{"id":5114,"date":"2023-08-09T13:26:09","date_gmt":"2023-08-09T17:26:09","guid":{"rendered":"https:\/\/opentextbooks.concordia.ca\/art366\/?post_type=back-matter&p=5114"},"modified":"2024-02-12T17:58:47","modified_gmt":"2024-02-12T22:58:47","slug":"list-of-illustrations","status":"publish","type":"back-matter","link":"https:\/\/opentextbooks.concordia.ca\/creating-the-modern\/back-matter\/list-of-illustrations\/","title":{"raw":"LIST OF ILLUSTRATIONS","rendered":"LIST OF ILLUSTRATIONS"},"content":{"raw":"

Chapter 1\r\nGustave Courbet and Revolutionary Realism<\/h1>\r\nGustave Courbet, Le D\u00e9sesp\u00e9r\u00e9, 1843-45.\r\n\r\nGustave Courbet, The Stone Breakers<\/em>, 1849.\r\n
1.1\u00a0 Revolution and Reform<\/strong><\/h5>\r\nFranz Xaver Winterhalter, Louis-Philippe I, King of the French from 1830 to 1848, <\/em>1841.\r\n\r\nKarl Marx, The Class Struggles in France, 1848-1850.<\/em> With an introduction by Frederick Engels. Translated from German by Henry Kuhn. National Executive Committee, Socialist Labour Party, first printing, 1924; online edition, 2018.\r\n\r\nHonor\u00e9 Daumier, The Uprising<\/em>, ca. 1848\r\n\r\nAnge-Louis Janet, Louis-Eug\u00e8ne Cavaignac, <\/em>ca. 1872.\r\n\r\nCharles Fran\u00e7ois Thibault, Barricades rue Saint-Maur-Popincourt avant l\u2019attaque par les troupes du g\u00e9n\u00e9ral Lamorici\u00e8re, le dimanche 25 juin 1848, <\/em>1848.\r\n\r\nCharles Fran\u00e7ois Thibault, Barricades rue Saint-Maur-Popincourt apr\u00e8s l\u2019attaque par les troupes du g\u00e9n\u00e9ral Lamorici\u00e8re, le lundi 26 juin 1848, <\/em>1848.\r\n\r\nCharles Fran\u00e7ois Thibault, La barricade de la rue Saint-Maur-Popincourt le Dimanche matin, d'apr\u00e8s un planchet daguerr\u00e9otyp\u00e9e par M. Thibeault, <\/em>1848.\r\n
1.2\u00a0 Capturing Contemporary History:\u00a0 The Artist as Witness<\/strong><\/h5>\r\nErnest Meissonier, The Barricade, <\/em>1848.\r\n\r\nErnest Meissonier, The Barricade, Rue de la Mortellerie, June 1848, <\/em>also known as, Remembrance of the Civil War,<\/em> ca. 1850-51.\r\n\r\nErnest Meissonier, Study for The Barricade, <\/em>1848.\r\n\r\nErnest Meissonier, Study of an Insurgent<\/em>, ca. 1848-50.\r\n\r\nJean-Louis-Ernest Meissoner, Napoleon III at the Battle of Solferino, <\/em>1863.\r\n
1.3\u00a0 Caricature and Social Critique<\/strong><\/h5>\r\nHonor\u00e9 Daumier, Gargantua<\/em>, 1831.\r\n\r\nHonor\u00e9 Daumier, The Uprising<\/em>, ca. 1848.\r\n\r\nHonor\u00e9 Daumier, The Third-Class Carriage, <\/em>ca. 1863-65.\r\n
1.4\u00a0 Realism and the Democratization of Art<\/strong><\/h5>\r\nFran\u00e7ois G\u00e9rard, Portrait de Juliette R\u00e9camier, n\u00e9e Bernard (1777-1849), <\/em>ca. 1802-1805.\r\n\r\nL\u00e9on Hal\u00e9vy and Henri Saint-Simon, Opinions litt\u00e9raires, philosophiques et industrielles (Paris: Galerie de Bossange P\u00e8re, 1825).\r\n\r\nGustave Courbet, Self-Portrait with Pipe<\/em>, ca. 1848-1849.\r\n\r\nGustave Courbet, Self-Portrait with Black Dog, <\/em>1842.\r\n\r\nParmigianino, Self-Portrait in a Convex Mirror, <\/em>ca. 1523-24.\r\n\r\nGustave Courbet, Self-Portrait with Black Dog, <\/em>ca. 1842-44.\r\n\r\nGustave Courbet, From Ralist Manifesto 1855.<\/em> In Modernism: An Anthology of Sources and Documents, <\/em>eds. Vassiliki Kolocotroni, Jane Goldman and Olga Taxidou, (Edinburgh: University of Edinburgh Press, 1998).\r\n\r\nSamuel F.B. Morse, Gallery of the Louvre, <\/em>ca. 1831-33.\r\n
1.5\u00a0 Radical Realists: The Advent of the Avant-Garde<\/strong><\/h5>\r\nGustave Courbet, Cabaret Andler-Keller, <\/em>1862.\r\n\r\nGustave Courbet, Portrait de Baudelaire, <\/em>1848-49.\r\n\r\nGustave Courbet, Proudhon and his Children, <\/em>1865.\r\n\r\nGustave Courbet, Portrait de Champfleury, \u00e9crivain<\/em>, 1855.\r\n
1.6\u00a0 Courting Scandal, Creating Sensation: Courbet and the Paris Salon<\/strong><\/h5>\r\nTheodor Josef Hubert Hoffbauer, Salon de 1849, aux Tuileries<\/em>, ca. 1875-82.\r\n\r\nGustave Courbet, After Dinner at Ornans, <\/em>1849.\r\n\r\nDirck Hals, Merry Company at Table, <\/em>ca. 1627-29.\r\n
1.7\u00a0 Painting Ordinary People: Elevating the Humble Hero<\/strong><\/h5>\r\nGustave Courbet, The Stone Breakers, <\/em>1849.\r\n\r\nGustave Courbet, A Burial at Ornans<\/em>, 1849-50.\r\n\r\nDetail of Gustave Courbet, A Burial at Ornans, <\/em>1849-50.\r\n\r\nDetail of Gustave Courbet, A Burial at Ornans, <\/em>1849-50.\r\n\r\nDetail of Gustave Courbet, A Burial at Ornans, <\/em>1849-50.\r\n\r\nDetail of Gustave Courbet, A Burial at Ornans, <\/em>1849-50.\r\n\r\nEl Greco, The Burial of the Count of Orgaz<\/em>, ca. 1586-88.\r\n\r\nJacques-Louis David, Oath of the Horatii, <\/em>1784.\r\n\r\nGustave Courbet, The Peasants of Flagey Returning from the Fair, <\/em>ca. 1850-55.\r\n\r\nGustave Courbet, The Wheat Sifters, <\/em>1854.\r\n\r\nJean-Fran\u00e7ois Millet, The Gleaners, <\/em>1857.\r\n\r\nJean-Fran\u00e7ois Millet, Man with a Hoe<\/em>, ca. 1860-62.\r\n\r\nLouis Le Nain, Happy Family, <\/em>1642.\r\n\r\nPhilippe-Auguste Jeanron, Sc\u00e8ne de Paris<\/em>, 1833.\r\n\r\nPhilippe Derussy, Portrait of a Young Girl, Standing, Sitting on the Right of a Balustrade and a Drapery<\/em>, 1846.\r\n\r\nChampfleury, Le r\u00e9alisme <\/em>(Paris: Michel L\u00e9vy Fr\u00e8res, Libraires-\u00c9diteurs, 1857).\r\n\r\nChampfleury, Le<\/em> r\u00e9alisme <\/em>(Paris: Michel L\u00e9vy Fr\u00e8res, Libraires-\u00c9diteurs, 1857), 274-275.\r\n\r\nChampfleury, Le<\/em> r\u00e9alisme <\/em>(Paris: Michel L\u00e9vy Fr\u00e8res, Libraires-\u00c9diteurs, 1857), 272-273.\r\n\r\nJules-Antoine Castagnary, Philosophie du Salon de 1857 <\/em>(Paris: Poulet-Malassis et De Broise, 1858).\r\n\r\nJules-Antoine Castagnary, Philosophie du Salon de 1857 <\/em>(Paris: Poulet Malassis et De Broise, 1858), 8.\r\n
1.8\u00a0 A Class in Transition: Courbet\u2019s Young Ladies of the Village <\/em>and Young Ladies on the Banks of the Seine<\/em><\/strong><\/h5>\r\nGustave Courbet, Young Ladies of the Village, <\/em>1851-52.\r\n\r\nBertall, Caricature of Young Ladies of the Village, Le journal pour rire, <\/em>April 16, 1852.\r\n\r\nDetail of Gustave Courbet, Young Ladies of the Village, <\/em>1851-52.\r\n\r\nWalking dresses, Petit courrier des dames, journal des modes, <\/em>September 1837.\r\n\r\nGustave Courbet, Portrait of Z\u00e9lie<\/em>, 1847.\r\n\r\nDetail of Gustave Courbet, Young Ladies of the Village, <\/em>1851-52.\r\n\r\nJean-Antoine Watteau, The Fortune Teller, <\/em>ca. 1710 (copy).\r\n\r\nLouis-Napol\u00e9on, The Extinction of Pauperism <\/em>(London: Cleave, 1844).\r\n\r\nLinda Nochlin, Mis\u00e8re: The Visual Representation of Misery in the 19th Century <\/em>(London: Thames & Hudson, 2018).\r\n\r\nGustave Courbet, Young Ladies on the Banks of the Seine, <\/em>1857.\r\n\r\nGustave Courbet, The Bathers, <\/em>ca. 1853.\r\n
1.9\u00a0 Art, Patronage and the Outsider Artist<\/strong><\/h5>\r\nGustave Courbet, Portrait of Alfred Bruyas, <\/em>1853.\r\n\r\nGustave Courbet, The Meeting or Good Day, Monsieur Courbet<\/em>, 1854.\r\n\r\nHuman-headed winged lion (Lamassu), <\/em>ca. 883-859 BCE.\r\n
