2  Capturing Contemporary History:  The Artist as Witness

Ernest Meissonier, The Barricade, 1848.

Ernest Meissonier, The Barricade, Rue de la Mortellerie, June 1848, also known as, Remembrance of the Civil War, ca. 1850-51.

Ernest Meissonier, Study for The Barricade, 1848.

Ernest Meissonier, Study of an Insurgent, ca. 1848-50.

Jean-Louis-Ernest Meissoner, Napoleon III at the Battle of Solferino, 1863.

1.3  Caricature and Social Critique

Honoré Daumier, Gargantua, 1831.

Honoré Daumier, The Uprising, ca. 1848.

Honoré Daumier, The Third-Class Carriage, ca. 1863-65.

1.4  Realism and the Democratization of Art

François Gérard, Portrait de Juliette Récamier, née Bernard (1777-1849), ca. 1802-1805.

Léon Halévy and Henri Saint-Simon, Opinions littéraires, philosophiques et industrielles (Paris: Galerie de Bossange Père, 1825).

Gustave Courbet, Self-Portrait with Pipe, ca. 1848-1849.

Gustave Courbet, Self-Portrait with Black Dog, 1842.

Parmigianino, Self-Portrait in a Convex Mirror, ca. 1523-24.

Gustave Courbet, Self-Portrait with Black Dog, ca. 1842-44.

Gustave Courbet, From Ralist Manifesto 1855. In Modernism: An Anthology of Sources and Documents, eds. Vassiliki Kolocotroni, Jane Goldman and Olga Taxidou, (Edinburgh: University of Edinburgh Press, 1998).

Samuel F.B. Morse, Gallery of the Louvre, ca. 1831-33.

1.5  Radical Realists: The Advent of the Avant-Garde

Gustave Courbet, Cabaret Andler-Keller, 1862.

Gustave Courbet, Portrait de Baudelaire, 1848-49.

Gustave Courbet, Proudhon and his Children, 1865.

Gustave Courbet, Portrait de Champfleury, écrivain, 1855.

1.6  Courting Scandal, Creating Sensation: Courbet and the Paris Salon

Theodor Josef Hubert Hoffbauer, Salon de 1849, aux Tuileries, ca. 1875-82.

Gustave Courbet, After Dinner at Ornans, 1849.

Dirck Hals, Merry Company at Table, ca. 1627-29.

1.7  Painting Ordinary People: Elevating the Humble Hero

Gustave Courbet, The Stone Breakers, 1849.

Gustave Courbet, A Burial at Ornans, 1849-50.

Detail of Gustave Courbet, A Burial at Ornans, 1849-50.

Detail of Gustave Courbet, A Burial at Ornans, 1849-50.

Detail of Gustave Courbet, A Burial at Ornans, 1849-50.

Detail of Gustave Courbet, A Burial at Ornans, 1849-50.

El Greco, The Burial of the Count of Orgaz, ca. 1586-88.

Jacques-Louis David, Oath of the Horatii, 1784.

Gustave Courbet, The Peasants of Flagey Returning from the Fair, ca. 1850-55.

Gustave Courbet, The Wheat Sifters, 1854.

Jean-François Millet, The Gleaners, 1857.

Jean-François Millet, Man with a Hoe, ca. 1860-62.

Louis Le Nain, Happy Family, 1642.

Philippe-Auguste Jeanron, Scène de Paris, 1833.

Philippe Derussy, Portrait of a Young Girl, Standing, Sitting on the Right of a Balustrade and a Drapery, 1846.

Champfleury, Le réalisme (Paris: Michel Lévy Frères, Libraires-Éditeurs, 1857).

Champfleury, Le réalisme (Paris: Michel Lévy Frères, Libraires-Éditeurs, 1857), 274-275.

Champfleury, Le réalisme (Paris: Michel Lévy Frères, Libraires-Éditeurs, 1857), 272-273.

Jules-Antoine Castagnary, Philosophie du Salon de 1857 (Paris: Poulet-Malassis et De Broise, 1858).

Jules-Antoine Castagnary, Philosophie du Salon de 1857 (Paris: Poulet Malassis et De Broise, 1858), 8.

1.8  A Class in Transition: Courbet’s Young Ladies of the Village and Young Ladies on the Banks of the Seine

Gustave Courbet, Young Ladies of the Village, 1851-52.

Bertall, Caricature of Young Ladies of the Village, Le journal pour rire, April 16, 1852.

Detail of Gustave Courbet, Young Ladies of the Village, 1851-52.

Walking dresses, Petit courrier des dames, journal des modes, September 1837.

Gustave Courbet, Portrait of Zélie, 1847.

Detail of Gustave Courbet, Young Ladies of the Village, 1851-52.

Jean-Antoine Watteau, The Fortune Teller, ca. 1710 (copy).

Louis-Napoléon, The Extinction of Pauperism (London: Cleave, 1844).

Linda Nochlin, Misère: The Visual Representation of Misery in the 19th Century (London: Thames & Hudson, 2018).

Gustave Courbet, Young Ladies on the Banks of the Seine, 1857.

Gustave Courbet, The Bathers, ca. 1853.

1.9  Art, Patronage and the Outsider Artist

Gustave Courbet, Portrait of Alfred Bruyas, 1853.

Gustave Courbet, The Meeting or Good Day, Monsieur Courbet, 1854.

Human-headed winged lion (Lamassu), ca. 883-859 BCE.

1.10  Inside The Artist’s Studio

Gustave Courbet, The Artist’s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, 1854.

Detail of Gustave Courbet, The Artist’s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, 1854.

Jan Saenredam, after Hendrick Goltzius, Allegory of Sight and of the Art of Painting (An Artist and His Model), 1616.

Champfleury, Les chats: Histoire, mœurs, observations, anecdotes (Paris: J. Rothschild, 1869.)

Detail of Gustave Courbet, The Artist’s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, 1854.

Julien Vallou de Villeneuve, Nude Study, registered 1853.

Detail of Gustave Courbet, The Artist’s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, 1854.

Gustave Courbet, The Artist’s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, 1854.

Detail of Gustave Courbet, The Artist’s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, 1854.

Gustave Courbet, Source of the Lison, ca. 1864-66.

Eugène Feyen, Gustave Courbet’s studio in Ornans, showing a lay figure, 1864.

Eugène Vermersch, Maxime Vuillaume and Alphonse Humbert, ‘Le Citoyen Courbet’, Père Duchêne, 1871.

Gustave Courbet, Self-Portrait at Sainte-Pelagie, 1872.

Gustave Courbet, Portrait of Jules-Antoine Castagnary, 1870.

Gustave Courbet, Landscape with a Hunter, 1873.

Chapter 2
Manet and Modern Life

Édouard Manet, Le Dejeuner sur l’herbe ( Luncheon on the Grass), 1863.

Introduction

Artist Unknown, Paris, Île de la Cité, A map based on the 1771 Robert de Vaugondy plan.

James Farley/Getty Images, Aerial view of Paris.

Gustave Caillebotte, Le Pont de L’Europe, 1876.

Henri Fantin-Latour, Portrait d’Édouard Manet, 1867.

2.1  The Challenge of the New:  Modernist Attitudes and the Académie

Édouard Baldus, Palais de l’Industrie, ca. 1850-1860.

Jean Léon Gerôme, Death of Caesar, ca. 1859-1867.

Gustave Moreau, Salome Dancing Before Herod, 1876.

Théodore Rousseau, Forest of Fontainebleau, Cluster of Tall Trees Overlooking the Clair-Bois at the Edge of Bas-Bréau, ca. 1849-52.

Jules Breton, Erecting a Calvary, 1858.

Rosa Bonheur, Ploughing in Nevers, 1849.

Rosa Bonheur, The Horse Fair, 1853-55.

Cavalcade, Block II from the West frieze of the Parthenon, ca. 447-433 BCE.

Rosa Bonheur, Study for the Horse Fair, ca. 1853-55.

Rosa Bonheur, wearing the Legion of Honour, 1865.

2.2  Enter Édouard Manet:  The Paris Salon, 1859

Nadar, “Close-up photograph of artist Édouard Manet, before 1870,” (enlargement by Paul Nadar), 1870.

Édouard Manet, The Absinthe Drinker, 1859 (reworked 1868-72).

Charles Baudelaire, “The Wine of the Ragpickers,” in Poems of Baudelaire, translated by Campbell (New York: Pantheon Books, 1925).

Diego Velàzquez, Aesop, ca. 1638.

2.3  The Perfect Storm: Le Déjeuner sur l’herbe, the Paris Salon and the Salon des Refusés

Theodor Josef Hubert Hoffbauer, Salon de 1849, aux Tuileries, ca. 1875-82.

Édouard Manet, Luncheon on the Grass, 1863.

Giorgione and/or his disciple Titian, The Pastoral Concert, 1509.

Marcantonio Raimondi, after Raphael, The Judgment of Paris, ca. 1514-18.

Antoine Watteau, Pleasures of Love, ca. 1716.

Pierre Alexandre Aveline, after Antoine Watteau, La Villageoise, 18th century.

Édouard Manet, Jesus Mocked by the Soldiers, ca. 1864-65.

2.4 Olympia in Context

Édouard Manet, Olympia, 1863.

Jean-Léon Gérôme, The Slave Market, 1866.

Detail of Édouard Manet, Olympia, 1863.

Charles Expilly, Les femmes et les mœurs du Brésil (Paris: Charlieu et Huillery, 1863).

Édouard Manet, Children in the Tuileries Gardens, 1861-62.

Édouard Manet, Portrait of Laure, 1862.

Detail of Édouard Manet, Olympia, 1863.

Eunice Lipton, Alias Olympia: A Woman’s Search for Manet’s Notorious Model and Her Own Desire (Ithaca: Cornell University Press, 1992).

Édouard Manet, Mademoiselle V… in the Costume of an Espada, 1862.

Édouard Manet, Portrait of Victorine Meurent, 1862.

Victorine Meurent, Self-Portrait, 1876.

Victorine Meurent, Palm Sunday, ca. 1880.

V.R. Main, A Woman With No Clothes On (London: Delancey, 2008).

Victorine Meurent, ca. 1862.

Victorine Meurent, ca. 1865.

Titian, Venus of Urbino (also known as Reclining Venus), 1538.

Édouard Manet, Olympia, 1863.

Francisco de Goya, The Naked Maja, ca. 1795-1800.

Édouard Manet, Olympia, 1863.

Édouard Manet, Young Woman Reclining in Spanish Costume, ca. 1862-63.

Francisco de Goya, The Clothed Maja, ca. 1800-1807.

Gustave Courbet, Woman with a Parrot, 1866.

Alexandre Cabanel, The Birth of Venus, 1863.

Honoré Daumier, “Partons madame… ces nudités sont révoltantes… (à part) je reviendrai tout seul!”, Le Charivari, May 15, 1866.

2.5  The International Exposition of 1867

Eugène Cicéri and Philippe Benoist, Official bird’s eye view of Exposition Universelle, 1867,

Photograph of the building called Exposition Courbet on the front, built Place de l’Alma, during the International Exhibition, Paris, 1867.

André Gill, “Courbet, Peint par lui-même- et par Gill,” La Lune, 9 June, 1867.

Léonce Petit, “G. Courbet, par L. Petit,” Le Hanneton, June 13, 18677.

Catalogue des Tableaux de M. Édouard Manet: exposés Avenue de L’Alma en 1867 (Paris: Imprimerie L. Poupart-Davyl, 1867).

Édouard Manet,  View of the 1867 Exposition Universelle, 1867.

2.6  The Political Manet: The Execution of Emperor Maximilian

Édouard Manet, The Execution of the Emperor Maximilian, 1868.

Édouard Manet, The Execution of the Emperor Maximilian, 1867.

Édouard Manet, The Execution of Emperor Maximilian of Mexico, 1868.

Édouard Manet, The Execution of Maximilian of Mexico, 1867.

François Aubert, Emperor Maximilian’s Firing Squad, 1867.

Édouard Manet, The Execution of the Emperor Maximilian, 1868.

Francisco de Goya, The Third of May, 1814.

Jean-Louis-Ernest Meissonier, The Barricade, Rue de la Mortellerie, June 1848, also known as Remembrance of Civil War, ca. 1850.

Édouard Manet, The Dead Christ with Angels, 1864.

Édouard Manet, Jesus Mocked by the Soldiers, ca. 1864-65.

Édouard Manet, The Execution of Emperor Maximilian of Mexico, 1868.

2.7  Portrait of Émile Zola: Japonisme and the Influence of the Multiple

Édouard Manet, Portrait of Émile Zola, 1868.

Detail of Édouard Manet, Portrait of Émile Zola, 1868.

Utagawa Kuniaki, Sumô Wrestler Ônaruto Nadaemon of Awa Province (Ashû Ônaruto Madaemon), 1860.

Detail of Édouard Manet, Portrait of Émile Zola, 1868.

Types nationaux à l’Exposition universelle. – Japon. – Intérieur de la maison du gouverneur de Satzouma. (D’après le dessin de M. Montani)” Le Monde Illustré, September 28, 1867.

“Exposition universelle. – Section orientale. – Vue Générale de l’exposition japonaise dans le parc.” Le Monde Illustré, August 31, 1867.

“Les ateliers Goupil & Cie d’Asnières”, L’Illustration, 12 April, 1873.

Gazette des Beaux-Arts, 1 July, 1859.

Charles Blanc et al., Histoire des Peintres de Toutes les Écoles: École Espagnole (Paris: Librairie Renouard, 1865).

Charles Blanc, Histoire des Peintres de Toutes le Écoles: École Française (Paris: Librairie Renouard, 1862).

Edgar Degas, The Collector of Prints, 1866.

2.8  Manet’s Entourage

Frédéric Bazille, Bazille’s Studio, 1870.

Henri Fantin-Latour, A Studio at Les Batignolles, 1870.

Édouard Manet, At the Café, 1869.

2.9  Paris Commune, 1871

“Bombardement de Paris. – Habitants réfugiés dans leurs caves.” L’Illustration, Journal Universel, 4 February, 1871.

Édouard Manet, The Barricade, 1871.

Alfred le Petit, “On n’entre pas! Par Alfred le Petit: Comédie en un acte (ridicule) et deux tableaux (médiocres)”, Le Grelot, 28 April 1872.

2.10  Impressionism and its Contexts

Nadar, Atelier Nadar 35 Boulevard des Capucines, 1860.

Claude Monet, Impression, Sunrise, 1872.

Paul Cézanne, The Hanged Man’s House, Auvers-sur-Oise, ca. 1873.

Edgar Degas, At the Races in the Countryside, ca. 1872.

Claude Monet, Boulevard des Capucines, 1873.

Berthe Morisot, The Cradle, 1873.

Camille Pissarro, The Cabbage Field, Pontoise, 1873.

Pierre-August Renoir, The Dancer, 1874.

Pierre-Auguste Renoir, Claude Monet Painting in his Garden at Argenteuil, 1873.

Chapter 3
Female Labour and Prostitution in Paris

Georges Seurat, Models, ca. 1886-88.

Introduction

Splendeurs et misères: Images de la prostitution, 1850-1910, 22 September 2015-17 January 2016.

Nicole Canet, The Hindi Room, Au Bonheur du Jour, Gallery.

Nicole Canet, The Grotto Entrance, Au Bonheur du Jour, Gallery.

3.1  Framing the Female Figure: Debauchery and Decorum in Nineteenth-Century Art

Gustave Courbet, Young Ladies Beside the Seine, 1857.

Pierre-Joseph Proudhon, Eds. A. Lacroix & Cie, La Pornocracie ou Les Femmes dans les temps modernes (Pornocracy of Women in Modern Times) (Paris: Libraire International, 1875).

Alfred Stevens, Family Scene or Domestic Happiness or All the Joys, ca. 1880.

3.2  Avant-Garde Painters and the Subject of Prostitution

Édouard Manet, Olympia, 1863.

Paul Cézanne, The Eternal Feminine, ca. 1877.

Paul Cézanne, A Modern Olympia, ca. 1873-74.

Jules Lefebvre, Odalisque, 1874.

3.3  Fashion and the Courtesan

Édouard Manet, Nana, 1877.

Gallicelo, “Le corset sans gêne, c’est le Corset Parfait,” ca. 1910.

3.4  Anonymity, Identity and the Parisian Prostitute

Gustave Courbet, The Origin of the World, 1866.

André Adolphe-Eugène Disderi, Constance Quénioux, n.d.

Paul Émile Pesme,  Constance Quénioux, 1861.

The Pretty Women of Paris: Their Names and Addresses, Qualities and Faults; Being a Complete Directory; Or Guide to Pleasure for Visitors to the Gay City (Privately printed at the Press of the Prefecture de Police, 1883).

Charles Reutlinger, Portrait of Latour Amélie, ca. 1860-90.

Nadar, Portrait of Henriette de Barras (actress at the Théâtre de la Renaissance), ca. 1870-90.

3.5  Female Spectacle: Photography, Theatre and the French Courtesan

Léopold Reutlinger, La Belle Otéro, ca. 1877-1917.

François-Rupert Carabin, Groupe de Quatre femmes nues, assises, ca. 1895-1910.

Georges Clairin, Portrait of Sarah Bernhardt, 1876.

Sarah Bernardt, My Double Life: Memoirs of Sarah Bernhardt; With many portraits and illustrations (London: Willian Heinemann, 1907).

Sarah Bernhardt, My Double Life: Memoirs of Sarah Bernhardt; With many portraits and Illustrations (London: Willian Heinemann, 1907), 90-91.

Sarah Bernhardt, My Double Life: Memoirs of Sarah Bernhardt; With many portraits and Illustrations (London: Willian Heinemann, 1907), 342-343.

Melandri, Sarah Bernhardt, 1879.

3.6  The Brothel as Modern Subject

Edgar Degas, The Client, 1879.

Edgar Degas, In the Salon, ca. 1876-77 or 1879-80.

Edgar Degas, The Fireside, ca. 1876-77.

Edgar Degas, Woman Reading, ca. 1885.

Guy de Maupassant, La Maison Tellier: Illustration d’Edgar Degas (Paris: Éditions Ambroise Vollard, 1934).

Pierre Louys, Mimes des courtisanes: Illustrations d’Edgar Degas (Paris: Éditions Ambroise Vollard, 1935).

Edgar Degas, Waiting, 1879.

3.7  Deviance, Lesbianism, Racism and the Other

Alexandre Jean-Baptiste Parent du Châtelet (Parent-Duchâtelet), De la Prostitution dans la ville de Paris, considérée sous le rapport de l’hygiène publique, de la moral de l’administration; Ouvrage appuyé de documents statistiques, puisés dans les archives de la Préfecture de la police (Paris: J-B Baillière et Fils. 1836).

Alexandre Jean-Baptiste Parent du Châtelet (Parent-Duchâtelet), Distribution des prostituées dans chacun des 48 quartiers de la Ville de Paris, 1836.

Nicole G. Albert, trans. Nancy Erber and William Peniston, Lesbian Decadence: Representations in Art and Literature of Fin-de-Siècle France (New York: Harrington Park Press, 2016).

Charles Baudelaire, Les fleurs du Mal (Paris: Charles Meunier, 1900). Illustration, Carlos Schwabe.

Pauline Tarnowsky, “Anomalies of the Face and the Ear in Prostitutes,” in Étude anthropométrique sur les prostituées et les voleuses (Paris: E. Lecrosnier et Bébé, 1889).

Gustave Courbet, The Sleepers, 1866.

Jean-Léon Gérôme, Pool in a Harem, 1876.

Édouard Debat-Ponsan, The Massage, 1883.

Ingres, The Turkish Bath, 1862.

Nicolas de Nicolay, Les navigation, pérégrinations et voyages, faicts en la Turquie (Antwerp: Guillaume Silvius, 1577).

Edgar Degas, Two Women (Scene from a Brothel), ca. 1877-79.

Charles Williams, Love and Beauty- Sartjee the Hottentot Venus, 1822.

3.8  Edgar Degas’s Bathers

Edgar Degas, Leaving the Bath, ca. 1879-80.

Edgar Degas, Woman in a Tub, 1886.

Edgar Degas, Woman in a Tub, ca. 1883.

Edgar Degas, Woman Bathing in a Shallow Tub, 1885.

Pierre-Auguste Renoir, Blonde Bather, 1882.

Pierre-Auguste Renoir, Study Torso Sunlight Effect, ca. 1876.

Edgar Degas, After the Bath, Woman Drying Herself, ca. 1890-95.

Edgar Degas, Woman Combing Her Hair, ca. 1887-90.

3.9  Henri  de Toulouse-Lautrec: The Travails and Tragedies of the Ordinary Prostitute

Henri de Toulouse-Lautrec, At the Salon of the Rue des Moulins, 1894.

Maurice Guibert, Toulouse-Lautrec in his workshop with a nude model, 1895.

Henri de Toulouse-Lautrec, The Ladies in the Brother Dining-Room, 1893.

Henri de Toulouse-Lautrec, The Two Girlfriends, 1894.

Henri de Toulouse-Lautrec, The Bed, 1893.

Kitagawa Utamaro I, The Hour of the Ox (1 A.M. – 3 A.M.), ca. 1794.

Kitagawa Utamaro I, The Hour of the Horse, ca. 1794.

Kitagawa Utamaro I, Courtesan with Child Attendant, ca. 1789-1806.

Henri de Toulouse-Lautrec, At the Salon of the Rue des Moulins, 1894.

Henri de Toulouse-Lautrec, Rue des Moulins, 1894.

M.A. Hardy and A. de Montméja, “Syphilide pigmentaire,” Clinique photographique de l’hôpital Saint-Louis (Paris: Chamerot et Lauwereyns, 1868).

Reproduced from G. Tilles, “Le Musée de l’hôpital Saint-Louis, The Museum of the Hôpital Saint-Louis,” Annales de Dermatologie et de Vénéréologie 145, no. 4, September 2018.

Cherry Chapman, “Two Very Unusual Medical Museums in Paris,” A Psychotherapist in Paris, 22 September 2014.

3.10  Covert Prostitution: Shopgirls and Serveuses

View of Paris in 1878, during the World Fair, 1878.

Charles Marville, Rue du Jardinet (du passage Hautefeuille), ca. 1853-70.

Pierre-Auguste Renoir, Pont-Neuf, 1872.

Pierre Petit, Portrait of Julie-Victoire Daubié, 1861.

“PARIS. – Les magasins de nouveautés. – LE BON MARCHÉ. Intérieur. – (Dessin de MM. Clerget et Vierge).” Le Monde Illustré, 30 March 1872.

Au Bon Marché: Comptoir des Modes, Chapeaux de Dentelles et de Crêpe, Été 1891, 1891.

James Tissot, The Shop Girl, ca. 1883-85.

Pierre-Auguste Renoir, At the Milliner’s, 1878,

Edgar Degas, The Little Milliners, 1882.

Edgar Degas, At the Milliner’s, 1881.

Edgar Degas, At the Milliner, ca. 1882-85.

Edgar Degas, The Milliner, ca. 1882.

Edgar Degas, At the Milliner’s, 1883.

Edgar Degas, The Milliners, ca. 1898.

Edgar Degas, At the Milliner’s, 1882.

Gonin, “Chapeau Jolie Miss, en feutre flamand bleu marine. Les bords sont rétroussés et des belles plumes amazone garnissent tout le chapeau. – Modèle de Mme. Hélène (31, rue Caumartin),” La Modiste Universelle, 1 January 1882.

Edgar Degas, At the Milliner’s, 1882.

Topical Press Agency, “A South African ostrich farm,” ca. 1900.

Ostrich feathers for sale at the Cutler Street Warehouses in London, 1896.

Edgar Degas, At the Milliner’s, 1882.

Édouard Manet, Waitress Serving Beer, 1879.

Édouard Manet, A Bar at the Folies-Bergère, 1882.

Detail of Édouard Manet, A Bar at the Folies-Bergère, 1882.

Liqueurs Supérieures, 1879.

Émile Lévy, “Folies-Bergère,” 1874.

3.11  The Paris Opéra: “The Brothel of France”

Edgar Degas, Little Dancer Aged Fourteen, 1878-81.

Henri Christiani, Petits Rats: Polka (Paris: Durand et Fils, 1907).

Charles Garnier, Elevation sketch of the ‘Foyer de Danse’ (located behind the stage house at the first loge level) in the Paris Opera’s Palais Garnier, ca. 1863.

Edgar Degas, The Star, ca. 1876-78.

Jean Béraud, The Wings at the Opéra, 1889.

Ludovic Halevy, La famille Cardinal (Paris: Calmann Lévy, 1883).

Rita Sangalli. Paris-Théâtre, 59 July 1874.

Edgar Degas, Dancers Backstage, ca. 1876-83.

Edgar Degas, Waiting, 1882.

Edgar Degas, The Dance Class, 1874.

Edgar Degas, The Rehearsal, 1873.

Edgar Degas, Two Dancers Entering the Stage, ca. 1877-78.

Edgar Degas, Dancers, Pink and Green, ca. 1890.

3.12  Georges Seurat, Poseuses and Pictorial Politics

Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, ca. 1884-86.

Georges Seurat, A Woman Fishing, 1884.

Georges Seurat, Models, ca. 1886-84.

Raphael, The Three Graces, 1504.

Antonio Canova, The Three Graces, ca. 1814-17.

Georges Seurat, Models, ca. 1886-88.

Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, ca. 1884-86.

Hollis Clayson, Painted Love: Prostitution in French Art of the Impressionist Era (New Haven: Yale University Press, 1991).

Chapter 4
Berthe Morisot and Mary Cassatt: Women Artists of the Impressionist Circle

Berthe Morisot, The Psyche Mirror, 1876.

Introduction

Berthe Morisot, Self-Portrait, 1885.

Mary Cassatt, Self-Portrait, ca. 1880.

Griselda Pollock, Vision and Difference: Femininity, Feminism and the Histories of Art (London and New York: Routledge, 1988.)

Berthe Morisot, The Harbor at Lorient, 1869.

Mary Cassatt, Woman with a Pearl Necklace in a Loge, 1879.

Berthe Morisot

4.1  Public  Debut

Berthe Morisot, ca. 1841-95.

Édouard Manet, The Balcony, ca. 1868-69.

Édouard Manet, Berthe Morisot with a Bouquet of Violets, 1872.

Édouard Manet, Repose, 1871.

4..2  Fashionable Subjects

Berthe Morisot, Two Sisters, 1869.

Berthe Morisot, The Pink Dress (Albertie – Marguerite Carré, Later Madame Ferdinand – Henri Himmes), 1870.

Berthe Morisot, The Butterfly Hunt, 1874.

“Toilettes de Mme. Bréant-Castet, 6, rue Gluck,” La Mode Illustrée, no. 3, 1882.

La famille: Voyages, Romans, Modes, Musique, Beaux-Arts, Actualités, etc., 9 February 1890.

“Costume Parisien: Coiffure ornée d’une flèche et d’un peigne renversé,” Journal des dames et des modes (Year 11, 6 November 1807) 69.

“Les Modes de la Saison,” Journal Illustré de la Famille, no. 22, 1880.

Héloïse Colin and Adele-Anaïs Toudouze, Portraits d’Héloïse Colin et Adele-Anaïs Toudouze, par Elles-Mêmes, 1836.