1.10\u00a0 Inside The Artist\u2019s Studio<\/em><\/strong><\/h5>\r\nGustave Courbet, The Artist\u2019s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, <\/em>1854.\r\n\r\nDetail of Gustave Courbet, The Artist\u2019s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, <\/em>1854.\r\n\r\nJan Saenredam, after Hendrick Goltzius, Allegory of Sight and of the Art of Painting (An Artist and His Model), <\/em>1616.\r\n\r\nChampfleury, Les chats: Histoire, m\u0153urs, observations, anecdotes <\/em>(Paris: J. Rothschild, 1869.)\r\n\r\nDetail of Gustave Courbet, The Artist\u2019s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, <\/em>1854.\r\n\r\nJulien Vallou de Villeneuve, Nude Study, <\/em>registered 1853.\r\n\r\nDetail of Gustave Courbet, The Artist\u2019s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, <\/em>1854.\r\n\r\nGustave Courbet, The Artist\u2019s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, <\/em>1854.\r\n\r\nDetail of Gustave Courbet, The Artist\u2019s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, <\/em>1854.\r\n\r\nGustave Courbet, Source of the Lison, <\/em>ca. 1864-66.\r\n\r\nEug\u00e8ne Feyen, Gustave Courbet\u2019s studio in Ornans, showing a lay figure, <\/em>1864.\r\n\r\nEug\u00e8ne Vermersch, Maxime Vuillaume and Alphonse Humbert, \u2018Le Citoyen Courbet\u2019, P\u00e8re Duch\u00eane, 1871.\r\n\r\nGustave Courbet, Self-Portrait at Sainte-Pelagie, <\/em>1872.\r\n\r\nGustave Courbet, Portrait of Jules-Antoine Castagnary, <\/em>1870.\r\n\r\nGustave Courbet, Landscape with a Hunter,<\/em> 1873.\r\n

Chapter 2\r\nManet and Modern Life<\/h1>\r\n\u00c9douard Manet, Le Dejeuner sur l\u2019herbe<\/em> ( Luncheon on the Grass<\/em>), <\/em>1863.\r\n
Introduction<\/strong><\/h5>\r\nArtist Unknown, Paris, \u00cele de la Cit\u00e9,<\/em> A map based on the 1771 Robert de Vaugondy plan. <\/em>\r\n\r\nJames Farley\/Getty Images, Aerial view of Paris.<\/em>\r\n\r\nGustave Caillebotte, Le Pont de L\u2019Europe, <\/em>1876.\r\n\r\nHenri Fantin-Latour, Portrait d\u2019\u00c9douard Manet, <\/em>1867.\r\n
2.1\u00a0 The Challenge of the New:\u00a0 Modernist Attitudes and the Acad\u00e9mie<\/strong><\/h5>\r\n\u00c9douard Baldus, Palais de l\u2019Industrie<\/em>, ca. 1850-1860.\r\n\r\nJean L\u00e9on Ger\u00f4me, Death of Caesar, <\/em>ca. 1859-1867.\r\n\r\nGustave Moreau, Salome Dancing Before Herod, <\/em>1876.\r\n\r\nTh\u00e9odore Rousseau, Forest of Fontainebleau, Cluster of Tall Trees Overlooking the Clair-Bois at the Edge of Bas-Br\u00e9au, <\/em>ca. 1849-52.\r\n\r\nJules Breton, Erecting a Calvary, <\/em>1858.\r\n\r\nRosa Bonheur, Ploughing in Nevers, <\/em>1849.<\/em>\r\n\r\nRosa Bonheur, The Horse Fair, <\/em>1853-55.\r\n\r\nCavalcade<\/em>, Block II from the West frieze of the Parthenon, ca. 447-433 BCE.\r\n\r\nRosa Bonheur, Study for the Horse Fair<\/em>, ca. 1853-55.\r\n\r\nRosa Bonheur, wearing the Legion of Honour, 1865.\r\n
2.2\u00a0 Enter \u00c9douard Manet:\u00a0 The Paris Salon, 1859<\/strong><\/h5>\r\nNadar, \u201cClose-up photograph of artist \u00c9douard Manet, before 1870,\u201d (enlargement by Paul Nadar), 1870.\r\n\r\n\u00c9douard Manet, The Absinthe Drinker, <\/em>1859 (reworked 1868-72).\r\n\r\nCharles Baudelaire, \u201cThe Wine of the Ragpickers,\u201d in Poems of Baudelaire, <\/em>translated by Campbell (New York: Pantheon Books, 1925).\r\n\r\nDiego Vel\u00e0zquez, Aesop, <\/em>ca. 1638.\r\n
2.3\u00a0 The Perfect Storm: Le D\u00e9jeuner sur l\u2019herbe<\/em>, the Paris Salon and the Salon des Refus\u00e9s<\/strong><\/h5>\r\nTheodor Josef Hubert Hoffbauer, Salon de 1849<\/em>, aux Tuileries, <\/em>ca. 1875-82.\r\n\r\n\u00c9douard Manet, Luncheon on the Grass, <\/em>1863.\r\n\r\nGiorgione and\/or his disciple Titian, The Pastoral Concert, <\/em>1509.\r\n\r\nMarcantonio Raimondi, after Raphael, The Judgment of Paris, <\/em>ca. 1514-18.\r\n\r\nAntoine Watteau, Pleasures of Love, <\/em>ca. 1716.\r\n\r\nPierre Alexandre Aveline, after Antoine Watteau, La Villageoise, <\/em>18th century.\r\n\r\n\u00c9douard Manet, Jesus Mocked by the Soldiers, <\/em>ca. 1864-65.\r\n
2.4 Olympia<\/em> in Context<\/strong><\/h5>\r\n\u00c9douard Manet, Olympia<\/em>, 1863.\r\n\r\nJean-L\u00e9on G\u00e9r\u00f4me, The Slave Market, <\/em>1866.\r\n\r\nDetail of \u00c9douard Manet, Olympia<\/em>, 1863.\r\n\r\nCharles Expilly, Les femmes et les m\u0153urs du Br\u00e9sil<\/em> (Paris: Charlieu et Huillery, 1863).\r\n\r\n\u00c9douard Manet, Children in the Tuileries Gardens<\/em>, 1861-62.\r\n\r\n\u00c9douard Manet, Portrait of Laure, <\/em>1862.\r\n\r\nDetail of \u00c9douard Manet, Olympia, <\/em>1863.\r\n\r\nEunice Lipton, Alias Olympia: A Woman\u2019s Search for Manet\u2019s Notorious Model and Her Own Desire <\/em>(Ithaca: Cornell University Press, 1992).\r\n\r\n\u00c9douard Manet, Mademoiselle V\u2026 in the Costume of an Espada, <\/em>1862.\r\n\r\n\u00c9douard Manet, Portrait of Victorine Meurent, <\/em>1862.\r\n\r\nVictorine Meurent, Self-Portrait, <\/em>1876.\r\n\r\nVictorine Meurent, Palm Sunday, <\/em>ca. 1880.\r\n\r\nV.R. Main, A Woman With No Clothes On<\/em> (London: Delancey, 2008).\r\n\r\nVictorine Meurent, <\/em>ca. 1862.\r\n\r\nVictorine Meurent, <\/em>ca. 1865.\r\n\r\nTitian, Venus of Urbino<\/em> (also known as Reclining Venus<\/em>), 1538.\r\n\r\n\u00c9douard Manet, Olympia<\/em>, 1863.\r\n\r\nFrancisco de Goya, The Naked Maja, <\/em>ca. 1795-1800.\r\n\r\n\u00c9douard Manet, Olympia, <\/em>1863.\r\n\r\n\u00c9douard Manet, Young Woman Reclining in Spanish Costume, <\/em>ca. 1862-63.\r\n\r\nFrancisco de Goya, The Clothed Maja, <\/em>ca. 1800-1807.\r\n\r\nGustave Courbet, Woman with a Parrot, <\/em>1866.\r\n\r\nAlexandre Cabanel, The Birth of Venus, <\/em>1863.\r\n\r\nHonor\u00e9 Daumier, \u201cPartons madame\u2026 ces nudit\u00e9s sont r\u00e9voltantes\u2026 (\u00e0 part) je reviendrai tout seul!\u201d, Le Charivari, <\/em>May 15, 1866.\r\n
2.5\u00a0 The International Exposition of 1867<\/strong><\/h5>\r\nEug\u00e8ne Cic\u00e9ri and Philippe Benoist, Official bird\u2019s eye view of Exposition Universelle, <\/em>1867,\r\n\r\nPhotograph of the building called Exposition Courbet on the front, built Place de l\u2019Alma, during the International Exhibition, Paris, <\/em>1867.\r\n\r\nAndr\u00e9 Gill, \u201c<\/em>Courbet, Peint par lui-m\u00eame- et par Gill,\u201d<\/em> La Lune, <\/em>9 June, 1867.\r\n\r\nL\u00e9once Petit, \u201cG. Courbet<\/em>, par L. Petit,\u201d Le Hanneton, <\/em>June 13, 18677.\r\n\r\nCatalogue des Tableaux de M. \u00c9douard Manet: expos\u00e9s Avenue de L\u2019Alma en 1867 <\/em>(Paris: Imprimerie L. Poupart-Davyl, 1867).\r\n\r\n\u00c9douard Manet,\u00a0 View of the 1867 Exposition Universelle, <\/em>1867.\r\n
2.6\u00a0 The Political Manet: The Execution of Emperor Maximilian<\/em><\/strong><\/h5>\r\n\u00c9douard Manet, The Execution of the Emperor Maximilian, <\/em>1868.\r\n\r\n\u00c9douard Manet, The Execution of the Emperor Maximilian, <\/em>1867.\r\n\r\n\u00c9douard Manet, The Execution of Emperor Maximilian of Mexico, <\/em>1868.\r\n\r\n\u00c9douard Manet, The Execution of Maximilian of Mexico, <\/em>1867.\r\n\r\nFran\u00e7ois Aubert, Emperor Maximilian\u2019s Firing Squad, <\/em>1867.\r\n\r\n\u00c9douard Manet, The Execution of the Emperor Maximilian<\/em>, 1868.\r\n\r\nFrancisco de Goya, The Third of May, <\/em>1814.\r\n\r\nJean-Louis-Ernest Meissonier, The Barricade, Rue de la Mortellerie, June 1848, <\/em>also known as Remembrance of Civil War, <\/em>ca. 1850.\r\n\r\n\u00c9douard Manet, The Dead Christ with Angels, <\/em>1864.\r\n\r\n\u00c9douard Manet, Jesus Mocked by the Soldiers, <\/em>ca. 1864-65.\r\n\r\n\u00c9douard Manet, The Execution of Emperor Maximilian of Mexico, <\/em>1868.\r\n
2.7\u00a0 Portrait of \u00c9mile Zola<\/em>: Japonisme and the Influence of the Multiple<\/strong><\/h5>\r\n\u00c9douard Manet, Portrait of \u00c9mile Zola, <\/em>1868.\r\n\r\nDetail of \u00c9douard Manet, Portrait of \u00c9mile Zola, <\/em>1868.\r\n\r\nUtagawa Kuniaki, Sum\u00f4 Wrestler \u00d4naruto Nadaemon of Awa Province (Ash\u00fb \u00d4naruto Madaemon), <\/em>1860.\r\n\r\nDetail of \u00c9douard Manet, Portrait of \u00c9mile Zola, <\/em>1868.\r\n\r\nTypes nationaux \u00e0 l\u2019Exposition universelle. \u2013 Japon. \u2013 Int\u00e9rieur de la maison du gouverneur de Satzouma. (D\u2019apr\u00e8s le dessin de M. Montani)\u201d Le Monde Illustr\u00e9<\/em>, September 28, 1867.<\/em>\r\n\r\n\u201cExposition universelle. \u2013 Section orientale. \u2013 Vue G\u00e9n\u00e9rale de l\u2019exposition japonaise dans le parc.\u201d Le Monde Illustr\u00e9, <\/em>August 31, 1867.\r\n\r\n\u201cLes ateliers Goupil & Cie d\u2019Asni\u00e8res\u201d, L\u2019Illustration, <\/em>12 April, 1873.\r\n\r\nGazette des Beaux-Arts<\/em>, 1 July, 1859.\r\n\r\nCharles Blanc et al., Histoire des Peintres de Toutes les \u00c9coles: \u00c9cole Espagnole <\/em>(Paris: Librairie Renouard, 1865).\r\n\r\nCharles Blanc, Histoire des Peintres de Toutes le \u00c9coles: \u00c9cole Fran\u00e7aise<\/em> (Paris: Librairie Renouard, 1862).\r\n\r\nEdgar Degas, The Collector of Prints, <\/em>1866.\r\n
2.8\u00a0 Manet\u2019s Entourage<\/strong><\/h5>\r\nFr\u00e9d\u00e9ric Bazille, Bazille\u2019s Studio, <\/em>1870.\r\n\r\nHenri Fantin-Latour, A Studio at Les Batignolles, <\/em>1870.\r\n\r\n\u00c9douard Manet, At the Caf\u00e9, <\/em>1869.\r\n
2.9\u00a0 Paris Commune, 1871<\/strong><\/h5>\r\n\u201cBombardement de Paris. \u2013 Habitants r\u00e9fugi\u00e9s dans leurs caves.\u201d L\u2019Illustration, Journal Universel<\/em>, 4 February, 1871.\r\n\r\n\u00c9douard Manet, The Barricade, <\/em>1871.<\/em>\r\n\r\nAlfred le Petit, \u201cOn n\u2019entre pas! Par Alfred le Petit: Com\u00e9die en un acte (ridicule) et deux tableaux (m\u00e9diocres)\u201d, Le Grelot<\/em>, 28 April 1872.\r\n
2.10\u00a0 Impressionism and its Contexts<\/strong><\/h5>\r\nNadar, Atelier Nadar 35 Boulevard des Capucines, <\/em>1860.\r\n\r\nClaude Monet, Impression, Sunrise<\/em>, 1872.\r\n\r\nPaul C\u00e9zanne, The Hanged Man\u2019s House, Auvers-sur-Oise<\/em>, ca. 1873.\r\n\r\nEdgar Degas, At the Races in the Countryside, <\/em>ca. 1872.\r\n\r\nClaude Monet, Boulevard des Capucines<\/em>, 1873.\r\n\r\nBerthe Morisot, The Cradle, <\/em>1873.\r\n\r\nCamille Pissarro, The Cabbage Field, Pontoise,<\/em> 1873.\r\n\r\nPierre-August Renoir, The Dancer, <\/em>1874.\r\n\r\nPierre-Auguste Renoir, Claude Monet Painting in his Garden at Argenteuil, <\/em>1873.\r\n

Chapter 3\r\nFemale Labour and Prostitution in Paris<\/h1>\r\nGeorges Seurat, Models<\/em>, ca. 1886-88.\r\n
Introduction<\/strong><\/h5>\r\nSplendeurs et mis\u00e8res: Images de la prostitution, 1850-1910<\/em>, 22 September 2015-17 January 2016.\r\n\r\nNicole Canet, The Hindi Room<\/em>, Au Bonheur du Jour, Gallery.\r\n\r\nNicole Canet, The Grotto Entrance, <\/em>Au Bonheur du Jour, Gallery.\r\n
3.1\u00a0 Framing the Female Figure: Debauchery and Decorum in Nineteenth-Century Art<\/strong><\/h5>\r\nGustave Courbet, Young Ladies Beside the Seine, <\/em>1857.\r\n\r\nPierre-Joseph Proudhon, Eds. A. Lacroix & Cie, La Pornocracie ou Les Femmes dans les temps modernes (Pornocracy of Women in Modern Times)<\/em> (Paris: Libraire International, 1875).\r\n\r\nAlfred Stevens, Family Scene<\/em> or Domestic Happiness<\/em> or All the Joys<\/em>, ca. 1880.\r\n
3.2\u00a0 Avant-Garde Painters and the Subject of Prostitution<\/strong><\/h5>\r\n\u00c9douard Manet, Olympia, <\/em>1863.\r\n\r\nPaul C\u00e9zanne, The Eternal Feminine, <\/em>ca. 1877.\r\n\r\nPaul C\u00e9zanne, A Modern Olympia, <\/em>ca. 1873-74.\r\n\r\nJules Lefebvre, Odalisque, <\/em>1874.\r\n
3.3\u00a0 Fashion and the Courtesan<\/strong><\/h5>\r\n\u00c9douard Manet, Nana, <\/em>1877.\r\n\r\nGallicelo, \u201cLe corset sans g\u00eane, c\u2019est le Corset Parfait,\u201d ca. 1910.\r\n
3.4\u00a0 Anonymity, Identity and the Parisian Prostitute<\/strong><\/h5>\r\nGustave Courbet, The Origin of the World, <\/em>1866.\r\n\r\nAndr\u00e9 Adolphe-Eug\u00e8ne Disderi, Constance Qu\u00e9nioux<\/em>, n.d.\r\n\r\nPaul \u00c9mile Pesme, \u00a0Constance Qu\u00e9nioux, <\/em>1861.\r\n\r\nThe 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<\/em> (Privately printed at the Press of the Prefecture de Police, 1883).\r\n\r\nCharles Reutlinger, Portrait of Latour Am\u00e9lie, <\/em>ca. 1860-90.\r\n\r\nNadar, Portrait of Henriette de Barras (actress at the Th\u00e9\u00e2tre de la Renaissance), <\/em>ca. 1870-90.\r\n
3.5\u00a0 Female Spectacle: Photography, Theatre and the French Courtesan<\/strong><\/h5>\r\nL\u00e9opold Reutlinger, La Belle Ot\u00e9ro, <\/em>ca. 1877-1917.\r\n\r\nFran\u00e7ois-Rupert Carabin, Groupe de Quatre femmes nues, assises, <\/em>ca. 1895-1910.\r\n\r\nGeorges Clairin, Portrait of Sarah Bernhardt, <\/em>1876.\r\n\r\nSarah Bernardt, My Double Life: Memoirs of Sarah Bernhardt; With many portraits and illustrations<\/em> (London: Willian Heinemann, 1907).\r\n\r\nSarah Bernhardt, My Double Life: Memoirs of Sarah Bernhardt; With many portraits and Illustrations<\/em> (London: Willian Heinemann, 1907), 90-91.\r\n\r\nSarah Bernhardt, My Double Life: Memoirs of Sarah Bernhardt; With many portraits and Illustrations <\/em>(London: Willian Heinemann, 1907), 342-343.\r\n\r\nMelandri, Sarah Bernhardt<\/em>, 1879.\r\n
3.6\u00a0 The Brothel as Modern Subject<\/strong><\/h5>\r\nEdgar Degas, The Client, <\/em>1879.\r\n\r\nEdgar Degas, In the Salon, <\/em>ca. 1876-77 or 1879-80.\r\n\r\nEdgar Degas, The Fireside, <\/em>ca. 1876-77.\r\n\r\nEdgar Degas, Woman Reading, <\/em>ca. 1885.\r\n\r\nGuy de Maupassant, La Maison Tellier: Illustration d\u2019Edgar Degas<\/em> (Paris: \u00c9ditions Ambroise Vollard, 1934).\r\n\r\nPierre Louys, Mimes des courtisanes: Illustrations d\u2019Edgar Degas<\/em> (Paris: \u00c9ditions Ambroise Vollard, 1935).\r\n\r\nEdgar Degas, Waiting, <\/em>1879.\r\n
3.7<\/strong> \u00a0Deviance, Lesbianism, Racism and the Other<\/strong><\/h5>\r\nAlexandre Jean-Baptiste Parent du Ch\u00e2telet (Parent-Duch\u00e2telet), De la Prostitution dans la ville de Paris, consid\u00e9r\u00e9e sous le rapport de l\u2019hygi\u00e8ne publique, de la moral de l\u2019administration; Ouvrage appuy\u00e9 de documents statistiques, puis\u00e9s dans les archives de la Pr\u00e9fecture de la police<\/em> (Paris: J-B Bailli\u00e8re et Fils. 1836).\r\n\r\nAlexandre Jean-Baptiste Parent du Ch\u00e2telet (Parent-Duch\u00e2telet), Distribution des prostitu\u00e9es dans chacun des 48 quartiers de la Ville de Paris<\/em>, 1836.\r\n\r\nNicole G. Albert, trans. Nancy Erber and William Peniston, Lesbian Decadence: Representations in Art and Literature of Fin-de-Si\u00e8cle France <\/em>(New York: Harrington Park Press, 2016).\r\n\r\nCharles Baudelaire, Les fleurs du Mal<\/em> (Paris: Charles Meunier, 1900). Illustration, Carlos Schwabe.\r\n\r\nPauline Tarnowsky, \u201cAnomalies of the Face and the Ear in Prostitutes,\u201d in \u00c9tude anthropom\u00e9trique sur les prostitu\u00e9es et les voleuses<\/em> (Paris: E. Lecrosnier et B\u00e9b\u00e9, 1889).\r\n\r\nGustave Courbet, The Sleepers, <\/em>1866.\r\n\r\nJean-L\u00e9on G\u00e9r\u00f4me, Pool in a Harem, <\/em>1876.\r\n\r\n\u00c9douard Debat-Ponsan, The Massage<\/em>, 1883.\r\n\r\nIngres, The Turkish Bath, <\/em>1862.\r\n\r\nNicolas de Nicolay, Les navigation, p\u00e9r\u00e9grinations et voyages, faicts en la Turquie<\/em> (Antwerp: Guillaume Silvius, 1577).\r\n\r\nEdgar Degas, Two Women (Scene from a Brothel)<\/em>, ca. 1877-79.\r\n\r\nCharles Williams, Love and Beauty- Sartjee the Hottentot Venus, <\/em>1822.\r\n
3.8\u00a0 Edgar Degas\u2019s Bathers<\/strong><\/h5>\r\nEdgar Degas, Leaving the Bath, <\/em>ca. 1879-80.\r\n\r\nEdgar Degas, Woman in a Tub, <\/em>1886.\r\n\r\nEdgar Degas, Woman in a Tub, <\/em>ca. 1883.\r\n\r\nEdgar Degas, Woman Bathing in a Shallow Tub, <\/em>1885.\r\n\r\nPierre-Auguste Renoir, Blonde Bather, <\/em>1882.\r\n\r\nPierre-Auguste Renoir, Study Torso Sunlight Effect, <\/em>ca. 1876.\r\n\r\nEdgar Degas, After the Bath, Woman Drying Herself, <\/em>ca. 1890-95.\r\n\r\nEdgar Degas, Woman Combing Her Hair, <\/em>ca. 1887-90.\r\n