Héloïse Leloir, Illustration for a French Fashion Magazine, ca. 1862.

Adele-Anaïs Toudouze, “Toilettes de Mme. Bréant-Castel, 28, r. Nve des Pts. Champs,” La Mode Illustrée, no. 51, 1869.

4.3  Sisterhood

Edma Morisot, Berthe Morisot, ca. 1865.

4.4  Familiar Subjects

Berthe Morisot, Portrait of the Artist’s Mother and Sister, ca. 1869-70.

Émile Zola, Au bonheur des dames (Paris: G. Charpentier, 1883).

Berthe Morisot, Portrait of the Artist’s Mother and Sister, ca. 1869-70.

Detail of Berthe Morisot, Portrait of the Artist’s Mother and Sister, ca. 1869-70.

Berthe Morisot, Portrait of Madame Edma Pontillon, 1871.

4..5  The Space In Between

Berthe Morisot, Woman and Child on a Balcony, 1872.

Édouard Manet, The Railway, 1873.

4..6  Painting en plein air

Berthe Morisot, Reading, 1873.

Camille Corot, Forest of Fontainebleau, 1834.

Pierre-Henri de Valenciennes, View of the Palace of Nemi, ca. 1780.

Berthe Morisot, In a Park, ca. 1874.

Berthe Morisot, Summer-day, 1879.

4.7  Les Liseuses

Berthe Morisot, Reading, 1873.

Kathryn Brown, Women Readers in French Panting, 1870-90.

Antoine Wiertz, La liseuse de romans (The Reader of Novels), 1853.

Janis Bergman-Carton, The Woman of Ideas in French Art, 1830-48 (New Haven: Yale University Press, 1995)

La Voix des Femmes, 20 April 1848.

La Femme Libre, 1st edition, August 1832.

Honoré Daumier, “Moeurs conjugales no. 6,” Le Charivari, 30 June 1839.

Honoré Daumier, Voilà une femme qui a l’heure solennelle…, 1848.

Honoré Daumier, Citoyennes on fait courir le bruit…, 1848.

P.-J. Stahl et al., La vie publique et privée des animaux: Vignettes par Grandville (Paris: J. Hetzel et Paulin, Éditeurs, 1842).

4.8  Motherhood

Berthe Morisot, The Cradle, 1872.

William Bouguereau, Young Mother Gazing at her Child, 1871.

William Bouguereau, Breton Brother and Sister, 1871.

Berthe Morisot, The Wet Nurse Feeding Julie Manet, 1880.

Detail of Berthe Morisot, The Wet Nurse Feeding Julie Manet, 1880.

Edgar Degas, At the Races in the Countryside, ca. 1872.

Wet Nurses in a public park, reproduced from Linda Nochlin, “Morisot’s Wet Nurse: The Construction of Work and Leisure in Impressionist Painting,” in Women, Art and Power, and Other Essays (London: Routledge, 1988).

A nourrice from Morvan in Paris, date unknown.

Berthe Morisot, Eugène Manet and His Daughter at Bougival, 1881.

Berthe Morisot, Julie and her Greyhound Laerte, 1893.

Berthe Morisot, Portrait of Berthe Morisot and Her Daughter, 1885.

4.9  Looking Female

Berthe Morisot, The Psyche Mirror, 1876.

Berthe Morisot, Young Woman Powdering Her Face, 1877.

Berthe Morisot,  The Artist’s Daughter, Julie, With Her Nanny, ca. 1884.

Berthe Morisot, Julie Playing a Violin, 1893.

Mary Cassatt

4.10  An American in Paris

Mary Cassatt, Portrait of the Artist, 1878.

Marie Bashkirtseff, In the Studio, 1881.

Mary Cassatt, The Mandolin Player, ca. 1868.

Paul Durand, Ruel in his gallery in 1910.

4.11  Modern Attitudes

Mary Cassatt, Afternoon Tea Party, 1891.

Mary Cassatt, Lady at the Tea Table, ca. 1883-85.

Edgar Degas, Mary Cassatt, ca. 1880-84.

Mary Cassatt, Reading “Le Figaro”, 1878.

Mary Cassatt, Mrs. Robert S. Cassatt, the Artist’s Mother, ca. 1889.

4.12  Femininity and the Gaze

Mary Cassatt. In the Loge, 1878.

Pierre-Auguste Renoir, A Box at the Theater (At the Concert), 1880.

Mary Cassatt, The Loge, 1882.

4.13  Mother and Child

Mary Cassatt, Mother and Child, 1890.

Mary Cassatt, Mother About to Wash Her Sleepy Child,, 1880.

Raphael,  Madonna and Child with the Book, 1503.

Vincent Van Gogh, Mother Roulin with Her Baby, 1888.

William Bouguereau, Rest, 1879.

Mary Cassatt, After the Bath, ca. 1901.

Mary Cassatt, Reine Lefebvre Holding a Nude Baby (Mother and Child), ca. 1902-03.

Joshua Reynolds, Lady Cockburn and Her Three Eldest Sons, ca. 1773-75.

Élisabeth Louise Vigée Le Brun, Self-Portrait with Her Daughter, Julie, 1786.

Daughters of Charity with orphan girls in a park, date unknown.

Couturier, “Les Filles-Mères,” L’Assiette au Beurre, no. 89, December 1902.

Alfred Stevens, The Hunters of Vincennes or, What is Called Vagrancy, 1854.

4.14  New Perspectives

Mary Cassatt, The Child’s Bath, 1893.

Edgar Degas, Woman in a Tub, ca. 1883.

Kitagawa Utamaro I, Mother and Child, ca. 1797.

Mary Cassatt, The Bath, ca. 1890-91.

Kitagawa Utamaro I, A Mother Bathing Her Son, ca. 1753-1806.

Mary Cassatt, The Bath, ca. 1890-91.

4.15  World of Children

Mary Cassatt, Little Girl in a Blue Armchair, 1878.

Pierre-Auguste Renoir, A Girl with a Watering Can, 1876.

Émile Jumeau (manufacturer), Poupée Bébé Jumeau, ca. 1850-1915.

Pierre-Auguste Renoir, Madame Georges Charpentier and Her Children, 1878.

Mary Cassatt, Little Girl in a Blue Armchair, 1878.

Mary Cassatt, A Woman and a Girl Driving, 1881.

Mary Cassatt, Baby Reaching for an Apple, 1893.

Mary Cassatt, Mother and Child, ca. 1905.

Lewis Carroll, Beatrice Hatch, 30 July 1873, 1873.

Sally Mann, Virginia at 3, 1988.

4.16  The Language of Prints

Mary Cassatt, Mother’s Kiss, ca. 1890-91.

Mary Cassatt, Maternal Caress, ca. 1890-91.

Mary Cassatt, The Coiffure, 1890-91.

Mary Cassatt, The Fitting, ca. 1890-91.

Kitagawa Utamaro I, Yahoo of the Matsubaya, from the series Selections from Six Houses in Yoshiwara (Seiro rokkasen) (Matsubaya Yosooi), ca. 1801-02.

Mary Cassatt, The Letter, ca. 1890-91.

Mary Cassatt, The Bath ca. 1890-91.

John Fiorillo, “Color Changes (Fading in Ukiyo-e),” Viewing Japanese Prints, date unknown.

Mary Cassatt, The Letter, ca. 1890-91.

4.17   “Modern Woman”

Woman’s Building, 1893.

Mary Cassatt, Modern Woman, 1893.

Coloured engraving after Mary Cassatt, Modern Woman, 1893, published in William Walton, World’s Columbian Exposition, Art and Architecture, Volume I (Philadelphia: George Barrie & Son, 1893), opp. P. xxxvi.

Mary Fairchild MacMonnies, Primitive Woman, 1893.

Mary Cassatt, Modern Woman, 1893.

Mary Cassatt, Modern Woman, 1893, taken from a photo in Harper’s New Monthly Magazine (May 1893), inset with a colour detail printed by George Barrie.

James Tissot, The Bunch of Lilacs, ca. 1875.

Coloured engraving after Mary Cassatt, Modern Woman, 1893.

Pierre Puvis de Chavannes, Inter Artes et Naturam (Between Art and Nature), ca. 1890-95.

Office of Board of Lady Managers, portraits of 10 women, 1896.

Madeleine Lemaire, Art and Handicraft in the Woman’s Building, 1893.

William Henry Jackson, Interior of the Woman’s Building, 1893.

4.18   The Suffrage Exhibition

Mary Cassatt, Louisine Havemeyer, 1896.

Mary Cassatt, Mother and Child, ca. 1905.

We Want to Vote for President in 1904, ca. 1904.

Durand-Ruel, Cassatt seated in a chair with an umbrella, 1913.

Photograph of the Suffrage Loan Exhibition at Knoedler Gallery, 1915.

Académie Julian, Paris, group of art students, ca. 1885.

Chapter 5
The Modern Portrait in Photography and Impressionist Painting

Julia Margaret Cameron, Portrait of Julia Stephen born Julia Jackson, Mother of Virginia Woolf, 1867.

Edgar Degas, Place de la Concorde, 1875.

5.1  The Advent of Photography

Jean-Baptiste Sabatier-Blot, Portrait of Louis Daguerre, 1844.

Louis Daguerre, Historique et description des procédés de daguerréotype et du diorama (Paris: Alphonse Giroux et cie., 1839).

Le Daguerréotype, The Daguerre-Giroux Camera, date unknown.

Portrait of a Daguerreotypist Displaying Daguerreotypes and Cases, 1845.

Staff at William Henry Fox Talbot’s commercial calotype establishment in Reading, Berkshire, 1846.

5.2  Early Photographic Portraiture

André-Adolphe-Eugène Disdéri, Prince Lobkowitz, 1858.

André-Adolphe-Eugène Disdéri, Demi-Monde II 57, ca. 1858-68.

Scovill Manufacturing Co., Wet-plate camera with nine Darlot no. 2 lenses, ca. 1860.

Charles Willson Peale, Mrs. Charles Wilson Peale (Rachel Brewer) and Baby Eleanor, 1790.

Helmut Gernsheim and Alison Gernsheim, The History of Photography: From the Earliest Use of the Camera Obscura in the Eleventh Century Up to 1914 (London: Oxford University Press, 1955).

André-Adolphe-Eugène Disdéri, Emperor Napoléon III and his family, ca. 1858.

Elizabeth Anne McCauley, A. A. E. Disdéri and the Carte de Visite Portrait Photograph (New Haven: Yale University Press, 1985).

Dolligen, and André-Adolphe-Eugène Disdéri, Galerie des contemporains, vol. 1 (Paris, 1862).

Mayer & Pierson, Carte-de-visite Album of Prominent Personages, ca. 1860-70.

Honoré Daumier, “Croquis parisiens: ‘Pose de l’homme de la nature,’ ‘Pose de l’homme civilisé’,” Le Charivari, 31 March 1853.

André-Adolphe-Eugène Disdéri, Fiocre Nemea, ca. 1862-65.

André-Adolphe-Eugène Disdéri, Soeurs Marchisio, 1862.

André-Adolphe-Eugène Disdéri, L’art de la photographie (Paris: Chez l’auteur, 1862).

André-Adolphe-Eugène Disdéri, Self-portrait, ca. 1860-65.

André-Adolphe-Eugène Disdéri, L’art de la photographie (Paris: Chez l’auteur, 1862).

5.3  Portrait Photography, Art and Aesthetics

Gustave Le Gray, Self-portrait, ca. 1850-55.

Gustave Le Gray, Eugénie, Empress of the French, 1856.

Gustave Le Gray, Forest of Fontainebleau, 1855.

Gustave Le Gray, View of the Seine, Paris, 1857.

Gustave Le Gray, The Ramparts of Carcassonne, 1851.

“Salons de l’établissement photographique de M. Le Gray, Boulevard des Capucines, no. 35,” L’Illustration, Journal Universel, 21 April 1856.

5.4  Beyond the Documentary Portrait: Félix Nadar

Félix Nadar, Nadar (demonstration photograph), ca. 1890-1910.

Nadar, Panthéon Nadar, 1854.

Detail of Nadar, Panthéon Nadar, 1854.

Nadar, Nadar, Les Binettes contemporaines, ca. 1854.

Nadar, Atelier Nadar, 35 Boulevard des Capucines, 1860.

Nadar, Interior of the studio at 35 Boulevard des Capucines, ca. 1861.

Nadar, View of the interior of the studio at 35 Boulevard des Capucines, with Nadar’s Panthéon, ca. 1861.

Nadar, Gustave Doré’s Portrait, ca. 1883.

Nadar, Édouard Manet, ca. 1867-70.

Paul Nadar, “Photographs of his father Félix Nadar with Michel-Eugène Chevreul, taken on August 18, 1886,” Le Journal Illustré, 5 September 1886.

Étienne-Jules Marey, Chronophotographie du saut en longueur, ca. 1882-83.

Eadweard Muybridge, The Horse in Motion. “Sallie Gardner,” owned by Leland Stanford; running at a 1:40 gait over the Palo Alto track, 19th June 1878, ca. 1878.

Nadar, Sarah Bernhardt, ca. 1864.

Paul Nadar, View of the terrace of the studio on Rue d’Anjou, on the Rue des Mathurins, ca. 1910.

Nadar, Nadar in a Balloon, ca. 1860-70.

Nadar, Aerial view of Paris, Arc de Triomphe, 1868.

Édoaurd Manet, View of the 1867 Exposition Universelle, 1867.

Nadar, Catacombs of Paris, 1861.

Félix Nadar, When I was a Photographer, trans. Eduardo Cadava and Liana Theoduratou (Cambridge: MIT Press, 2015; first published: Paris: Flammarion, 1899).