3.9\u00a0 Henri\u00a0 de Toulouse-Lautrec: The Travails and Tragedies of the Ordinary Prostitute<\/strong><\/h5>\r\nHenri de Toulouse-Lautrec, At the Salon of the Rue des Moulins, <\/em>1894.\r\n\r\nMaurice Guibert, Toulouse-Lautrec in his workshop with a nude model, <\/em>1895.\r\n\r\nHenri de Toulouse-Lautrec, The Ladies in the Brother Dining-Room, <\/em>1893.\r\n\r\nHenri de Toulouse-Lautrec, The Two Girlfriends, <\/em>1894.\r\n\r\nHenri de Toulouse-Lautrec, The Bed, <\/em>1893.\r\n\r\nKitagawa Utamaro I, The Hour of the Ox (1 A.M. - 3 A.M.), <\/em>ca. 1794.\r\n\r\nKitagawa Utamaro I, The Hour of the Horse, <\/em>ca. 1794.\r\n\r\nKitagawa Utamaro I, Courtesan with Child Attendant, <\/em>ca. 1789-1806.\r\n\r\nHenri de Toulouse-Lautrec, At the Salon of the Rue des Moulins, <\/em>1894.\r\n\r\nHenri de Toulouse-Lautrec, Rue des Moulins, <\/em>1894.\r\n\r\nM.A. Hardy and A. de Montm\u00e9ja, \u201cSyphilide pigmentaire,\u201d Clinique photographique de l\u2019h\u00f4pital Saint-Louis<\/em> (Paris: Chamerot et Lauwereyns, 1868).\r\n\r\nReproduced from G. Tilles, \u201cLe Mus\u00e9e de l'h\u00f4pital Saint-Louis, The Museum of the H\u00f4pital Saint-Louis,\u201d Annales de Dermatologie et de V\u00e9n\u00e9r\u00e9ologie<\/em> 145, no. 4, September 2018.\r\n\r\nCherry Chapman, \u201cTwo Very Unusual Medical Museums in Paris,\u201d A Psychotherapist in Paris<\/em>, 22 September 2014.\r\n
3.10\u00a0 Covert Prostitution: Shopgirls and Serveuses <\/em><\/strong><\/h5>\r\nView of Paris in 1878, during the World Fair<\/em>, 1878.\r\n\r\nCharles Marville, Rue du Jardinet (du passage Hautefeuille), <\/em>ca. 1853-70.\r\n\r\nPierre-Auguste Renoir, Pont-Neuf, <\/em>1872.\r\n\r\nPierre Petit, Portrait of Julie-Victoire Daubi\u00e9<\/em>, 1861.\r\n\r\n\u201cPARIS. - Les magasins de nouveaut\u00e9s. - LE BON MARCH\u00c9. Int\u00e9rieur. - (Dessin de MM. Clerget et Vierge).\u201d Le Monde Illustr\u00e9, <\/em>30 March 1872.\r\n\r\nAu Bon March\u00e9: Comptoir des Modes, Chapeaux de Dentelles et de Cr\u00eape, \u00c9t\u00e9 1891, <\/em>1891.\r\n\r\nJames Tissot, The Shop Girl, <\/em>ca. 1883-85.\r\n\r\nPierre-Auguste Renoir, At the Milliner\u2019s<\/em>, 1878,\r\n\r\nEdgar Degas, The Little Milliners, <\/em>1882.\r\n\r\nEdgar Degas, At the Milliner\u2019s, <\/em>1881.\r\n\r\nEdgar Degas, At the Milliner, <\/em>ca. 1882-85.\r\n\r\nEdgar Degas, The Milliner<\/em>, ca. 1882.\r\n\r\nEdgar Degas, At the Milliner\u2019s, <\/em>1883.\r\n\r\nEdgar Degas, The Milliners, <\/em>ca. 1898.\r\n\r\nEdgar Degas, At the Milliner\u2019s, <\/em>1882.\r\n\r\nGonin, \u201cChapeau Jolie Miss, en feutre flamand bleu marine. Les bords sont r\u00e9trouss\u00e9s et des belles plumes amazone<\/em> garnissent tout le chapeau. - Mod\u00e8le de Mme. H\u00e9l\u00e8ne (31, rue Caumartin),\u201d La Modiste Universelle, <\/em>1 January 1882.\r\n\r\nEdgar Degas, At the Milliner\u2019s, <\/em>1882.\r\n\r\nTopical Press Agency, \u201cA South African ostrich farm,\u201d ca. 1900.\r\n\r\nOstrich feathers for sale at the Cutler Street Warehouses in London,<\/em> 1896.\r\n\r\nEdgar Degas, At the Milliner\u2019s, <\/em>1882.\r\n\r\n\u00c9douard Manet, Waitress Serving Beer, <\/em>1879.\r\n\r\n\u00c9douard Manet, A Bar at the Folies-Berg\u00e8re, <\/em>1882.\r\n\r\nDetail of \u00c9douard Manet, A Bar at the Folies-Berg\u00e8re, <\/em>1882.\r\n\r\nLiqueurs Sup\u00e9rieures, <\/em>1879.\r\n\r\n\u00c9mile L\u00e9vy, \u201cFolies-Berg\u00e8re,\u201d 1874.\r\n
3.11\u00a0 The Paris Op\u00e9ra: \u201cThe Brothel of France\u201d<\/strong><\/h5>\r\nEdgar Degas, Little Dancer Aged Fourteen, <\/em>1878-81.\r\n\r\nHenri Christiani, Petits Rats: Polka<\/em> (Paris: Durand et Fils, 1907).\r\n\r\nCharles Garnier, Elevation sketch of the \u2018Foyer de Danse\u2019 (located behind the stage house at the first loge level) in the Paris Opera\u2019s Palais Garnier,<\/em> ca. 1863.\r\n\r\nEdgar Degas, The Star<\/em>, ca. 1876-78.\r\n\r\nJean B\u00e9raud, The Wings at the Op\u00e9ra, <\/em>1889.\r\n\r\nLudovic Halevy, La famille Cardinal <\/em>(Paris: Calmann L\u00e9vy, 1883).\r\n\r\nRita Sangalli. Paris-Th\u00e9\u00e2tre, 59<\/em> July 1874.\r\n\r\nEdgar Degas, Dancers Backstage, <\/em>ca. 1876-83.\r\n\r\nEdgar Degas, Waiting, <\/em>1882.\r\n\r\nEdgar Degas, The Dance Class, <\/em>1874.\r\n\r\nEdgar Degas, The Rehearsal, <\/em>1873.\r\n\r\nEdgar Degas, Two Dancers Entering the Stage, <\/em>ca. 1877-78.\r\n\r\nEdgar Degas, Dancers, Pink and Green,<\/em> ca. 1890.\r\n
3.12\u00a0 Georges Seurat, Poseuses <\/em>and Pictorial Politics<\/strong><\/h5>\r\nGeorges Seurat, A Sunday Afternoon on the Island of La Grande Jatte<\/em>, ca. 1884-86.\r\n\r\nGeorges Seurat, A Woman Fishing, <\/em>1884.\r\n\r\nGeorges Seurat, Models, <\/em>ca. 1886-84.\r\n\r\nRaphael, The Three Graces, <\/em>1504.\r\n\r\nAntonio Canova, The Three Graces, <\/em>ca. 1814-17.\r\n\r\nGeorges Seurat, Models, <\/em>ca. 1886-88.\r\n\r\nGeorges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, <\/em>ca. 1884-86.\r\n\r\nHollis Clayson, Painted Love: Prostitution in French Art of the Impressionist Era<\/em> (New Haven: Yale University Press, 1991).\r\n

Chapter 4\r\nBerthe Morisot and Mary Cassatt: Women Artists of the Impressionist Circle<\/strong><\/h1>\r\nBerthe Morisot, The Psyche Mirror<\/em>, 1876.\r\n
Introduction<\/strong><\/h5>\r\nBerthe Morisot, Self-Portrait, <\/em>1885.\r\n\r\nMary Cassatt, Self-Portrait, <\/em>ca. 1880.\r\n\r\nGriselda Pollock, Vision and Difference: Femininity, Feminism and the Histories of Art<\/em> (London and New York: Routledge, 1988.)\r\n\r\nBerthe Morisot, The Harbor at Lorient, <\/em>1869.\r\n\r\nMary Cassatt, Woman with a Pearl Necklace in a Loge, <\/em>1879.\r\n

Berthe Morisot<\/strong><\/h2>\r\n
4.1\u00a0 Public \u00a0Debut<\/strong><\/h5>\r\nBerthe Morisot, <\/em>ca. 1841-95.\r\n\r\n\u00c9douard Manet, The Balcony, <\/em>ca. 1868-69.\r\n\r\n\u00c9douard Manet, Berthe Morisot with a Bouquet of Violets, <\/em>1872.\r\n\r\n\u00c9douard Manet, Repose, <\/em>1871.\r\n
4..2\u00a0 Fashionable Subjects<\/strong><\/h5>\r\nBerthe Morisot, Two Sisters<\/em>, 1869.\r\n\r\nBerthe Morisot, The Pink Dress (Albertie - Marguerite Carr\u00e9, Later Madame Ferdinand - Henri Himmes)<\/em>, 1870.\r\n\r\nBerthe Morisot, The Butterfly Hunt<\/em>, 1874.\r\n\r\n\u201cToilettes de Mme. Br\u00e9ant-Castet, 6, rue Gluck,\u201d La Mode Illustr\u00e9e, <\/em>no. 3, 1882.\r\n\r\nLa famille: Voyages, Romans, Modes, Musique, Beaux-Arts, Actualit\u00e9s, etc., <\/em>9 February 1890.\r\n\r\n\u201cCostume Parisien: Coiffure orn\u00e9e d\u2019une fl\u00e8che et d\u2019un peigne renvers\u00e9,\u201d Journal des dames et des modes <\/em>(Year 11, 6 November 1807) 69.\r\n\r\n\u201cLes Modes de la Saison,\u201d Journal Illustr\u00e9 de la Famille, <\/em>no. 22, 1880.\r\n\r\nH\u00e9lo\u00efse Colin and Adele-Ana\u00efs Toudouze, Portraits d\u2019H\u00e9lo\u00efse Colin et Adele-Ana\u00efs Toudouze, par Elles-M\u00eames<\/em>, 1836.\r\n\r\nH\u00e9lo\u00efse Leloir, Illustration for a French Fashion Magazine, <\/em>ca. 1862.\r\n\r\nAdele-Ana\u00efs Toudouze, \u201cToilettes de Mme. Br\u00e9ant-Castel, 28, r. Nve des Pts. Champs,\u201d La Mode Illustr\u00e9e<\/em>, no. 51, 1869.\r\n
4.3\u00a0 Sisterhood<\/strong><\/h5>\r\nEdma Morisot, Berthe Morisot, <\/em>ca. 1865.\r\n
4.4\u00a0 Familiar Subjects<\/strong><\/h5>\r\nBerthe Morisot, Portrait of the Artist\u2019s Mother and Sister, ca. 1869-70.<\/em>\r\n\r\n\u00c9mile Zola, Au bonheur des dames <\/em>(Paris: G. Charpentier, 1883).\r\n\r\nBerthe Morisot, Portrait of the Artist\u2019s Mother and Sister, ca. 1869-70.<\/em>\r\n\r\nDetail of Berthe Morisot, Portrait of the Artist\u2019s Mother and Sister, <\/em>ca. 1869-70.\r\n\r\nBerthe Morisot, Portrait of Madame Edma Pontillon, <\/em>1871.\r\n
4..5\u00a0 The Space In Between<\/strong><\/h5>\r\nBerthe Morisot, Woman and Child on a Balcony, <\/em>1872.\r\n\r\n\u00c9douard Manet, The Railway, <\/em>1873.\r\n
4..6\u00a0 Painting en plein air<\/em><\/strong><\/h5>\r\nBerthe Morisot, Reading, <\/em>1873.\r\n\r\nCamille Corot, Forest of Fontainebleau, <\/em>1834.\r\n\r\nPierre-Henri de Valenciennes, View of the Palace of Nemi, <\/em>ca. 1780.\r\n\r\nBerthe Morisot, In a Park, <\/em>ca. 1874.\r\n\r\nBerthe Morisot, Summer-day<\/em>, 1879.\r\n
4.7\u00a0 Les Liseuses<\/em><\/strong><\/h5>\r\nBerthe Morisot, Reading, <\/em>1873.\r\n\r\nKathryn Brown, Women Readers in French Panting, 1870-90.<\/em>\r\n\r\nAntoine Wiertz, La liseuse de romans (The Reader of Novels)<\/em>, 1853.\r\n\r\nJanis Bergman-Carton, The Woman of Ideas in French Art, 1830-48 <\/em>(New Haven: Yale University Press, 1995)\r\n\r\nLa Voix des Femmes<\/em>, 20 April 1848.\r\n\r\nLa Femme Libre, <\/em>1st edition, August 1832.\r\n\r\nHonor\u00e9 Daumier, \u201cMoeurs conjugales no. 6,\u201d Le Charivari, <\/em>30 June 1839.\r\n\r\nHonor\u00e9 Daumier, Voil\u00e0 une femme qui a l\u2019heure solennelle\u2026, <\/em>1848.\r\n\r\nHonor\u00e9 Daumier, Citoyennes on fait courir le bruit\u2026,<\/em> 1848.\r\n\r\nP.-J. Stahl et al., La vie publique et priv\u00e9e des animaux: Vignettes par Grandville <\/em>(Paris: J. Hetzel et Paulin, \u00c9diteurs, 1842).\r\n
4.8\u00a0 Motherhood<\/strong><\/h5>\r\nBerthe Morisot, The Cradle, <\/em>1872.\r\n\r\nWilliam Bouguereau, Young Mother Gazing at her Child, <\/em>1871.\r\n\r\nWilliam Bouguereau, Breton Brother and Sister, <\/em>1871.\r\n\r\nBerthe Morisot, The Wet Nurse Feeding Julie Manet, <\/em>1880.\r\n\r\nDetail of Berthe Morisot, The Wet Nurse Feeding Julie Manet, <\/em>1880.\r\n\r\nEdgar Degas, At the Races in the Countryside, <\/em>ca. 1872.\r\n\r\nWet Nurses in a public park<\/em>, reproduced from Linda Nochlin, \u201cMorisot\u2019s Wet Nurse:<\/em> The Construction of Work and Leisure in Impressionist Painting,\u201d in Women, Art and Power, and Other Essays<\/em> (London: Routledge, 1988).\r\n\r\nA nourrice from Morvan in Paris<\/em>, date unknown.\r\n\r\nBerthe Morisot, Eug\u00e8ne Manet and His Daughter at Bougival, <\/em>1881.\r\n\r\nBerthe Morisot, Julie and her Greyhound Laerte<\/em>, 1893.\r\n\r\nBerthe Morisot, Portrait of Berthe Morisot and Her Daughter, <\/em>1885.\r\n
4.9\u00a0 Looking Female<\/strong><\/h5>\r\nBerthe Morisot, The Psyche Mirror, <\/em>1876.\r\n\r\nBerthe Morisot, Young Woman Powdering Her Face<\/em>, 1877.\r\n\r\nBerthe Morisot,\u00a0 The Artist\u2019s Daughter, Julie, With Her Nanny,<\/em> ca. 1884.\r\n\r\nBerthe Morisot, Julie Playing a Violin, <\/em>1893.\r\n

Mary Cassatt<\/strong><\/h2>\r\n
4.10\u00a0 An American in Paris<\/strong><\/h5>\r\nMary Cassatt, Portrait of the Artist, <\/em>1878.\r\n\r\nMarie Bashkirtseff, In the Studio<\/em>, 1881.\r\n\r\nMary Cassatt, The Mandolin Player, <\/em>ca. 1868.\r\n\r\nPaul Durand, Ruel in his gallery in 1910<\/em>.\r\n
4.11\u00a0 Modern Attitudes<\/strong><\/h5>\r\nMary Cassatt, Afternoon Tea Party, <\/em>1891.\r\n\r\nMary Cassatt, Lady at the Tea Table, <\/em>ca. 1883-85.\r\n\r\nEdgar Degas, Mary Cassatt, <\/em>ca. 1880-84.\r\n\r\nMary Cassatt, Reading \u201cLe Figaro\u201d, <\/em>1878.\r\n\r\nMary Cassatt, Mrs. Robert S. Cassatt, the Artist\u2019s Mother, <\/em>ca. 1889.\r\n
4.12\u00a0 Femininity and the Gaze<\/strong><\/h5>\r\nMary Cassatt. In the Loge, <\/em>1878.\r\n\r\nPierre-Auguste Renoir, A Box at the Theater (At the Concert), <\/em>1880.\r\n\r\nMary Cassatt, The Loge, <\/em>1882.\r\n
4.13\u00a0 Mother and Child<\/strong><\/h5>\r\nMary Cassatt, Mother and Child, <\/em>1890.\r\n\r\nMary Cassatt, Mother About to Wash Her Sleepy Child,<\/em>, 1880.\r\n\r\nRaphael, \u00a0Madonna and Child with the Book, <\/em>1503.\r\n\r\nVincent Van Gogh, Mother Roulin with Her Baby, <\/em>1888.\r\n\r\nWilliam Bouguereau, Rest,<\/em> 1879.\r\n\r\nMary Cassatt, After the Bath, <\/em>ca. 1901.\r\n\r\nMary Cassatt, Reine Lefebvre Holding a Nude Baby (Mother and Child)<\/em>, ca. 1902-03.\r\n\r\nJoshua Reynolds, Lady Cockburn and Her Three Eldest Sons, <\/em>ca. 1773-75.\r\n\r\n\u00c9lisabeth Louise Vig\u00e9e Le Brun, Self-Portrait with Her Daughter, Julie<\/em>, 1786.\r\n\r\nDaughters of Charity with orphan girls in a park, <\/em>date unknown.\r\n\r\nCouturier, \u201cLes Filles-M\u00e8res,\u201d L\u2019Assiette au Beurre, <\/em>no. 89, December 1902.\r\n\r\nAlfred Stevens, The Hunters of Vincennes or, What is Called Vagrancy<\/em>, 1854.\r\n
4.14\u00a0 New Perspectives<\/strong><\/h5>\r\nMary Cassatt, The Child\u2019s Bath, <\/em>1893.\r\n\r\nEdgar Degas, Woman in a Tub, <\/em>ca. 1883.\r\n\r\nKitagawa Utamaro I, Mother and Child, ca. <\/em>1797.\r\n\r\nMary Cassatt, The Bath,<\/em> ca. 1890-91.\r\n\r\nKitagawa Utamaro I, A Mother Bathing Her Son, <\/em>ca. 1753-1806.\r\n\r\nMary Cassatt, The Bath<\/em>, ca. 1890-91.\r\n
4.15\u00a0 World of Children<\/strong><\/h5>\r\nMary Cassatt, Little Girl in a Blue Armchair, <\/em>1878.\r\n\r\nPierre-Auguste Renoir, A Girl with a Watering Can, <\/em>1876.\r\n\r\n\u00c9mile Jumeau (manufacturer), Poup\u00e9e B\u00e9b\u00e9 Jumeau<\/em>, ca. 1850-1915.\r\n\r\nPierre-Auguste Renoir, Madame Georges Charpentier and Her Children, <\/em>1878.\r\n\r\nMary Cassatt, Little Girl in a Blue Armchair, <\/em>1878.\r\n\r\nMary Cassatt, A Woman and a Girl Driving, <\/em>1881.\r\n\r\nMary Cassatt, Baby Reaching for an Apple, <\/em>1893.\r\n\r\nMary Cassatt, Mother and Child, <\/em>ca. 1905.\r\n\r\nLewis Carroll, Beatrice Hatch, 30 July 1873<\/em>, 1873.\r\n\r\nSally Mann, Virginia at 3, <\/em>1988.\r\n
4.16\u00a0 The Language of Prints<\/strong><\/h5>\r\nMary Cassatt, Mother\u2019s Kiss, <\/em>ca. 1890-91.\r\n\r\nMary Cassatt, Maternal Caress, <\/em>ca. 1890-91.\r\n\r\nMary Cassatt, The Coiffure, <\/em>1890-91.\r\n\r\nMary Cassatt, The Fitting, <\/em>ca. 1890-91.\r\n\r\nKitagawa Utamaro I, Yahoo of the Matsubaya, from the series Selections from Six Houses in Yoshiwara (Seiro rokkasen) (Matsubaya Yosooi)<\/em>, ca. 1801-02.\r\n\r\nMary Cassatt, The Letter, <\/em>ca. 1890-91.\r\n\r\nMary Cassatt, The Bath <\/em>ca. 1890-91.\r\n\r\nJohn Fiorillo, \u201cColor Changes (Fading in Ukiyo-e<\/em>),\u201d Viewing Japanese Prints, date unknown.\r\n\r\nMary Cassatt, The Letter, <\/em>ca. 1890-91.\r\n
4.17\u00a0 \u00a0\u201cModern Woman\u201d<\/strong><\/h5>\r\nWoman\u2019s Building, <\/em>1893.\r\n\r\nMary Cassatt, Modern Woman, <\/em>1893.\r\n\r\nColoured engraving after Mary Cassatt, Modern Woman, <\/em>1893, published in William Walton, World\u2019s Columbian Exposition<\/em>, Art and Architecture, Volume I<\/em> (Philadelphia: George Barrie & Son, 1893), opp. P. xxxvi.\r\n\r\nMary Fairchild MacMonnies, Primitive Woman, <\/em>1893.\r\n\r\nMary Cassatt, Modern Woman, <\/em>1893.\r\n\r\nMary Cassatt, Modern Woman, <\/em>1893, taken from a photo in Harper\u2019s New Monthly Magazine<\/em> (May 1893), inset with a colour detail printed by George Barrie.\r\n\r\nJames Tissot, The Bunch of Lilacs, <\/em>ca. 1875.\r\n\r\nColoured engraving after Mary Cassatt, Modern Woman, <\/em>1893.\r\n\r\nPierre Puvis de Chavannes, Inter Artes et Naturam (Between Art and Nature), <\/em>ca. 1890-95.\r\n\r\nOffice of Board of Lady Managers, portraits of 10 women, <\/em>1896.\r\n\r\nMadeleine Lemaire, Art and Handicraft in the Woman\u2019s Building, <\/em>1893.\r\n\r\nWilliam Henry Jackson, Interior of the Woman\u2019s Building, 1893.\r\n