Walter Benjamin, Selected Writings, Volume 2: 1927-34, ed. Michael W. Jennings, Howard Eiland and Gary Smith (Cambridge: The Belknap Press of Harvard University Press, 1999).

Nadar, M. Zola, écrivain, ca. 1893-94.

Dornac, Émile Zola, ca. 1887-1917.

5.5  Julia Margaret Cameron: Art Photography and Pictorialism

George Frederic Watts, Julia Margaret Cameron, ca. 1850-1852.

Julia Margaret Cameron, Sir John F. W. Herschel, 1867.

Julia Margaret Cameron, Annie Wilhelmina Philpot, January 29, 1864.

Julia Margaret Cameron, Alfred Lord Tennyson, 1869.

Julia Margaret Cameron, Photographic Study “Pomona” (Alice Lidell as a young woman), 1872.

Julia Margaret Cameron, Portrait of Julia Stephen born Julia Jackson, mother of Virginia Woolf, April 1867.

Edward Steichen, Auguste Rodin seen in a parallel pose with Le Penseur (The Thinker), 1905.

Alfred Stieglitz, “Miss S.R.”, 1904.

5.6  Modern Impressionist Portrait Paintings and the Impact of Photographic Techniques

Gustave Courbet, Proudhon and His Children, 1865.

Nadar, Pierre-Joseph Proudhon, ca. 1860.

Franz von Lenbach, Portrait of Richard Wagner, ca. 1878.

Louis Figuier, “Fig. 79- Effect de l’appareil de M. Monckhoven pour l’agrandissement des épreuves photographiques,” Les Merveilles de la science ou description Populaire des inventions modernes, vol. 3 (Paris: Librairie Furne, Jouvet et cie, 1869), 123.

Karl Hahn, Four Portrait Studies of Georg Ebers, ca. 1895.

Franz von Lenbach, Self-portrait, ca. 1902-03.

5.7  Edgar Degas

Edgar Degas, Edmond Duranty, 1879.

Edmond Duranty, La Nouvelle Peinture: À propos du groupe d’artistes qui expose dans les galeries Durand-Ruel (Paris: E. Dentu, 1876).

Johann Kaspar Lavater, “Phlegmatic,” “Choleric,” “Sanguine,” and “Melancholic,” Physiognomische Fragmente zur Beförderung der Menschenkenntnis und Menschenliebe (Leipzig: Weidmanns Erben und Reich, 1778).

Jean Gaspard Lavater (Johann Kaspar Lavater), Essai sur la physiognomonie, destiné à faire connaître l’Homme & à le faire aimer, trans Antoine-Bernard Caillard, and Marie-Élisabeth de la Fite, vol. 2 (La Have, 1783).

Edgar Degas, Diego Martelli, 1879.

Edgar Degas, Edmont Duranty, 1879.

Edgar Degas, Victoria Dubourg, ca. 1868-69.

Winslow Homer, “Art-Students and Copyists in the Louvre Gallery, Paris,” Harper’s Weekly XII, 11 January, 1868.

Victoria Dubourg, Henri Fantin-Latour, Still Life with Pink and White Stock, unknown date.

Jean-Baptiste-Siméon Chardin, A Vase of Flowers, 1750.

Victoria Dubourg, Flowers, unknown date.

Henri Fantin-Latour, Summer Flowers, 1880.

Edgar Degas, Mary Cassatt at the Louvre: The Etruscan Gallery, ca. 1879-80.

Edgar Degas, Mary Cassatt at the Louvre: The Etruscan Gallery, ca. 1879-80.

Edgar Degas, Mary Cassatt at the Louvre, ca. 1880.

Edgar Degas, Mary Cassatt at the Louvre: The Paintings Gallery, 1885.

Edgar Degas, Madame Camus, ca. 1869-70.

Edgar Degas, Madame Camus with a Fan, ca. 1870.

Edgar Degas, Madame Camus at the Piano, 1869.

Edgar Degas, Degas’s Father Listening to Lorenzo Pagans Playing the Guitar, ca. 1869-72.

Edgar Degas, Édouard Manet and his Wife, ca. 1865-69.

Edgar Degas, Hélène Rouart in her Father’s Study, ca. 1886.

Edgar Degas, Henri Rouart in front of his Factory, ca. 1875.

Edgar Degas, Hélène Rouart in her Father’s Study, ca. 1886.

Edgar Degas, The Belleli Family, ca. 1858-69.

Edgar Degas, A Cotton Office in New Orleans, 1873.

Marylin R. Brown, Degas and the Business of Art: A Cotton Office in New Orleans (University Park: Pennsylvania State University Press, 1994).

Edgar Degas, Place de la Concorde, 1875.

Hippolyte Jouvin, Le Pont-Neuf, vu du quai des Grands Augustins, ca. 1860-70.

Richard, Lenticular or “Brewster” stereoscope, ca. 1910-30.

Edgar Degas, Place de la Concorde, 1875.

Gustave Boulanger, Battle in Place de la Concorde in Paris, during the last days of the Commune, 1871.

James Pradier, The Statue of Strasbourg, 1838.

Pierre-Antoine Demachy, An Execution, Place de la Révolution, ca. 1793.

Edgar Degas, Place de la Concorde, 1875.

Hilaire-Germain-Edgar Degas, Jules Taschereau, Edgar Degas and Jacques-Émile Blanche, 1895.

Edgar Degas, Portrait of Ludovic Halévy, 1895.

5.8  Impressionist Portraits of Colleagues and Friends

Frédéric Bazille, Portrait of Pierre-Auguste Renoir, 1867.

Pierre-Auguste Renoir, Claude Monet Reading, 1872.

Édouard Manet, Repose, 1871.

Edgar Degas, Mary Cassatt, ca. 1880-84.

Mary Cassatt, Self-portrait, ca. 1878.

Jean-Auguste-Dominique Ingres, Madame Moitessier, 1856.

5.9  Frédéric Bazille

Frédéric Bazille, Self-portrait, ca. 1865-66.

Frédéric Bazille, Self-portrait at Saint-Sauveur, 1864.

Frédéric Bazille, The Family Reunion, 1868.

André-Adolphe-Eugène Disdéri, (Family Portrait), ca. 1855-65.

Frans Hals, Family Group in a Landscape, ca. 1645-48.

Philippe de Champaigne (attrib.), Portrait of the family of Habert de Montmor, ca. 1600-50.

Henri Fantin-Latour, A Studio at Les Batignolles, 1870.

Frédéric Bazille, Bazille’s Studio, 1870.

Frédéric Bazille, Bazille’s Studio, 1870.

Frédéric Bazille, View of the Village, 1868.

Frédéric Bazille, The Fisherman with a Net, 1868.

5.10  Pierre-Auguste Renoir and the Group Portrait

Édouard Manet, The Monet Family in Their Garden at Argenteuil, 1874.

Pierre-Auguste Renoir, Madame Monet and Her Son, 1874.

Pierre-Auguste Renoir, Luncheon of the Boating Party, ca. 1880-81.

Pierre-Auguste Renoir, Dance at Le Moulin de la Galette, 1876.

The Moulin de la Galette and Montmartre’s Rural character, ca. 1900.

Georges Rivière, Renoir et ses amis (Paris: H. Floury, 1921).

Pierre-Auguste Renoir, Dance at Le Moulin de la Galette, 1876.

Pierre-Auguste Renoir, Dance at the Moulin de la Galette, 1876.

Édouard Manet, Masked Ball at the Opera, 1873.

Pierre-Auguste Renoir, Madame Georges Charpentier and her Children, 1878.

François Boucher, Portrait of Madame de Pompadour, 1756.

Jean-Auguste-Dominique Ingres, Portrait of Marie-Françoise Rivière, 1805.

5.11     Renoir’s Images of Children

Pierre-Auguste Renoir, On the Terrasse, 1881.

Pierre-Auguste Renoir, Marguerite-Thérèse (Margot) Berard, 1879.

Pierre-Auguste Renoir, Sketches of Heads (The Berard Children), 1881.

Pierre-Auguste Renoir, The Daughters of Catulle Mendès, Huguette (1871-1904), Claudine (1876-1937), and Helyonne (1879-1955), 1888.

Auguste Renoir, Pink and Blue- The Cahen d’Anvers Girls, 1881.

Raphael, Madonna of the Pinks, ca. 1506-07.

Raphael, Psyche Brings a Vessel up to Venus, ca. 1517-18.

Pierre-Auguste Renoir, Mother Nursing her Child, 1885.

Raphael, Madonna della Seggiola, ca. 1513-14.

Pierre-Auguste Renoir, Claude Renoir, Playing, ca. 1905.

Chapter 6
Claude Monet and the Impressionist Landscape

Claude Monet, Poppy Field in a Hollow near Giverny, 1885. Oil on canvas. 65.1 x 81.3 cm. Museum of Fine Arts, Boston.

6.1  Beyond the Atelier

Claude Monet, A Corner of the Studio, 1861.

Detail of Claude Monet, A Corner of the Studio, 1861.

Detail of Claude Monet, A Corner of the Studio, 1861.

Detail of Claude Monet, A Corner of the Studio, 1861.

Édouard-Antoine Renard, Atelier d’Eugène Delacroix, 1852.

Eugène Delacroix, Combat of the Giaour and the Pasha, 1835.

Charles Lhullier, Portrait of Claude Monet in Uniform, 1861.

Gustave Courbet, The Artist’s Studio, a Real Allegory Summing Up Seven Years of my Artistic and Moral Life, 1854.

Claude Monet, Luncheon on the Grass, 1866.

Édouard Manet, Luncheon on the Grass, 1863.

Claude Monet, Luncheon on the Grass (right section), ca. 1865-66.

Claude Monet, Luncheon on the Grass, 1866.

Claude Monet, Pavé de Chailly in the Fontainebleau Forest, 1865.

6.2  Controversial Style

Claude Monet, Camille, 1866.

Claude Monet, Madame Monet Wearing a Kimono, 1875.

Hishikawa Moronobu, Dancer, ca. 1618-94.

Detail of Claude Monet, Madame Monet Wearing a Kimono, 1875.

Installation in Gallery 2, “Monet’s Camille: Re-imagining the Full-Length Portrait”: Promenade dress, 1865-68.

Claude Monet, Camille, 1866.

Gloria Groom, ed., Impressionism, Fashion, and Modernity (Chicago: Art Institute of Chicago, 2012).

Claude Monet, Madame Louis Joachim Gaudibert, 1868.

6.3  Claude Monet, Eugène Boudin and Normandy

Claude Monet, Camille on the Beach in Trouville, 1870.

Claude Monet, The Beach at Trouville, 1870.

Eugène Louis Boudin, Beach Scene in Trouville, ca. 1870-74.

6.4  Argenteuil and the Advent of Impressionism

Claude Monet, The Highway Bridge Under Repair, 1872.

Pierre-Auguste Renoir, Claude Monet Painting in His Garden at Argenteuil, 1873.

Claude Monet, The Artist’s Garden in Argenteuil (A Corner of the Garden with Dahlias), 1873.

Claude Monet, Springtime, 1872.

Claude Monet, Gladioli, ca. 1876.

Detail of Claude Monet, Gladioli, ca. 1876.

Detail of Claude Monet, Gladioli, ca. 1876.

Claude Monet, Gladioli, ca. 1876.

James Tissot, Spring Morning, ca. 1875.

Paul Hayes Tucker, The Impressionists at Argenteuil (Washington: National Gallery of Art; Harford: Wadsworth Atheneum Museum of Art, 2000).

Claude Monet, The Studio Boat, 1876.

Claude Monet, Landscape: The Parc Monceau, 1876.

Claude Monet, The Parc Monceau, 1878.

Claude Monet, The Parc Monceau, 1878.

6.5  Impressionism: A Critical Concept

Claude Monet, Impression, Sunrise, 1872.

Pierre-Henri de Valenciennes, Landscape with Ruins, ca. 1782-85.

Camille Pisarro, Hoarfrost at Ennery, 1873.

Claude Monet, Boulevard des Capucines, 1873.

Paul Cézanne, The Hanged Man’s House, ca. 1874.

Berthe Morisot, The Harbor at Cherbourg, 1871.

Pierre-Auguste Renoir, La loge, 1874.

Claude Monet, Impression, Sunrise, 1872.

Joseph Mallord William Turner, Landscape with Water, ca. 1840.

Joseph Mallord William Turner, Norham Castle, Sunrise, 1845.

John Constable, Weymouth Bay: Bowleaze Cove and Jordon Hill, ca. 1816.

Joseph Mallord William Turner, The Lake, Petworth, Sunset; Sample Study, ca. 1827.

Claude Lorrain, Sunrise, ca. 1646-47.

6.6  Landscape and the Legacy of Romanticism

Jean-Baptiste-Camille Corot, The Bridge at Narni, 1826.

Camille Pissarro, Jalais Hill, Pontoise, 1867.

Claude Monet, Impressionism, Sunrise, 1872.

Arthur Rimbaud, Lettre Du Voyant & Other Writings. Translated and edited by J.J. Loe (Moonlight Books, n.d.)

John Constable, The Hay Wain, 1821.

Joseph Mallord William Turner, The Fighting Temeraire Tugged to her Last Berth to be Broken Up, 1838, 1839.

Caspar David Friedrich, Rocky Ravine in the Elbe Sandstone Mountains, 1822.

Caspar David Friedrich, Two Men Contemplating the Moon, ca. 1825-30.

Jean-Baptiste-Camille Corot, Forest of Fontainebleau, 1834.

Charles-François Daubigny, The Pond at Gylieu, 1853.

Théodore Rousseau, The Village of Becquigny, ca. 1857.

Jean-François Millet, Autumn Landscape with a Flock of Turkeys, ca. 1872-73.

Théodore Géricault, Riderless Racers at Rome, 1817.

Eugène Delacroix, Death of Sardanapalus, 1844.