4.18\u00a0 \u00a0The Suffrage Exhibition<\/strong><\/h5>\r\nMary Cassatt, Louisine Havemeyer, <\/em>1896.\r\n\r\nMary Cassatt, Mother and Child, <\/em>ca. 1905.\r\n\r\nWe Want to Vote for President in 1904, <\/em>ca. 1904.\r\n\r\nDurand-Ruel, Cassatt seated in a chair with an umbrella, <\/em>1913.\r\n\r\nPhotograph of the Suffrage Loan Exhibition at Knoedler Gallery,<\/em> 1915.\r\n\r\nAcad\u00e9mie Julian, Paris, group of art students, <\/em>ca. 1885.\r\n

Chapter 5\r\nThe Modern Portrait in Photography and Impressionist Painting<\/strong><\/h1>\r\nJulia Margaret Cameron, Portrait of Julia Stephen born Julia Jackson, Mother of Virginia Woolf<\/em>, 1867.\r\n\r\nEdgar Degas, Place de la Concorde<\/em>, 1875.\r\n
5.1\u00a0 The Advent of Photography<\/strong><\/h5>\r\nJean-Baptiste Sabatier-Blot, Portrait of Louis Daguerre, <\/em>1844.\r\n\r\nLouis Daguerre, Historique et description des proc\u00e9d\u00e9s<\/em> de daguerr\u00e9otype et du diorama<\/em> (Paris: Alphonse Giroux et cie., 1839).\r\n\r\nLe Daguerr\u00e9otype, The Daguerre-Giroux Camera<\/em>, date unknown.\r\n\r\nPortrait of a Daguerreotypist Displaying Daguerreotypes and Cases,<\/em> 1845.\r\n\r\nStaff at William Henry Fox Talbot\u2019s commercial calotype establishment in Reading, Berkshire, 1846.\r\n
5.2\u00a0 Early Photographic Portraiture<\/strong><\/h5>\r\nAndr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Prince Lobkowitz, <\/em>1858.\r\n\r\nAndr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Demi-Monde II 57, <\/em>ca. 1858-68.\r\n\r\nScovill Manufacturing Co., Wet-plate camera with nine Darlot no. 2 lenses, <\/em>ca. 1860.\r\n\r\nCharles Willson Peale, Mrs. Charles Wilson Peale (Rachel Brewer) and Baby Eleanor, <\/em>1790.\r\n\r\nHelmut Gernsheim and Alison Gernsheim, The History of Photography: From the Earliest Use of the Camera Obscura in the Eleventh Century Up to 1914 <\/em>(London: Oxford University Press, 1955).\r\n\r\nAndr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Emperor Napol\u00e9on III and his family, <\/em>ca. 1858.\r\n\r\nElizabeth Anne McCauley, A. A. E. Disd\u00e9ri and the Carte de Visite Portrait Photograph<\/em> (New Haven: Yale University Press, 1985).\r\n\r\nDolligen, and Andr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Galerie des contemporains, <\/em>vol. 1 (Paris, 1862).\r\n\r\nMayer & Pierson, Carte-de-visite Album of Prominent Personages<\/em>, ca. 1860-70.\r\n\r\nHonor\u00e9 Daumier, \u201cCroquis parisiens: \u2018Pose de l\u2019homme de la nature,\u2019 \u2018Pose de l\u2019homme civilis\u00e9\u2019,\u201d Le Charivari, <\/em>31 March 1853.\r\n\r\nAndr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Fiocre Nemea, <\/em>ca. 1862-65.\r\n\r\nAndr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Soeurs Marchisio, <\/em>1862.\r\n\r\nAndr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, L\u2019art de la photographie<\/em> (Paris: Chez l\u2019auteur, 1862).\r\n\r\nAndr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Self-portrait, <\/em>ca. 1860-65.\r\n\r\nAndr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, L\u2019art de la photographie <\/em>(Paris: Chez l\u2019auteur, 1862).\r\n
5.3\u00a0 Portrait Photography, Art and Aesthetics<\/strong><\/h5>\r\nGustave Le Gray, Self-portrait<\/em>, ca. 1850-55.\r\n\r\nGustave Le Gray, Eug\u00e9nie, Empress of the French, <\/em>1856.\r\n\r\nGustave Le Gray, Forest of Fontainebleau, <\/em>1855.\r\n\r\nGustave Le Gray, View of the Seine, Paris, <\/em>1857.\r\n\r\nGustave Le Gray, The Ramparts of Carcassonne, <\/em>1851.\r\n\r\n\u201cSalons de l\u2019\u00e9tablissement photographique de M. Le Gray, Boulevard des Capucines, no. 35,\u201d L\u2019Illustration, Journal Universel<\/em>, 21 April 1856.\r\n
5.4\u00a0 Beyond the Documentary Portrait: F\u00e9lix Nadar<\/strong><\/h5>\r\nF\u00e9lix Nadar, Nadar (demonstration photograph), <\/em>ca. 1890-1910.\r\n\r\nNadar, Panth\u00e9on Nadar, <\/em>1854.\r\n\r\nDetail of Nadar, Panth\u00e9on Nadar, <\/em>1854.\r\n\r\nNadar, Nadar, Les Binettes contemporaines, <\/em>ca. 1854.\r\n\r\nNadar, Atelier Nadar, 35 Boulevard des Capucines, <\/em>1860.\r\n\r\nNadar, Interior of the studio at 35 Boulevard des Capucines, <\/em>ca. 1861.\r\n\r\nNadar, View of the interior of the studio at 35 Boulevard des Capucines, with Nadar\u2019s Panth\u00e9on, <\/em>ca. 1861.\r\n\r\nNadar, Gustave Dor\u00e9\u2019s Portrait, <\/em>ca. 1883.\r\n\r\nNadar, \u00c9douard Manet,<\/em> ca. 1867-70.\r\n\r\nPaul Nadar, \u201cPhotographs of his father F\u00e9lix Nadar with Michel-Eug\u00e8ne Chevreul, taken on August 18, 1886,\u201d Le Journal Illustr\u00e9, <\/em>5 September 1886.\r\n\r\n\u00c9tienne-Jules Marey, Chronophotographie du saut en longueur, <\/em>ca. 1882-83.\r\n\r\nEadweard Muybridge, The Horse in Motion. \u201cSallie Gardner,\u201d owned by Leland Stanford; running at a 1:40 gait over the Palo Alto track, 19th June 1878<\/em>, ca. 1878.\r\n\r\nNadar, Sarah Bernhardt<\/em>, ca. 1864.\r\n\r\nPaul Nadar, View of the terrace of the studio on Rue d\u2019Anjou, on the Rue des Mathurins<\/em>, ca. 1910.\r\n\r\nNadar, Nadar in a Balloon, <\/em>ca. 1860-70.\r\n\r\nNadar, Aerial view of Paris, Arc de Triomphe, <\/em>1868.\r\n\r\n\u00c9doaurd Manet, View of the 1867 Exposition Universelle, <\/em>1867.\r\n\r\nNadar, Catacombs of Paris, <\/em>1861.\r\n\r\nF\u00e9lix Nadar, When I was a Photographer, <\/em>trans. Eduardo Cadava and Liana Theoduratou (Cambridge: MIT Press, 2015; first published: Paris: Flammarion, 1899).\r\n\r\nWalter Benjamin, Selected Writings, Volume 2: 1927-34<\/em>, ed. Michael W. Jennings, Howard Eiland and Gary Smith (Cambridge: The Belknap Press of Harvard University Press, 1999).\r\n\r\nNadar, M. Zola, \u00e9crivain, <\/em>ca. 1893-94.\r\n\r\nDornac, \u00c9mile Zola, <\/em>ca. 1887-1917.\r\n
5.5\u00a0 Julia Margaret Cameron: Art Photography and Pictorialism<\/strong><\/h5>\r\nGeorge Frederic Watts, Julia Margaret Cameron, <\/em>ca. 1850-1852.\r\n\r\nJulia Margaret Cameron, Sir John F. W. Herschel, <\/em>1867.\r\n\r\nJulia Margaret Cameron, Annie Wilhelmina Philpot<\/em>, January 29, 1864.\r\n\r\nJulia Margaret Cameron, Alfred Lord Tennyson, <\/em>1869.\r\n\r\nJulia Margaret Cameron, Photographic Study \u201cPomona\u201d (Alice Lidell as a young woman), <\/em>1872.\r\n\r\nJulia Margaret Cameron, Portrait of Julia Stephen born Julia Jackson, mother of Virginia Woolf, <\/em>April 1867.\r\n\r\nEdward Steichen, Auguste Rodin seen in a parallel pose with Le Penseur (The Thinker), <\/em>1905.\r\n\r\nAlfred Stieglitz, \u201cMiss S.R.\u201d, <\/em>1904.\r\n
5.6\u00a0 Modern Impressionist Portrait Paintings and the Impact of Photographic Techniques<\/strong><\/h5>\r\nGustave Courbet, Proudhon and His Children, <\/em>1865.\r\n\r\nNadar, Pierre-Joseph Proudhon, <\/em>ca. 1860.\r\n\r\nFranz von Lenbach, Portrait of Richard Wagner, <\/em>ca. 1878.\r\n\r\nLouis Figuier, \u201cFig. 79- Effect de l\u2019appareil de M. Monckhoven pour l\u2019agrandissement des \u00e9preuves photographiques,\u201d Les Merveilles de la science ou description Populaire des inventions modernes<\/em>, vol. 3 (Paris: Librairie Furne, Jouvet et cie, 1869), 123.\r\n\r\nKarl Hahn, Four Portrait Studies of Georg Ebers, ca. <\/em>1895.\r\n\r\nFranz von Lenbach, Self-portrait, <\/em>ca. 1902-03.\r\n