Claude Monet, A Corner of the Studio, 1861.

Claude Monet, Poppy Field in a Hollow near Giverny, 1885.

6.7  Serial Subjects

Claude Monet, Poplars, 1891.

Claude Monet, The Four Trees, 1891.

Claude Monet, Stacks of Wheat (End of Summer), ca. 1890-91.

Claude Monet, Grainstack, White Forest Effect, ca. 1890-91.

Claude Monet, Haystack, End of Summer, ca. 1890-91.

Claude Monet, Stacks of Wheat, (End of Summer), ca. 1890-91.

Claude Monet, Wheatstacks, Snow Effect, Morning, 1891.

Claude Monet, Rouen Cathedral Portal, Front View, 1892.

Claude Monet, Rouen Cathedral, Façade, ca. 1892-94.

6.8   Colour Theory, Paint Tubes and Portable Easels: Monet’s Modern Palette

Frederich Wilhelm Joseph von Schelling, Einleitung zu seinem Entwurf eines Systems der Naturphilosophie (Jena and Leipzig: Christian Ernst Gabler, 1799).

1. Brücke and H. Helmholtz, Principes scientifiques des Beaux-Arts, essais et fragments de théorie, suivis de L’Optique de la peinture (Paris: Librairie Germer Baillière et cie, 1878).
2. Brücke and H. Helmholtz, Principes scientifiques des Beaux-Arts, essais et fragments de théorie, suivis de L’Optique de la peinture (Paris: Librairie Germer Baillière et cie, 1878), 62.

Claude Monet, Vétheuil, 1901.

Johann Wolfgang von Goethe, Goethe’s symmetric colour wheel with associated symbolic qualities, 1809.

Michel-Eugène Chevreul, De la loi du contraste simultané des couleurs et de l’assortiment des objets colorés (…) (Paris: Pitois-Levrault et cie, libraires, 1839).

Michel-Eugène Chevreul, “Construction chromatique hemisphérique de Mr. Chevreuil, Fig 15,” in De la loi du contraste simultané des couleurs (Paris: Pitois-Levrault et cie, libraires, 1839).

Michel-Eugène Chevreul, “Assortiments des couleurs simples et binaires des artistes avec le blanc, le noir et le gris,” in De la loi du contraste simultané des couleurs (Paris: Pitois-Levrault et cie, libraires, 1839), pl. 7.

Claude Monet, The Artist’s Garden at Vétheuil, 1881.

Grumbacher (Manufacturer), Vintage French Metamorphic Traveling Painters Box Easel, ca. 1930-40.

The Windsor & Newton paint tube, ca. 1840-1911.

Claude Monet, Poppy Field in a Hollow near Giverny, 1885.

Claude Monet, Camille Monet on Her Deathbed, 1879.

Henri Regnault, Portrait of Madame Mazois on Her Deathbed, 1866.

Claude Monet, Camille Monet on Her Deathbed, 1879.

6.9  Impressionism and Music

Claude Monet, Water Lilies, 1906.

Claude Monet, The Path Through the Irises, ca. 1914-17.

Claude Monet, Water Lilies, 1906.

Claude Monet, Port-Goulphar, Belle-Île, 1887.

Claude Monet, Weeping Willow, ca. 1918.

Jean-Jacques Grandville et al., Les fleurs animées, (Paris: Garnier Frères, Libraires-Éditeurs, 1867).

6.10  Landscape and the Female Form

Claude Monet, Poppy Field in Argenteuil, 1873.

Claude Monet, Camille Monet in the Garden at Argenteuil, 1876.

Claude Monet, Woman with a Parasol- Madame Monet and Her Son, 1875.

Claude Monet, Woman with a Parasol, facing left, 1886.

Claude Monet, Study of a Figure Outdoors, 1886.

Claude Monet, Boating on the River Epte, 1890.

Claude Monet, The Bark at Giverny, ca. 1887.

Claude Monet, Water Lilies, ca. 1915.

Jean-Baptiste-Camille Corot, A Morning. The Dance of the Nymphs, ca. 1850.

Sandro Botticelli, The Birth of Venus, ca. 1484-86.

Alexandre Cabanel, The Birth of Venus, 1875.

Sandro Botticelli, Spring, ca. 1480.

Phillipp Otto Runge, The Morning, 1808.

Phillip Otto Runge, Red Currant, ca. Late 18th, early 19th century.

Phillip Otto Runge, A Stalk of Lilies with Six Blooms, 1808.

Phillip Otto Runge, The Morning, 1808.

Claude Monet, Nympheas, 1907.

6.11  The Garden at Giverny: Influence of the Orient

Janine Marsh, Monet’s House at Giverny Normandy, The Good Life France, date unknown.

Claude Monet, The House Among the Roses, 1925.

“Claude Monet’s Garden, Our Tour of Giverny and his Water Pond,” Frame to frame- Bob and Jean: Discovering the World Through our Lens, 31 August 2022.

Ritsurin Koen, Takamatsu, Japan.

Ritsurin Garden, Takamatsu, Japan.

Stone Bridge, Rikugien.

Yuan Jiang, The Palace of Nine Perfections, 1691.

Garden, Château de Vaux-le Vicomte, Maincy.

Louis le Vau, André le Nôtre, and Charles le Brun, Palace of Versailles, 1664-1710.

John Passmore, Man’s Responsibility for Nature (New York: Scribner, 1974).

“Types nationaux à l’Exposition universelle.- Japon.- Intérieur de la maison du gouverneur de Satzouma. (D’après le dessin de M. Montani),” Le Monde Illustré, 28 September 1867.

Le Japon Artistique, no. 3, July 1888.

Claude Lorrain (Claude Gellée), Pastoral Landscape: The Roman Campagna, ca. 1639.

Sir William Temple, Upon the Gardens of Epicurus, with Other XVIIth Century Garden Essays (London: Chatto and Windus, 1908)

Samuel Taylor Coleridge, Kubla Khan, ca. 1797-1816.

Map of Giverny showing Monet’s property, “M. Claude Monet. Jardin, Village de Giverny,” Archives Départementales de l’Eure, Évreux.

Utagawa Hiroshige I, The Plum Garden at Kameido Shrine, 1857.

Utagawa Hiroshige I, Sumida River, the Wood of the Water God, at Masaki, ca. 1856-58.

6.12  Water Landscapes

Claude Monet, Water Lilies, Evening Effect, 1897.

Claude Monet, Water Lilies, ca. 1898.

Claude Monet, Water Lilies, ca. 1897-98.

Claude Monet, Bridge Over a Pond of Water Lilies, 1899.

Claude Monet, Japanese Footbridge and the Water Lily Pool, Giverny, 1899.

Nymphaea Mexicana (Yellow Water Lily).

Joseph Bory Latour-Marliac, Water Lily Ponds.

A gardener cleaning out the pond near the Japanese Bridge, Giverny.

Utagawa Hiroshige, 69 Stations of the Kisokaido- Moon at Seba, ca. 1797-1858.

Claude Monet, Water Lily Pond and Weeping Willow, 1916.

6.13  The Water Lilies Installation: Monet and Immersive Experience

Claude Monet, Reflections of Cloud on the Water-Lily Pond, ca. 1920.

Claude Monet, Green Reflections, ca. 1914-26.

Claude Monet, The Water Lilies- Setting Sun, ca. 1914-26.

Henri Manuel, Claude Monet in His Studio, ca. 1920.

Photograph of Claude Monet in his studio at Giverny.

Claude Monet and Camille Lefebvre (architect), Nymphéas (Water Lilies) Gallery, first room, facing east wall, ca. 1914-26.

Camille Lefebvre, Water Lilies Gallery Floorplan for the Orangerie des Tuileries, 1922.

Claude Monet and Camille Lefebvre (architect), Water Lilies Gallery beneath Vellum Canopy and Skylight, first room, facing west wall, ca. 1914-26.

Detail of Claude Monet, Les nuages (Clouds), ca. 1914-26.

Detail of Claude Monet, Le Matin clair aux saules (Clear Morning with Willows), ca. 1914-26.

Claude Monet and Camille Lefebvre (architect), Water Lilies Gallery, second room, facing east wall, ca. 1914-26.

Chapter 7
Paul Gauguin and the Colonial Myth of Primitivism

Paul Gauguin, Nevermore, 1897.

7.1  Early Influences

Louis-Maurice Boutet de Movel, Paul Gauguin Wearing a Breton Jacket, 1891.

Paul Gauguin, Working the Land, 1873.

Camille Pissarro, The Harvest, Pontoise, 1881.

Paul Gauguin, Suzanne Sewing, 1880.

Paul Gauguin, Portrait of Clovis and Pola Gauguin, 1885.

Paul Gauguin, Double-Necked Vase Joined by Stirrup-Shaped Handle, ca. 1886-87.

Paul Gauguin, Vessel with Women and Goats, ca. 1887-89.

Ernest Chaplet, Vase, ca. 1881-1887.

7.2  Brittany and the Path to Primitivism

Paul Gauguin, Bonjour Monsieur Gauguin, 1889.

Gustave Courbet, The Meeting, or Bonjour, Monsieur Courbet!, 1854.

Artist Unknown, The Calvary of Notre-Dame de Tronoën, 15th century.

Paul Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), 1888.

Katsushika Hokusai, Sumo Wrestlers, Denshin kaishu Hokusai manga, ca. 19th century.

Paul Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), 1888.

Paul Gauguin, Four Breton Women, 1886.

Paul Gauguin, Breton Woman, 1886.

Paul Gauguin, Bretonne de profil à droite, 1886.

Paul Gauguin, Four Studies of Breton Women; Shapes and Vases [Verso], ca. 1884-88.

Paul Gauguin, Four Breton Women, 1886.

Paul Gauguin, Christmas Night (The Blessing of the Oxen), ca. 1894-98.

Camille Pissarro, Place du Théâtre Français, Paris: Rain, 1898.

Paul Cézanne, Mont Sainte-Victoire, ca. 1887.

7.3  Émile Bernard and Synthetism

Émile Bernard, Two Breton Women in a Meadow, 1886.

Émile Bernard, Breton Women in the Meadow (Le Pardon de Pont-Aven), 1888.

Vincent Van Gogh (Copy after Émile Bernard), Breton Women and Children, 1888.

Émile Bernard, Self-Portrait with Portrait of Gauguin, 1888.

Émile Bernard, Breton Women in the Meadow (Le Pardon de Pont-Aven), 1888.

Émile Bernard, Buckwheat Harvesters at Pont-Aven, 1888.

Émile Bernard, Yellow Christ, 1889.

Paul Gauguin, The Yellow Christ, 1889.

Paul Gauguin, The Green Christ, 1889.

7.4  The Studio of the South and the Volpini Exhibition

Paul Gauguin, Van Gogh Painting Sunflowers, 1888.

Gauguin in his Studio, from the Noa-Noa album, ca. 1893-94.

7.5  Portraits of the Artist as Other

Paul Gauguin, Christ on the Mount of Olives, 1889.

Paul Gauguin, Self-Portrait with Portrait of Émile Bernard (Les Misérables), 1888.

Paul Gauguin, Christ on the Mount of Olives, 1889.

Paul Gauguin, Portrait of the Artist with the Yellow Christ, 1891.

Paul Gauguin, Jug in the Form of a Head, 1889.

Paul Gauguin, Self-Portrait, ca. 1889.

Paul Gauguin, Portrait of the Artist with the Idol, ca. 1893.

Paul Gauguin, Beach at Le Pouldu, 1889.

Paul Gauguin, Haymaking Season, or Harvest: Le Pouldu, 1890.

7.6  ‘Savage’ Influences: Tahiti 1891

Jules Agnostini, Gauguin House at Tahiti, 1905.

Sébastien Charles Giraud, Prise du fort de Fautahua à Tahiti, 1857.

George Dobson Valentine, Port of Papeete, Tahiti, 1887.

A conference of all church members in French Polynesia held on the atoll of Faaite, January 6, 1893.

Jean-Léon Gérôme, Dance of the Aimeh, 1863.

Edward W. Said, Orientalism (Pantheon Books, 1978).

Jean-Auguste-Dominique Ingres, The Valpinçon Bather, 1808.

John Frederick Lewis, The Harem- Introduction of an Abyssinian Slave, ca. 1860.

Pierre Loti, The Marriage of Loti (1880).

Gustave Le Bon, Lois Psychologiques de l’évolution des peuples, 3rd ed. (Paris: Félix Alcan, éditeur, 1898).

Herbert Spencer, Descriptive Sociology; or Groups of Sociological Facts, parts 1-8, classified and arranged by Spencer, compiled and abstracted by David Duncan, Richard Schepping, and James Collier (London, Williams & Norgate, 1873-1881).

Charles Darwin, On the Origin of Species (London: John Murray, 1859).

John James Rousseau [Jean-Jacques Rousseau], Discourse upon the Origin and Foundation of the Inequality Among Mankind (London: R. and J.D. in Pall Mall, 1761).

Denis Diderot, Supplément au Voyage de Bougainville (Paris: NRF, 1921 [1771]).

Joseph Ducreux, Louis-Antoine, Comte de Bougainville, 1790.

The Trocadéro Palace, home of the Musée d’Ethnographie du Trocadéro, in the 1890s.

“Musée d’Ethnographie du Trocadéro. Salle d’Asie B1. Vitrine Indochine, moï,” 1934.

Paul Gauguin, Woman with Mango Fruits, ca. 1889.

7.7  Fantastical Figures, Scandalous Subjects

Paul Gauguin, The Delightful Land, 1892.

Paul Gauguin, Paul Gauguin’s Intimate Journals (New York: Crown Publishers, 1936).

Eugène Emmanuel Amaury Duval, Birth of Venus, 1862.

Pierre Loti, Rarahu, date unknown.

Paul Gauguin, Tehamana Has Many Parents, or, The Ancestors of Tehamana, 1893.

Tahitian Girls wearing Mother Hubbard dress, ca. 1860-79.

Paul Gauguin, Spirit of the Dead Watching [Spectre Watches Over Her. Mano Tupapau], 1892.

Pierre Puvis de Chavannes, The Dream, 1883.

Émile Bernard, Madeleine in the Bois d’Amour, 1888.

Paul Gauguin, The Loss of Virginity, ca. 1890-91.

Édouard Manet, Olympia, 1863.

Paul Gauguin, Spirit of the Dead Watching [Spectre Watches Over Her, Mano Tupapau], 1892.

7.8  Noa Noa

Linda Goddard, Savage Tales: The Writings of Paul Gauguin (New Haven: Yale University Press, 2019).

Paul Gauguin, Noa Noa, trans. O.F. Theis (New York: Nicholas L. Brown, 1920).

Paul Gauguin, Le Sourire (Caricature of Governor Gallet), ca. 1899-1900.

Paul Gauguin, Femmes et déesses polynésiennes, Album Noa Noa, folio 30 recto, ca. 1893.

Paul Gauguin, Portrait with Hat, 1893.

7.9  Existential Manifesto: Where do we come from? Who are we? Where are we going?

Paul Gauguin, Where do we come from? Who are we? Where are we going? 1897.

Pierre Puvis de Chavannes, The Sacred Groves, Beloved of the Arts and the Muses, ca. 1884-89.

Pierre Puvis de Chavannes, Hope, 1872.

Paul Gauguin, Where do we come from? Who are we? Where are we going? 1897.

Thomas Carlyle, Sartor Resartus, ed. Archibald MacMechan (Boston: Ginn & Company, Publishers, 1897).

7.10  Exoticism, Eroticism and the Spirituality

Paul Gauguin, Tehamana Has Many Parents, or, The Ancestors of Tehamana, 1893.

Paul Gauguin, Spirit of the Dead Watching [Spectre Watches Over Her. Mano Tupapau], 1892.

Paul Gauguin, Nevermore, 1897.

Edgar Poe, Le corbeau (…) avec illustrations par Édouard Manet, trans. Stéphane Mallarmé (Paris: Richard Lesclide, Éditeur, 1875).

Édouard Manet, The Flying Raven, Ex Libris for the Raven by Edgar Allan Poe, 1875.

7.11  Critical Conversations

Norma Broude, ed. New Perspectives: After Postmodernism (Bloomsbury Visual Arts, 2018).

Paul Gauguin, Two Tahihitan Women, 1899.

Buy My Apples, anonymous, ca. 19th century.

Linda Nochlin, Buy My Bananas, 1972.

Paul Gauguin, Collaged images and text, date unknown.

Paul Gauguin, “Chapitre IV, Le conteur parle,” from the Noa Noa album, 1894.

Paul Gauguin, Self-Portrait with Hat, 1893.

Paul Gauguin., Self-Portrait with Palette, 1894.

Paul Gauguin, Self-Portrait (Near Golgotha), 1896.

Flora Tristan, The Worker’s Union, trans. Beverly Livingston (Chicago: University of Illinois Press, 1983 [1843]).

Paul Gauguin, Idol in the Shell, ca. 1900-15.

Paul Gauguin, Head of a Young Girl, ca. 1893-94.

Paul Gauguin, Oviri, 1894.

Paul Gauguin, Vase, ca. 1887-88.

Paul Gauguin, Noa Noa, ca. 1893-94.

Paul Gauguin, The Delightful Land, 1892.

Paul Gauguin, Delightful Land, 1893-94.

Paul Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), 1888.

Paul Gauguin, Bathers, 1902.

Paul Gauguin, The Sorceror of Hiva Oa. Marquesan Man in the Red Cape, 1902.

Paul Gauguin, Tehamana Has Many Parents, or, The Ancestors of Tehamana, 1893.

Paula Modersohn-Becker, Child with Goldfish Bowl, ca. 1906-07.

Paula Modersohn-Becker, Self-Portrait Nude with Amber Necklace, 1906.

Amrita Sher-Gil, Bride’s Toilet, 1937.

Amrita Sher-Girl, Self-Portrait, 1930.

Kay George, Exhibition 103.

Tyla Vaeau Ta’ufo’ou, When Will You Marry? (Dee and Dallas Do Gauguin Series), 2009.

Debra Drexler, Gauguin Zombie (installation view), 2002.

Adrienne Pao, Hula Girl Dress Tent, 2017.

Chapter 8
Madness and Modernity

Edvard Munch, Evening on Karl Johan Street, 1892.

Francisco José de Goya

 8.1  Goya’s Demons

Francisco de Goya, The Sleep of Reason Produces Monsters (No. 43), from Los Caprichos, 1799.

Francisco de Goya, Courtyard with Lunatics, or, Yard with Madmen, 1794.

Francisco de Goya, The Madhouse, ca. 1808-12.

Francisco de Goya, Cannibals Chopping up Victims, ca. 1808-14.

Francisco de Goya, Saturn Devouring His Son, ca. 1819-23.

8.2       Goya’s Disasters of War

Francisco de Goya, The Same (The Disasters of War), ca. 1810-14.

Francisco de Goya, They do not want to (The Disasters of War), ca. 1810-14.

James Ensor

8.3   Psychic Malaise

James Ensor, Ensor and his Easel, ca. 1890.

James Ensor, The Beach at Ostende, 1890.

Michel Foucault, Folie et déraison: Histoire de la folie à l’âge classique (Paris: Plon, 1961).

James Ensor, Afternoon in Ostend, 1881.

James Ensor, Russian Music, 1881.

James Ensor, Afternoon in Ostend, 1881.

James Ensor, The Bourgeois Salon, 1881.

8.4  The Painter of Masks

James Ensor, Scandalized Mask, 1883.

James Ensor, Skeleton Looking at Chinoiseries, 1885.

James Ensor, Skeletons Warming Themselves, 1889.

James Ensor, Self-Portrait with Masks, 1899.

Mikhail Bakhtin, Rabelais and his World, trans. Hélène Iswolsky (Bloomington: Indiana University Press, 1965).

James Ensor, Old Lady with Masks, 1889.

James Ensor, Portrait of the Artist’s Niece in Chinese Costume, 1899.

8.5  The Carnivalesque: Images of Social Morbidity and Spiritual Crisis

Louis Tinayre, “Roux- Les chasseurs du 3e régiment, sous les ordres du Capitaine Bulot, dispersant par la force les émeutiers qui viennent d’incendier la Verrerie du Hainaut,”, Le Monde Illustré, April 10, 1886.

James Ensor, Christ’s Entry into Brussels in 1889, 1888.

Pieter Bruegel the Elder, The Fight Between Carnival and Lent, 1559.

Detail of Pieter Bruegel the Elder, The Fight Between Carnival and Lent, 1559.

Detail of Pieter Bruegel the Elder, The Fight Between Carnival and Lent, 1559.

James Ensor, Christ’s Entry into Brussels in 1889, 1888.

James Ensor, The Strike, 1888.

James Ensor, Doctrinal Nourishment, second plate, 1889.

James Ensor, Christ’s Entry into Brussels in 1889, 1888.

James Ensor, Christ’s Entry into Jerusalem, 1885.

Detail of James Ensor, Christ’s Entry into Brussels in 1889, 1888.

Hieronymous Bosch, The Ship of Fools, ca. 1490-1500.

8.6  Madness, Mania, Melancholy: The Artist as Observer

James Ensor, Demons Taunting Me, 1895.

Martin Schongauer, Saint Anthony Tormented by Demons, ca. 1470-74.

Lucas Cranach the Elder, The Temptation of St. Anthony, 1506.

Vincent Van Gogh

8.7   Finding the Spiritual in Art

Vincent Van Gogh, Coalmine in the Borinage, 1879.

Vincent Van Gogh, Miners’ Wives Carrying Sacks of Coal, 1882.

Jules Breton, The Weeders, 1860.

Letter from Vincent Van Gogh to his brother Théo, 1881.

8.8  Van Gogh’s Empathetic Eye

Vincent van Gogh, Sorrow, ca. 1882.

Anton Mauve, A Dutch Road, ca. 1880

Vincent van Gogh, Weaver, 1884.

Vincent van Gogh, Weaver at the Loom, 1884.

Vincent van Gogh. Weaver at the Loom, 1884.

Vincent van Gogh, Weber Near an Open Window, 1884.

Vincent van Gogh, Weaver Facing Right (Half-Figure), 1884.

Charles Dickens, “Hard Times,” Household Words, no. 210, Saturday, April 1, 1854.

Currer Bell, Shirley: A Tale, vol. 1 (London: Smith, Elder and Co., 1849)

Vincent van Gogh, A Weaver’s Cottage, 1884.

Vincent van Gogh, Weaver Facing Left, 1884.

Vincent van Gogh, The Potato Eaters, April 1885.

Vincent van Gogh, A letter from Vincent van Gogh to His brother Théo van Gogh, sketch of The Potato Eaters, 1885.

Katsushika Hokusai, Chrysanthemums and Bee, from and untitled series of large flowers, ca. 1833-34.

Vincent van Gogh, Still Life with Meadow Flowers and Roses, 1886.

Vincent van Gogh, Small Bottle with Peonies and Blue Delphiniums, 1886.

Charles Blanc, Colour Star (etoile des couleurs), 1867.

8.9  Arles: Aesthetic Advances and Visions of Madness

Vincent van Gogh, The Sower, 1888.

Vincent van Gogh, The Sower III (version 1), 1888.

Vincent van Gogh, The Sower III (version 2), 1888.

Vincent van Gogh, The Sower (after Millet), 1889.

Vincent van Gogh, Sower with Setting Sun (in Letter 501a), 1888.

Vincent van Gogh, Sower with Setting Sun (in Letter B7, to Émile Bernard), 1888.

Vincent van Gogh, Sower with Setting Sun (in Letter 558a, to Théo van Gogh), 1888.

Vincent van Gogh, The Sower, 1888.

Jean-Francois Millet, The Sower, 1850.

Vincent van Gogh, The Sower III (version 1), 1888.

Vincent van Gogh, Still Life: Vase with Fourteen Sunflowers, 1888.

Vincent van Gogh, Self-Portrait with a Bandaged Ear, 1889.

Vincent van Gogh, The Courtyard of the Hospital at Arles, 1889.

Vincent van Gogh, Orchards in Blossom, View of Arles, 1889.

Vincent van Gogh, Ravine with a Small Stream, 1889.

Vincent van Gogh, Mountainous Landscape Behind Saint-Paul Hospital, 1889.

Vincent van Gogh, The Starry Night, 1889.

Vincent van Gogh, Cypresses, 1889.

Vincent van Gogh, Dormitory in the Hospital in Arles, 1889.

8.10  Asylum

Jeffrey A. Lieberman with Ogi Ogas, Shrinks: The Untold Story of Psychiatry (Boston: Little Brown, 2015).

James Hogg after Francis Wheatley, John Howard Visiting a Prisoner: a group of inmates sitting or lying on the floor, 1787.

John Howard, The States of Prisons in England and Wales with Preliminary Observations, and An Account of Some Foreign Prisons (Warrington: William Eyres, 1777).

William Hogarth, The Orgy, ca. 1732-35.

William Hogarth, The Arrest, ca. 1732-35.

William Hogarth, The Gaming House, ca. 1732-35.

William Hogarth, The Madhouse, ca. 1732-35.

William Hogarth, In the Madhouse, 1735 (Retouches by Hogarth in 1763, adding Britannia).

Francisco de Goya, The Madhouse, ca. 1808-1812.

William Blake, Nebuchadnezzar, ca. 1795-1805.

Charles Bell, Essays on the Anatomy and Philosophy of Expression (London: John Murray, 1824), 121.

Charles Bell, Essays on the Anatomy of Expression in Painting (London: Longman, Hurst, Rees and Orne, 1806), 151.

Arnaud, James Norris, Bethlem Patient, ca. 1814-1815.

Samuel Tuke, Description of the Retreat, an Institution Near York for Insane Persons of the Society of Friends (…) (York: Darton, Harvey and Co., 1813).

Tony Robert-Fleury, Pinel, Releasing Lunatics from their Chains at the Salptêtrière Asylum in Paris in 1795, 1876.

Philippe Pinel, A Treatise on Insanity (…), trans. D. D. Davis (Sheffield: Cadell and Davies, Strand, London, 1806).

1. [Étienne-Jean Georget], De la folie: considérations sur cette maladie; son siège et ses symptômes; la nature et le mode d’action de ses causes; sa march et ses terminaisons; les différences qui la distinguent du délire aigu; les moyens de traitement qui lui conviennent; suivies de recherches cadavériques (Paris: Chez Crevot, 1820).

8.11  Portraits of Madness and Soulful Self-Images

Théodore Géricault, Portrait of a Demented Woman, ca. 1819-1822.

Théodore Géricault, A Madwoman and Compulsive Gambler, ca. 1820.

Théodore Géricault, Man with Delusions of Military Command, ca. 1819-1822.

Théodore Géricault, Portrait of A Kleptomaniac or The Mad Assassin, 1822.

A Chronological list of self-portraits painted by van Gogh during his stay in Paris between 1886 and 1888.

Johan Kaspar [Caspar] Lavater, “Phlegmatic,” “Choleric,” “Sanguine,” and “Melancholic,” in Physiognomische Fragmente zur Beförderung der Menschenkennt und Menschenliebe (Leipzig: Weidmanns Erben und Reich, 1778).

Johann Caspar [Kaspar] Lavater, A man with a nose indicating reflectiveness, according to Lavater, ca. 1794.

Thomas O’Conor Sloane, Lavater’s Apparatus for Taking Silhouettes (from an ancient engraving of 1783), 1895.