5.7\u00a0 Edgar Degas<\/strong><\/h5>\r\nEdgar Degas, Edmond Duranty<\/em>, 1879.\r\n\r\nEdmond Duranty, La Nouvelle Peinture: \u00c0 propos du groupe d\u2019artistes qui expose dans les galeries Durand-Ruel<\/em> (Paris: E. Dentu, 1876).\r\n\r\nJohann Kaspar Lavater, \u201cPhlegmatic,\u201d \u201cCholeric,\u201d \u201cSanguine,\u201d and \u201cMelancholic,\u201d Physiognomische Fragmente zur Bef\u00f6rderung der Menschenkenntnis und Menschenliebe<\/em> (Leipzig: Weidmanns Erben und Reich, 1778).\r\n\r\nJean Gaspard Lavater (Johann Kaspar Lavater), Essai sur la physiognomonie, destin\u00e9 \u00e0 faire conna\u00eetre l\u2019Homme & \u00e0 le faire aimer, <\/em>trans Antoine-Bernard Caillard, and Marie-\u00c9lisabeth de la Fite, vol. 2 (La Have, 1783).\r\n\r\nEdgar Degas, Diego Martelli, <\/em>1879.\r\n\r\nEdgar Degas, Edmont Duranty, <\/em>1879.\r\n\r\nEdgar Degas, Victoria Dubourg, <\/em>ca. 1868-69.\r\n\r\nWinslow Homer, \u201cArt-Students and Copyists in the Louvre Gallery, Paris,\u201d Harper\u2019s Weekly XII<\/em>, 11 January, 1868.\r\n\r\nVictoria Dubourg, Henri Fantin-Latour, Still Life with Pink and White Stock, <\/em>unknown date.\r\n\r\nJean-Baptiste-Sim\u00e9on Chardin, A Vase of Flowers, <\/em>1750.\r\n\r\nVictoria Dubourg, Flowers, <\/em>unknown date.\r\n\r\nHenri Fantin-Latour, Summer Flowers, <\/em>1880.\r\n\r\nEdgar Degas, Mary Cassatt at the Louvre: The Etruscan Gallery<\/em>, ca. 1879-80.\r\n\r\nEdgar Degas, Mary Cassatt at the Louvre: The Etruscan Gallery, <\/em>ca. 1879-80.\r\n\r\nEdgar Degas, Mary Cassatt at the Louvre, <\/em>ca. 1880.\r\n\r\nEdgar Degas, Mary Cassatt at the Louvre: The Paintings Gallery, <\/em>1885.\r\n\r\nEdgar Degas, Madame Camus, <\/em>ca. 1869-70.\r\n\r\nEdgar Degas, Madame Camus with a Fan, <\/em>ca. 1870.\r\n\r\nEdgar Degas, Madame Camus at the Piano, <\/em>1869.\r\n\r\nEdgar Degas, Degas\u2019s Father Listening to Lorenzo Pagans Playing the Guitar, <\/em>ca. 1869-72.\r\n\r\nEdgar Degas, \u00c9douard Manet and his Wife, <\/em>ca. 1865-69.\r\n\r\nEdgar Degas, H\u00e9l\u00e8ne Rouart in her Father\u2019s Study, <\/em>ca. 1886.\r\n\r\nEdgar Degas, Henri Rouart in front of his Factory, <\/em>ca. 1875.\r\n\r\nEdgar Degas, H\u00e9l\u00e8ne Rouart in her Father\u2019s Study, <\/em>ca. 1886.\r\n\r\nEdgar Degas, The Belleli Family, <\/em>ca. 1858-69.\r\n\r\nEdgar Degas, A Cotton Office in New Orleans, <\/em>1873.\r\n\r\nMarylin R. Brown, Degas and the Business of Art: A Cotton Office in New Orleans <\/em>(University Park: Pennsylvania State University Press, 1994).\r\n\r\nEdgar Degas, Place de la Concorde<\/em>, 1875.\r\n\r\nHippolyte Jouvin, Le Pont-Neuf, vu du quai des Grands Augustins, <\/em>ca. 1860-70.\r\n\r\nRichard, Lenticular or \u201cBrewster\u201d stereoscope, <\/em>ca. 1910-30.\r\n\r\nEdgar Degas, Place de la Concorde<\/em>, 1875.\r\n\r\nGustave Boulanger, Battle in Place de la Concorde in Paris, during the last days of the Commune, <\/em>1871.\r\n\r\nJames Pradier, The Statue of Strasbourg, <\/em>1838.\r\n\r\nPierre-Antoine Demachy, An Execution, Place de la R\u00e9volution, <\/em>ca. 1793.\r\n\r\nEdgar Degas, Place de la Concorde, <\/em>1875.\r\n\r\nHilaire-Germain-Edgar Degas, Jules Taschereau, Edgar Degas and Jacques-\u00c9mile Blanche, <\/em>1895.\r\n\r\nEdgar Degas, Portrait of Ludovic Hal\u00e9vy<\/em>, 1895.\r\n
5.8\u00a0 Impressionist Portraits of Colleagues and Friends<\/strong><\/h5>\r\nFr\u00e9d\u00e9ric Bazille, Portrait of Pierre-Auguste Renoir, <\/em>1867.\r\n\r\nPierre-Auguste Renoir, Claude Monet Reading, <\/em>1872.\r\n\r\n\u00c9douard Manet, Repose, <\/em>1871.\r\n\r\nEdgar Degas, Mary Cassatt, <\/em>ca. 1880-84.\r\n\r\nMary Cassatt, Self-portrait, <\/em>ca. 1878.\r\n\r\nJean-Auguste-Dominique Ingres, Madame Moitessier, <\/em>1856.\r\n
5.9\u00a0 Fr\u00e9d\u00e9ric Bazille<\/strong><\/h5>\r\nFr\u00e9d\u00e9ric Bazille, Self-portrait, <\/em>ca. 1865-66.\r\n\r\nFr\u00e9d\u00e9ric Bazille, Self-portrait at Saint-Sauveur, <\/em>1864.\r\n\r\nFr\u00e9d\u00e9ric Bazille, The Family Reunion, <\/em>1868.\r\n\r\nAndr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, (Family Portrait), <\/em>ca. 1855-65.\r\n\r\nFrans Hals, Family Group in a Landscape, <\/em>ca. 1645-48.\r\n\r\nPhilippe de Champaigne (attrib.), Portrait of the family of Habert de Montmor, <\/em>ca. 1600-50.\r\n\r\nHenri Fantin-Latour, A Studio at Les Batignolles, <\/em>1870.\r\n\r\nFr\u00e9d\u00e9ric Bazille, Bazille\u2019s Studio, <\/em>1870.\r\n\r\nFr\u00e9d\u00e9ric Bazille, Bazille\u2019s Studio, <\/em>1870.\r\n\r\nFr\u00e9d\u00e9ric Bazille, View of the Village, <\/em>1868.\r\n\r\nFr\u00e9d\u00e9ric Bazille, The Fisherman with a Net, <\/em>1868.\r\n
5.10\u00a0 Pierre-Auguste Renoir and the Group Portrait<\/strong><\/h5>\r\n\u00c9douard Manet, The Monet Family in Their Garden at Argenteuil, <\/em>1874.\r\n\r\nPierre-Auguste Renoir, Madame Monet and Her Son, <\/em>1874.\r\n\r\nPierre-Auguste Renoir, Luncheon of the Boating Party, <\/em>ca. 1880-81.\r\n\r\nPierre-Auguste Renoir, Dance at Le Moulin de la Galette, <\/em>1876.\r\n\r\nThe Moulin de la Galette and Montmartre\u2019s Rural character, <\/em>ca. 1900.\r\n\r\nGeorges Rivi\u00e8re, Renoir et ses amis <\/em>(Paris: H. Floury, 1921).\r\n\r\nPierre-Auguste Renoir, Dance at Le Moulin de la Galette, <\/em>1876.\r\n\r\nPierre-Auguste Renoir, Dance at the Moulin de la Galette, <\/em>1876.\r\n\r\n\u00c9douard Manet, Masked Ball at the Opera, <\/em>1873.\r\n\r\nPierre-Auguste Renoir, Madame Georges Charpentier and her Children, <\/em>1878.\r\n\r\nFran\u00e7ois Boucher, Portrait of Madame de Pompadour, <\/em>1756.\r\n\r\nJean-Auguste-Dominique Ingres, Portrait of Marie-Fran\u00e7oise Rivi\u00e8re, <\/em>1805.\r\n
5.11\u00a0\u00a0\u00a0\u00a0 Renoir\u2019s Images of Children<\/strong><\/h5>\r\nPierre-Auguste Renoir, On the Terrasse, <\/em>1881.\r\n\r\nPierre-Auguste Renoir, Marguerite-Th\u00e9r\u00e8se (Margot) Berard, <\/em>1879.\r\n\r\nPierre-Auguste Renoir, Sketches of Heads (The Berard Children)<\/em>, 1881.\r\n\r\nPierre-Auguste Renoir, The Daughters of Catulle Mend\u00e8s, Huguette (1871-1904), Claudine (1876-1937), and Helyonne (1879-1955)<\/em>, 1888.\r\n\r\nAuguste Renoir, Pink and Blue- The Cahen d\u2019Anvers Girls, <\/em>1881.\r\n\r\nRaphael, Madonna of the Pinks, <\/em>ca. 1506-07.\r\n\r\nRaphael, Psyche Brings a Vessel up to Venus, <\/em>ca. 1517-18.\r\n\r\nPierre-Auguste Renoir, Mother Nursing her Child, <\/em>1885.\r\n\r\nRaphael, Madonna della Seggiola, <\/em>ca. 1513-14.\r\n\r\nPierre-Auguste Renoir, Claude Renoir, Playing, <\/em>ca. 1905.\r\n

Chapter 6\r\nClaude Monet and the Impressionist Landscape<\/strong><\/h1>\r\nClaude Monet, Poppy Field in a Hollow near Giverny<\/em>, 1885. Oil on canvas. 65.1 x 81.3 cm. Museum of Fine Arts, Boston.\r\n\r\n6.1\u00a0 Beyond the Atelier<\/strong>\r\n\r\nClaude Monet, A Corner of the Studio, <\/em>1861.\r\n\r\nDetail of Claude Monet, A Corner of the Studio, <\/em>1861.\r\n\r\nDetail of Claude Monet, A Corner of the Studio, <\/em>1861.\r\n\r\nDetail of Claude Monet, A Corner of the Studio, <\/em>1861.\r\n\r\n\u00c9douard-Antoine Renard, Atelier d\u2019Eug\u00e8ne Delacroix, <\/em>1852.\r\n\r\nEug\u00e8ne Delacroix, Combat of the Giaour and the Pasha, <\/em>1835.\r\n\r\nCharles Lhullier, Portrait of Claude Monet in Uniform, <\/em>1861.\r\n\r\nGustave Courbet, The Artist\u2019s Studio, a Real Allegory Summing Up Seven Years of my Artistic and Moral Life, <\/em>1854.\r\n\r\nClaude Monet, Luncheon on the Grass, <\/em>1866.\r\n\r\n\u00c9douard Manet, Luncheon on the Grass, <\/em>1863.\r\n\r\nClaude Monet, Luncheon on the Grass<\/em> (right section), ca. 1865-66.\r\n\r\nClaude Monet, Luncheon on the Grass, <\/em>1866.\r\n\r\nClaude Monet, Pav\u00e9 de Chailly in the Fontainebleau Forest, <\/em>1865.\r\n