Johann Caspar Lavater, Two eyes, expressing a character of genius, according to Lavater, ca. 1794.

Vincent van Gogh, Self-Portrait as a Painter, ca. 1887-88.

Vincent van Gogh, Self-Portrait, 1887.

Vincent van Gogh, Self-Portrait with Pipe and Straw Hat, 1887.

Vincent van Gogh, Self-Portrait, Dedicated to Paul Gauguin, 1888.

Cesare Lombroso, L’homme de genie, trad. Colonna D’Istria (Paris: Félic Alcan, éditeur, 1889).

Cesare Lombroso, L’homme de genie, trad. Colonna D’Istria (Paris: Félic Alcan, éditeur, 1889), 122.

Vincent van Gogh, Self-Portrait, Dedicated to Paul Gauguin, 1888.

Artist Unknown, Fazang Buddhist Monk, 13th century.

Vincent van Gogh, Self-Portrait with a Bandaged Ear, 1889.

Vincent van Gogh, Self-Portrait, 1889.

Vincent van Gogh, Self-Portrait, 1889.

Vincent van Gogh, Self-Portrait, 1889.

Vincent van Gogh, Self-Portrait, late August 1889.

Vincent van Gogh, Self-Portrait, September 1889.

Vincent van Gogh, Wheatfield with Crows, 1890.

Edvard Munch

8.12  Death and Life

Edvard Munch, Self-Portrait, 1882.

Edvard Munch, Death and Spring, 1893.

Edvard Munch, The Sick Child, ca. 1885-1886.

Edvard Munch, The Sick Child I, 1896.

Edvard Munch, The Sick Girl I, 1896.

8.13  The Frieze of Life

Edvard Munch, Death in the Sickroom, 1893.

Edvard Munch, The Scream, 1893.

Edvard Munch, The Vampire, 1893.

Edvard Munch, Madonna, 1894.

Edvard Munch, Anxiety, 1894.

Edvard Munch, Melancholy, 1894.

Edvard Munch, Death in the Sickroom, 1893.

Edvard Munch, The Scream, 1893.

Edvard Munch, The Vampire, 1893.

8.14  Female Representations: Halos and Hysteria

Edvard Munch, Madonna, 1894.

Franz Anton Mesmer, Mesmerism: The Discovery of Animal Magnetism: English Translation of Mesmer’s historic Mémoire sur la découverte du Magnétisme (Soul Care Publishing, 2016).

Arnold Schopenhauer, The Essential Philosopher (Allen and Unwin, 1962).

André Brouillet, A Clinical Lesson at the Salpêtrière, 1887.

Andrea del Sarto, Liberation of the Woman Possessed by the Devil, ca. 1509-1510.

Detail of Andrea del Sarto, Liberation of the Woman Possessed by the Devil, ca. 1509-1510.

Jean-Martin Charcot, Iconographie photographique de la Salpêtrière, 1878.

Edvard Munch, Madonna, ca. 1895-1902.

8.15  Alienation, Angst and Collective Despair

Edvard Munch, Anxiety, 1894.

Edvard Munch, Evening on Karl Johan Street, 1892.

Edvard Munch, The Scream, 1893.

Edvard Munch, Anxiety, 1894.

Edvard Munch, Anxiety, 1896.

Edvard Munch, Melancholy, 1894.

Edvard Munch, Despair, 1894.

Edvard Munch, Evening. Melancholy, 1891.

Edvard Munch, Melancholy, presumably 1892.

Edvard Munch, Jealousy, 1895.

Edvard Munch, The Kiss, 1897.

Edvard Munch, Munch in the Open Air Studio, ca. 1927.

Edvard Munch, The Scream, 1893.

Edvard Munch, Edvard Munch in the open-air studio at Ekely, 1933.

Edvard Munch, The Sun, 1911.

The Aula at the University in Oslo.

Ferdinand Hodler

8.16  “Always a Corpse in the House”: The Search for Constancy

Ferdinand Hodler, Self-Portrait, 1912.

Barthélemey Menn, Lakeside near Bellerive (Lac Léman), ca. 1860.

Ferdinand Hodler, Landscape Near Madrid, 1878.

Ferdinand Hodler, Watchmakers’ Workshop in Madrid, 1879.

Ferdinand Hodler, Self-Portrait with Wing Collar, 1879.

8.17  Symbolic Expressionism

Ferdinand Hodler, The Night, ca. 1889-90.

8.18  Disillusion and Psychic Despair

Ferdinand Hodler, The Disillusioned One, 1892.

Ferdinand Hodler, Eurythmy, 1895.

Ferdinand Hodler, Eurythmie, 1895.

8.19  Hodler’s Parallelism

Ferdinand Hodler, The Day, ca. 1904-1906.

Ferdinand Hodler, The Grand Muveran, ca. 1912.

Chapter 9
Black Slavery, Racism and Modernity

Henry Ossawa Tanner, The Thankful Poor, 1894.

9.1   The Atlantic Slave Trade: Records and Reverberations

Théodore Géricault, The Raft of the Medusa, 1819.

Théodore Géricault, Boxers, 1818.

J.B. Henry Savigny and Alexander Corréard, Narrative of a Voyage to Senegal in 1816; Undertaken by the Order of the French Government, Comprising an Account of the Shipwreck of the Medusa, the Sufferings of the Crew, and the Various Occurences on Board of the Raft, in the Desert of Zaara, at St. Louis, and At the Camp of Daccard. To Which are Subjoined Observations Respecting the Agriculture of the Western Coast of Africa, From Cape Blanco to the Mouth of the Gambia (London: Printed for Henry Colburn, 1818).

Théodore Géricault, A Young Negro Woman, ca. 1810.

Théodore Géricault, Head of a Black Man, ca. 1818-1819.

Théodore Géricault, The Raft of the Medusa, 1819.

Detail of Théodore Géricault, The Raft of the Medusa, 1819.

Théodore Géricault, The Slave Market, ca. 1823.

Théodore Géricault, The Slave Trade, 1823.

Théodore Géricault, The Raft of the Medusa, 1819.

Michelangelo, The Last Judgment, ca. 1534-41.

Michelangelo, detail from The Last Judgment, ca 1534-41.

9.2   The Atlantic Slave Trade: Records and Reverberations

Joseph Mallord William Turner, The Slave Ship, 1840.

Blunt, Meeting of the Society for the Extinction of the Slave Trade & For the Civilization of Africa, 1840.

Triangle Trade.

9.3   Abolition and Aesthetics in Britain: J. M. W. Turner’s Slave Ship

Joseph Mallord William Turner, The Slave Ship, 1840.

Thomas Clarkson, The History of the Rise, Progress, and Accomplishment of the Abolition of the African Slave-Trade by the British Parliament, vol. 1 (New York: John S. Taylor, 1836).

Joseph Mallord William Turner, The Slave Ship, 1840.

Lieutenant Henri Samuel Hawker, The Portuguese Slaver Diligenté captured by H.M. Sloop Pearl with 600 slaves on board, taken in charge to Nassau, 1838.

Detail of Joseph Mallord William Turner, The Slave Ship, 1840.

Detail of Joseph Mallord William Turner, The Slave Ship, 1840.

Francois-Auguste Biard, The Slave Trade (Slaves on the West Coast of Africa), ca. 1833.

9.4  Picturing Enslavement: Genre, Race and Stereotype in Antebellum America

William Sidney Mount, Farmers Nooning, 1836.

William Sidney Mount, Farmers Nooning, 1836.

James Goodwyn Clonney, Waking Up, 1851.

Harriet Beecher Stowe, Uncle Tom’s Cabin (London: H.G. Bohn, 1852).

Robert Seldon Duncanson, Uncle Tom and Little Eva, 1853.

Edwin M. Stanton, “Report of the Secretary of War, communicating, in compliance with a resolution of the Senate of the 26th of May, a copy of the preliminary report, and also of the final report of the American Freedman’s Inquire Commission,” 1864.

William Sidney Mount, The Power of Music, 1847.

William Sidney Mount, The Bone Player, 1856.

Dan D. Emmett, Dandy Jim from Caroline (London: Delmaine & Co., ca. 1844).

Photograph of Dan Emmett in blackface, ca. 1860.

J.W. Turner, Songs of the Virginia Serenaders (Boston: Keith’s Music Publishing House, 1844).

Eastman Johnson, Negro Life at the South, 1859.

Stephen Foster, “My Old Kentucky Home” (Baltimore: Thomas G. Doyle, 1853).

American Anti-Slavery Society, “Slave Market of America” (New York: American Anti-Slavery Society, 1836).

9.5  Civil War

Eastman Johnson, A Ride for Liberty- The Fugitive Slaves, ca. 1862.

Mary Armstrong, ex-slave, Houston, 1937.

Abigail Cooper, Map of contraband camps on a relief map compiled from historical imagery data from 1930, reproduced from “Lord, Until I Reach My Home”: Inside the Refugee Camps of the American Civil War,” PhD dissertation, University of Pennsylvania, 2015.

James F. Gibson, Cumberland Landing, Va. Group of “contrabands” at Foller’s house, 1862.

David B. Woodbury, Arrival of Negro family in the lines, 1863.

“Negroes Leaving their Home,” Harper’s Weekly, April 9, 1864.

“Heavy Weights- Arrival of a Party at League Island,” 1872.

Slabtown, a refugee camp in Hampton, Virginia, now the site of Hampton University.

Timothy H. O’Sullivan, Culpeper, Va. “Contrabands,” 1863.

A contraband school, ca. 1860-65.

Eastman Johnson, The Lord is My Shepherd, 1863.

9.6  Emancipation, Black Civil Rights and Social Reform

Thomas Nast, “The emancipation of the Negroes, January 1863- The past and the future,” Harper’s Weekly, January 24, 1863.

Detail of Thomas Nast, “The emancipation of the Negroes, January 1863- The past and the future,” Harper’s Weekly, January 24, 1863.

Detail of Thomas Nast, “The emancipation of the Negroes, January 1863- The past and the future,” Harper’s Weekly, January 24, 1863.

Detail of Thomas Nast, “The emancipation of the Negroes, January 1863- The past and the future,” Harper’s Weekly, January 24, 1863.

Detail of Thomas Nast, “The emancipation of the Negroes, January 1863- The past and the future,” Harper’s Weekly, January 24, 1863.

Detail of Thomas Nast, “The emancipation of the Negroes, January 1863- The past and the future,” Harper’s Weekly, January 24, 1863.

Detail of Thomas Nast, “The emancipation of the Negroes, January 1863- The past and the future,” Harper’s Weekly, January 24, 1863.

Thomas Nast, Emancipation, ca. 1865.

“Gordon under medical inspection,” Harper’s Weekly, July 4, 1863.

Martin Benjamin Brady, Gordon, Scourged Back, 1863.

William D. McPherson, and Mr. Oliver, Civil War CDV of Gordon (slave) upon arrival at the Baton Rouge Union camp, 1863.

Thomas Nast, “Slavery is Dead(?),” Harper’s Weekly, January 12, 1867.

Frank Vizetelly, “The riots in New York: The mob lynching a negro in Clarkson Street,” Illustrated London News, August 8, 1863.

Thomas Nast, “Worse than Slavery,” Harper’s Weekly, October 24, 1874.

Thomas Nast, “Move on! Has the Native American no rights that the naturalized American is bound to respect?” Harper’s Weekly, April 22, 1871.

Thomas Nast, “‘Every Dog’ (No distinction of color) ‘Has his day’,” Harper’s Weekly, February 8, 1879.

9.7  Winslow Homer: Bearing Witness

Winslow Homer, “A Bivouac Fire on the Potomac,” Harper’s Weekly, December 21, 1861.

Winslow Homer, Campaign sketches: Our jolly cook, 1863.

Winslow Homer, Defiance: Inviting a Shot Before Petersburg, 1864.

Winslow Homer, Army Boots, 1865.

Winslow Homer, The Bright Side, 1865.

Winslow Homer, Near Andersonville, ca. 1866.

9.8  Reconstruction and the Remaking of Identity

Winslow Homer, Weaning the Calf, 1875.

Winslow Homer, Uncle Ned at Home, 1875.

Winslow Homer, A Visit from the Old Mistress, 1876.

Winslow Homer, The Busy Bee, 1875.

Winslow Homer, Taking Sunflower to Teacher, 1875.

Winslow Homer, The Watermelon Boys, 1876.

“The South.- The Watermelon Season- A Scene on the Savannah Docks,” Frank Leslie’s Illustrated Newspaper, July 5, 1873.

Richard Felton Outcault, Postcard depicting a caricatured boy eating a slice of watermelon, 1909.

Ashtray in the form of a “picaninny” boy eating a watermelon slice, ca. 1920-29.

Sculpture in the form of a caricatured man standing on a watermelon slice, 20th century.

Josiah Clark Nott, Types of mankind: or, Ethnological researches, based upon the ancient monuments, paintings, sculptures, and crania of races, and upon their natural, geographical, philological and Biblical history: illustrated by selections from the inedited papers of Samuel George Morton (Philadelphia: Lippincott, Grambo & Co., 1855), 459.

9.9  The Tools of Freedom

John Roger, Uncle Ned’s School, 1866.

Winslow Homer, Sunday Morning in Virginia, 1877.

Winslow Homer 1860-1870, 1870.

Winslow Homer, Upland Cotton, ca. 1879-95.

Winslow Homer, The Cotton Pickers, 1876.

Winslow Homer, Dressing for the Carnival, 1877.

9.10  Nature as Metaphor

Winslow Homer, West India Divers, 1899.

Winslow Homer, The Gulf Stream, 1899.

Winslow Homer, Shark Fishing, 1885.

Winslow Homer, Sharks; also, The Derelict, 1885.

Winslow Homer, The Gulf Stream, ca. 1899.

Winslow Homer, The Gulf Stream, ca. 1898-1899.

Winslow Homer, The Gulf Stream, 1899.

Frederick Douglass, The Speeches of Frederick Douglass: A Critical Edition (New Haven: Yale University Press, 2018).

Winslow Homer, “Expulsion of negroes and abolitionists from Tremont Temple, Boston, Massachusetts, on December 3, 1860,” Harper’s Weekly, December 15, 1860.

9.11  Frederick Douglass’s “Pictures and Progress”: Reclaiming Race

Frederick Douglass, ca. 1855.

Mathew B. Brady, Frederick Douglass, ca. 1880.

Frederick Douglass, Narrative of the Life of Frederick Douglass, and American Slave (Boston: Anti-Slavery Office, 1845).

Photographic portraits of Frederick Douglass.

The Liberator, April 20, 1849, 2.

9.12  Edmonia Lewis and Henry Ossawa Tanner: Breaking Free

Henry Rocher, restored by Adam Cuerden, “Edmonia Lewis,” ca. 1870.

Edmonia Lewis, Forever Free, 1867.

Edmonia Lewis, The Death of Cleopatra, 1876.

Frederick Gutekunst, Henry Ossawa Tanner, 1907.

Henry Ossawa Tanner, The Banjo Lesson, 1893.

Henry Ossawa Tanner, The Thankful Poor, 1894.

Henry Ossawa Tanner, The Raising of Lazarus, 1896.

Chapter 10
Religious and Racial Antisemitism and the Jewish Artist

Moritz Daniel Oppenheim, Lavater and Lessing visit Moses Mendelssohn, 1856.

Moritz Daniel Oppenheim, The Return of the Jewish Volunteer from the Wars of Liberation to his Family Still Living in Accordance with Old Customs, 1833-34.

10.1  A Narrative of Exclusion and Emancipation

Matthias Grünewald, The Mocking of Christ, ca. 1503-05.

Hartmann Schedel, “Martyrdom of Simon von Trent,” Nuremberg World Chronicle, 1493. Woodcuts by Michael Wolgemut and Wilhelm Pleydenwurff.

Portrait of a Jewish Man Smiling at a Denture with a Gold Tooth, ca. 1870.

Louis-François Couché, Napoleon Grants the Jews Freedom to Worship, 1806.

Jean-Baptiste Mauzaisse, Napoleon I, Crowned by the Allegory of Time, Writes the Code Civil, 1833.

10.2  England: Expressions of Myth and Faith

William Blake, Job and His Family, ca. 1805-20.

William Blake, Satan Smiting Job with Boils, 1805.

William Blake, Job and His Family Restored to Prosperity, 1805.

Julia Margaret Cameron, William Holman Hunt in His Eastern Dress, 1864.

William Holman Hunt, The Finding of the Saviour in the Temple, ca. 1854-55.

William Holman Hunt, Christ Amongst the Doctors, 1886-87, 1890.

Simeon Solomon, Self-Portrait, 1859.

Simeon Solomon, Dante’s First Meeting with Beatrice, 1859-63.

Simeon Solomon, The Mother of Moses, 1860.

10.3  Imaging the Jewess: La belle juive / L’affreuse juive

 Charles Steuben, La Esméralda, 1839.

Paul Delaroche, L’Hémicycle des Beaux-Arts (central section), ca. 1841-42.

Gustave Moreau, Salome, 1876.

Gustave Moreau, The Apparition, ca. 1876.

Aubrey Beardsley, The Climax, 1894.

Aubrey Beardsley, The Dancer’s Reward, 1894.

Gustav Klimt, Judith and the Head of Holofernes, 1901.

Gustav Klimt, Salomé II, 1909.

Bram Dijkstra, Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture (Oxford University Press, 1998).

10.4  Moritz Daniel Oppenheim: “The Rothschild of Painters”

Ettore Roesler Franz, Vicolo Capocciuto in Ghetto (rione Sant’Angelo), ca. 1880.

Moritz Daniel Oppenheim, Self-Portrait, ca. 1814-16.

Moritz Daniel Oppenheim, Lionel Nathan de Rothschild, 1835.

Richard Whately, A Speech in the House of Lords, August 1, 1833, On a Bill for the Removal of Certain Disabilities from His Majesty’s Subjects of the Jewish Persuasion (London: B. Fellowes, 1848).

Henry Barraud, Lionel Nathan de Rothschild (1808-1879) Introduced in the House of Commons on 26 July 1858 by Lord John Russell and Mr. Abel Smith, 1872.

Moritz Daniel Oppenheim, The Elector of Hesse Entrusting Mayor Armschel Rothschild (1743-1812) with his Treasure, ca. 1820-82.

Moritz Daniel Oppenheim, Marriage Portrait of Charlotte von Rothschild, 1836.

Rothschild Palace, as seen from north, main site of the Jewish Museum Frankfurt, Frankfurt am Main, date unknown.

Charlotte von Rothschild, Self-Portrait of Charlotte von Rothschild Painting Her Husband Anselm von Rothchild, Two of Their Children, and Their Nanny, 1838.

Charlotte Von Rothschild, Haggadah Frankfurt, 1842.

Moritz Daniel Oppenheim, The Return of the Jewish Volunteer from the Wars of Liberation to His Family Still Living in Accordance with Old Customs, ca. 1833-34.

Johann Peter Krafft, The Militiaman’s Return, 1820.

10.5  The Politics of Genre

Moritz Daniel Oppenheim, The Return of the Jewish Volunteer from the Wars of Liberation to His Family Still Living in Accordance with Old Customs, ca. 1833-34.

Moritz Daniel Oppenheim, Lavater and Lessing Visit Moses Mendelssohn, 1856.

Gotthold Ephraim Lessing, Nathan the Wise, 2nd Edition (1779).

Charles Bonnet, La palingénésie philosophique, ou Idées sur l’etat passe et sur l’état futur des êtres vivants, Vol. 1 (Geneva: Claude Philibert & Barthelemi, 1770).

Hans Holbein, Judas Iscariot, ca. 1789.

Hans Holbein the Younger, The Last Supper, ca. 1524-25.

Daniel Niklaus Chodowiecki, Moses Mendelssohn, 1774.

Moritz Daniel Oppenheim, The Wedding, 1866.

Gillis van Tilborgh, Elegant Company, ca. 1655-75.

Carl Joseph Begas, Portrait of the Begas Family, 1821.

Die Generalpumpe, ca. 19th century.

Moritz Daniel Oppenheim, Sabbath Rest, 1886.

10.6  Maurycy Gottlieb: Strife and Synthesis

Maurycy Gottlieb, ca 1880.

Jan Matejko, The Fall of Poland, 1866.

Karl von Piloty, Seni at the Dead Body of Wallenstein, 1855.

Heinrich Graetz, Geschichte der Juden, 1891.

Style of Rembrandt, Head of Christ, ca. 1650.

Maurycy Gottlieb, Christ Preaching at Capernaum, ca. 1878-79.

Maurycy Gottlieb, Ahasuerus, Wandering Jew, 1876.

Maurycy Gottlieb, Shylock and Jessica, 1876.

Maurycy Gottlieb, Jews Praying in the Synagogue on Yom Kippur, 1878.

Maurycy Gottlieb, Christ Before His Judges, 1877-79.

Rembrandt van Rijn, Christ Preaching, called La Petite Tombe, ca. 1657. 

10.7   Meijer Isaac de Haan: Controversy and Escape

Meijer Isaac de Haan. Petrus Franciscus Greive, ca. 1870-1875.

Meijer de Haan Old Jewish Woman, 1880.

Meijer de Haan, Talmudic Anatomy, ca. 1880.

Uriel da Costa, Examination of Phraisaic Traditions. Supplemented by Semuel da Silva’s Treatise on the Immortality of the Soul, 1993.

Meijer de Haan, Breton Women Scrutching Flax: Labour, 1889.

Meiijer de Haan, Motherhood: Mary Henry Breastfeeding her Daughter, 1889.

Meijer Isaac de Haan, Self-Portrait, 1889-1890.

Paul Gauguin, Portrait of Meijer de Haan, 1889-1890.

Paul Gauguin, Portrait of Jacob Meyer de Haan, 1889.

Paul Gauguin, Nirvana, Portrait of Meijer de Haan, ca. 1889.

10.8  Max Liebermann: Pioneering Change

Max Liebermann, Self-Portrait, 1906.

Max Liebermann, Women Plucking Geese, ca. 1871-72.

Ludwig Knaus, Dance Under the Linden Tree, 1881.

Max Liebermann, Potato Gatherers, 1875.

Jean-François Millet, The Gleaners, 1857.

Max Liebermann, Children’s Playground in Tiergarten Park in Berlin, ca. 1885.

Max Liebermann, Terrasse of the Restaurant Jacob in Nienstedten Upon Elbe, 1902.

Max Liebermann, Two Riders on the Beach to the Left, 1901.

Max Liebermann, Boys Bathing, 1898.

Max Liebermann, Bürgermeister Carl Friedrich Petersen, 1891.

Rudolf Dührkoop, Carl Friedrich Petersen, Hamburger Bürgermeister, before 1892.

Frans Hals, Paulus Verschuur, 1643.

Max Liebermann, The Hamburg Convention of Professors, 1906.

Max Liebermann, Self-Portrait, ca. 1922.

Wilhelm Schulz, Berliner Secession, 1902.

Charlotte Berend-Corinth, Max Pallenberg, ca. 1877-1934.

Josef Block, The Wayward Son, 1890.

Ernst Oppler, Three Girls in the Access Balcony, ca. 1910.

Emil Orlik, The Weavers by G. Hauptmann, 1897.

Eugene Spiro, Portrait of Dr. Meier-Graefe, 1913.

Hermann Struck, Jerusalem X, ca. 1924.

Lesser Ury, Reproduction of a Landscape Painting, 1892.

Julie Wolfthorn, Witch of the Woods, ca. 1899.

10.9   Liebermann: Subculture and Identity

Max Liebermann, Self-Portrait with Kitchen Still Life, 1873.

Abraham van Beyeren, Still Life with Lobster and Fruit, ca. 1650.

Max Liebermann, Self-Portrait with Kitchen Still Life, 1873.

Max Liebermann, Jesus among the Doctors, or The 12-Year-Old Jesus in the Temple with the Scholars, 1879.

Max Liebermann, Study for The Twelve-Year-Old Jesus in the Temple, 1879.

Adolph Menzel, Infant Christ Surrounded by the Doctors; Joseph and the Virgin Approaching, 1852.

Fritz von Uhde, Last Supper, 1886.

Max Liebermann, The Synagogue in Amsterdam, 1876.

Max Liebermann, The Jewish Street in Amsterdam, 1906.

Max Liebermann, Amsterdam Jewish Quarter, ca. 1900-10.

Max Liebermann, Jewish Quarter in Amsterdam, 1905.

Max Liebermann, after E. Hancke, Judengasse in Amsterdam, 1907.

Camille Pissarro, The Boulevard Montmartre on a Winter Morning, 1897.

Max Liebermann, Judengasse in Amsterdam, 1909.

Max Liebermann, The Artist’s Studio, 1902.

Max Liebermann, Flower Perennials on Gardener’s House, 1928.

Max Liebermann, Wanseegarten, 1926.

10.10   The Dreyfus Affair

Aron Gerschel, Alfred Dreyfus, ca. 1894.

Henri Meyer, “Le capitaine Dreyfus devant le conseil de guerre,” Le Petit Journal, December 23, 1894.

“Le traître, Dégradation d’Alfred Dreyfus,” Le Petit Journal, January 13, 1895.

Dreyfus on the Devil’s Island, 1898.

Fortuné Méaulle, After Lionel Royer, “Alfred Dreyfus dans sa prison,” Le Petit Journal, January 20, 1895.

Lionel Royer, engraving by Fortuné Méaulle, “La dégradation,” Le Journal Illustré, 1895.

Emile Zola, “J’accuse…! Lettre au Président de la République,” L’Aurore, January 12, 1898.

Jean Baptiste Guth, Caricature of Major Ferdinand Walsin Esterhazy, 1898.

Captain Alfred Dreyfus, full-length portrait, standing, facing front, with wife and two children, ca. 1910-1935.

10.11  Edgar Degas: Other Impressions

Edgar Degas, At the Stock Exchange, 1878.

Edgar Degas, Ludovic Halévy et Albert Boulanger-Cavé dans les coulisses de l’Opéra, 1878.

Edgar Degas, Six Friends at Dieppe, 1885.

“Le traître condamné. Dix ans de détention et la dégradation. À bas les Juifs!” La Libre Parole, September 10, 1899.

Jules Chéret, La France juive, 1886.

Émile Courtet, Les qualités du Juif d’après la méthode de Gall (Jewish Virtues According to Gall’s Method), La libre parole illustrée, December 23, 1893.

Chanteclair, Fruitless Soaping, 1894.

Cham (Amédée de Noé), La peinture impressionniste, 1894.

10.12  Camille Pissarro; Outsider Impressionist?

Camille Pissarro, Self-Portrait, 1873.

Camile Pissarro, Two Women Chatting by the Sea, St. Thomas, 1856.

Camille Pissarro, Landscape with Farm Buildings and Palm Trees, 1856.

Camille Pissarro, Poultry Market at Gisors, 1885.

Camille Pissarro, C’est la guerre des dépossédés contres les dépossesseurs. Turpitudes sociales, 1889-1890.

Camille Pissarro, The New Idolators, 1889.

Edgar Degas, René-Hilaire Degas, Grandfather of the Artist, ca. 1856-57.

Toulouse Lautrec, La revue blanche, 1896.

Camille Pissarro, The Cabbage Field, Pontoise, 1873.