6.2\u00a0 Controversial Style<\/strong><\/h5>\r\nClaude Monet, Camille<\/em>, 1866.\r\n\r\nClaude Monet, Madame Monet Wearing a Kimono, <\/em>1875.\r\n\r\nHishikawa Moronobu, Dancer, <\/em>ca. 1618-94.\r\n\r\nDetail of Claude Monet, Madame Monet Wearing a Kimono, <\/em>1875.\r\n\r\nInstallation in Gallery 2, \u201cMonet\u2019s Camille: Re-imagining the Full-Length Portrait\u201d: Promenade dress, 1865-68.\r\n\r\nClaude Monet, Camille, <\/em>1866.\r\n\r\nGloria Groom, ed., Impressionism, Fashion, and Modernity<\/em> (Chicago: Art Institute of Chicago, 2012).\r\n\r\nClaude Monet, Madame Louis Joachim Gaudibert, <\/em>1868.\r\n
6.3\u00a0 Claude Monet, Eug\u00e8ne Boudin and Normandy<\/strong><\/h5>\r\nClaude Monet, Camille on the Beach in Trouville, <\/em>1870.\r\n\r\nClaude Monet, The Beach at Trouville, <\/em>1870.\r\n\r\nEug\u00e8ne Louis Boudin, Beach Scene in Trouville, <\/em>ca. 1870-74.\r\n
6.4\u00a0 Argenteuil and the Advent of Impressionism<\/strong><\/h5>\r\nClaude Monet, The Highway Bridge Under Repair, <\/em>1872.\r\n\r\nPierre-Auguste Renoir, Claude Monet Painting in His Garden at Argenteuil, <\/em>1873.\r\n\r\nClaude Monet, The Artist\u2019s Garden in Argenteuil (A Corner of the Garden with Dahlias), <\/em>1873.\r\n\r\nClaude Monet, Springtime, <\/em>1872.\r\n\r\nClaude Monet, Gladioli, <\/em>ca. 1876.\r\n\r\nDetail of Claude Monet, Gladioli<\/em>, ca. 1876.\r\n\r\nDetail of Claude Monet, Gladioli, <\/em>ca. 1876.\r\n\r\nClaude Monet, Gladioli, <\/em>ca. 1876.\r\n\r\nJames Tissot, Spring Morning, <\/em>ca. 1875.\r\n\r\nPaul Hayes Tucker, The Impressionists at Argenteuil<\/em> (Washington: National Gallery of Art; Harford: Wadsworth Atheneum Museum of Art, 2000).\r\n\r\nClaude Monet, The Studio Boat, <\/em>1876.\r\n\r\nClaude Monet, Landscape: The Parc Monceau, <\/em>1876.\r\n\r\nClaude Monet, The Parc Monceau, <\/em>1878.\r\n\r\nClaude Monet, The Parc Monceau, <\/em>1878.\r\n
6.5\u00a0 Impressionism: A Critical Concept<\/strong><\/h5>\r\nClaude Monet, Impression, Sunrise, <\/em>1872.\r\n\r\nPierre-Henri de Valenciennes, Landscape with Ruins,<\/em> ca. 1782-85.\r\n\r\nCamille Pisarro, Hoarfrost at Ennery, <\/em>1873.\r\n\r\nClaude Monet, Boulevard des Capucines<\/em>, 1873.\r\n\r\nPaul C\u00e9zanne, The Hanged Man\u2019s House, <\/em>ca. 1874.\r\n\r\nBerthe Morisot, The Harbor at Cherbourg, <\/em>1871.\r\n\r\nPierre-Auguste Renoir, La loge, <\/em>1874.\r\n\r\nClaude Monet, Impression, Sunrise<\/em>, 1872.\r\n\r\nJoseph Mallord William Turner, Landscape with Water, <\/em>ca. 1840.\r\n\r\nJoseph Mallord William Turner, Norham Castle, Sunrise, <\/em>1845.\r\n\r\nJohn Constable, Weymouth Bay: Bowleaze Cove and Jordon Hill, <\/em>ca. 1816.\r\n\r\nJoseph Mallord William Turner, The Lake, Petworth, Sunset; Sample Study, <\/em>ca. 1827.\r\n\r\nClaude Lorrain, Sunrise, <\/em>ca. 1646-47.\r\n
6.6\u00a0 Landscape and the Legacy of Romanticism<\/strong><\/h5>\r\nJean-Baptiste-Camille Corot, The Bridge at Narni, <\/em>1826.\r\n\r\nCamille Pissarro, Jalais Hill, Pontoise, <\/em>1867.\r\n\r\nClaude Monet, Impressionism, Sunrise<\/em>, 1872.\r\n\r\nArthur Rimbaud, Lettre Du Voyant & Other Writings<\/em>. Translated and edited by J.J. Loe (Moonlight Books, n.d.)\r\n\r\nJohn Constable, The Hay Wain, <\/em>1821.\r\n\r\nJoseph Mallord William Turner, The Fighting Temeraire Tugged to her Last Berth to be Broken Up, 1838<\/em>, 1839.\r\n\r\nCaspar David Friedrich, Rocky Ravine in the Elbe Sandstone Mountains, <\/em>1822.\r\n\r\nCaspar David Friedrich, Two Men Contemplating the Moon, <\/em>ca. 1825-30.\r\n\r\nJean-Baptiste-Camille Corot, Forest of Fontainebleau, <\/em>1834.\r\n\r\nCharles-Fran\u00e7ois Daubigny, The Pond at Gylieu, <\/em>1853.\r\n\r\nTh\u00e9odore Rousseau, The Village of Becquigny, <\/em>ca. 1857.\r\n\r\nJean-Fran\u00e7ois Millet, Autumn Landscape with a Flock of Turkeys, <\/em>ca. 1872-73.\r\n\r\nTh\u00e9odore G\u00e9ricault, Riderless Racers at Rome<\/em>, 1817.\r\n\r\nEug\u00e8ne Delacroix, Death of Sardanapalus<\/em>, 1844.\r\n\r\nClaude Monet, A Corner of the Studio, <\/em>1861.\r\n\r\nClaude Monet, Poppy Field in a Hollow near Giverny<\/em>, 1885.\r\n
6.7\u00a0 Serial Subjects<\/strong><\/h5>\r\nClaude Monet, Poplars, <\/em>1891.\r\n\r\nClaude Monet, The Four Trees, <\/em>1891.\r\n\r\nClaude Monet, Stacks of Wheat (End of Summer),<\/em> ca. 1890-91.\r\n\r\nClaude Monet, Grainstack, White Forest Effect, <\/em>ca. 1890-91.\r\n\r\nClaude Monet, Haystack, End of Summer, <\/em>ca. 1890-91.\r\n\r\nClaude Monet, Stacks of Wheat, (End of Summer), <\/em>ca. 1890-91.\r\n\r\nClaude Monet, Wheatstacks, Snow Effect, Morning<\/em>, 1891.\r\n\r\nClaude Monet, Rouen Cathedral Portal, Front View,<\/em> 1892.\r\n\r\nClaude Monet, Rouen Cathedral, Fa\u00e7ade, <\/em>ca. 1892-94.\r\n
6.8\u00a0 \u00a0Colour Theory, Paint Tubes and Portable Easels: Monet\u2019s Modern Palette<\/strong><\/h5>\r\nFrederich Wilhelm Joseph von Schelling, Einleitung zu seinem Entwurf eines Systems der Naturphilosophie<\/em> (Jena and Leipzig: Christian Ernst Gabler, 1799).\r\n
    \r\n \t
  1. Br\u00fccke and H. Helmholtz, Principes scientifiques des Beaux-Arts, essais et fragments de th\u00e9orie, suivis de L\u2019Optique de la peinture <\/em>(Paris: Librairie Germer Bailli\u00e8re et cie, 1878).<\/li>\r\n \t
  2. Br\u00fccke and H. Helmholtz, Principes scientifiques des Beaux-Arts, essais et fragments de th\u00e9orie, suivis de L\u2019Optique de la peinture <\/em>(Paris: Librairie Germer Bailli\u00e8re et cie, 1878), 62.<\/li>\r\n<\/ol>\r\nClaude Monet, V\u00e9theuil, <\/em>1901.\r\n\r\nJohann Wolfgang von Goethe, Goethe\u2019s symmetric colour wheel with associated symbolic qualities, 1809.\r\n\r\nMichel-Eug\u00e8ne Chevreul, De la loi du contraste simultan\u00e9 des couleurs et de l\u2019assortiment des objets color\u00e9s <\/em>(...) (Paris: Pitois-Levrault et cie, libraires, 1839).\r\n\r\nMichel-Eug\u00e8ne Chevreul, \u201cConstruction chromatique hemisph\u00e9rique de Mr. Chevreuil, Fig 15,\u201d in De la loi du contraste simultan\u00e9 des couleurs<\/em> (Paris: Pitois-Levrault et cie, libraires, 1839).\r\n\r\nMichel-Eug\u00e8ne Chevreul, \u201cAssortiments des couleurs simples et binaires des artistes avec le blanc, le noir et le gris,\u201d in De la loi du contraste simultan\u00e9 des couleurs<\/em> (Paris: Pitois-Levrault et cie, libraires, 1839), pl. 7.\r\n\r\nClaude Monet, The Artist\u2019s Garden at V\u00e9theuil, <\/em>1881.\r\n\r\nGrumbacher (Manufacturer), Vintage French Metamorphic Traveling Painters Box Easel<\/em>, ca. 1930-40.\r\n\r\nThe Windsor & Newton paint tube, ca. 1840-1911.\r\n\r\nClaude Monet, Poppy Field in a Hollow near Giverny, <\/em>1885.\r\n\r\nClaude Monet, Camille Monet on Her Deathbed, <\/em>1879.\r\n\r\nHenri Regnault, Portrait of Madame Mazois on Her Deathbed, <\/em>1866.\r\n\r\nClaude Monet, Camille Monet on Her Deathbed, <\/em>1879.\r\n
    6.9\u00a0 Impressionism and Music<\/strong><\/h5>\r\nClaude Monet, Water Lilies, <\/em>1906.\r\n\r\nClaude Monet, The Path Through the Irises, <\/em>ca. 1914-17.\r\n\r\nClaude Monet, Water Lilies, <\/em>1906.\r\n\r\nClaude Monet, Port-Goulphar, Belle-\u00cele, <\/em>1887.\r\n\r\nClaude Monet, Weeping Willow, <\/em>ca. 1918.\r\n\r\nJean-Jacques Grandville et al., Les fleurs anim\u00e9es, <\/em>(Paris: Garnier Fr\u00e8res, Libraires-\u00c9diteurs, 1867).\r\n
    6.10\u00a0 Landscape and the Female Form<\/strong><\/h5>\r\nClaude Monet, Poppy Field in Argenteuil, <\/em>1873.\r\n\r\nClaude Monet, Camille Monet in the Garden at Argenteuil, <\/em>1876.\r\n\r\nClaude Monet, Woman with a Parasol- Madame Monet and Her Son, <\/em>1875.\r\n\r\nClaude Monet, Woman with a Parasol, facing left, <\/em>1886.\r\n\r\nClaude Monet, Study of a Figure Outdoors, <\/em>1886.\r\n\r\nClaude Monet, Boating on the River Epte, <\/em>1890.\r\n\r\nClaude Monet, The Bark at Giverny, <\/em>ca. 1887.\r\n\r\nClaude Monet, Water Lilies, <\/em>ca. 1915.\r\n\r\nJean-Baptiste-Camille Corot, A Morning. The Dance of the Nymphs, <\/em>ca. 1850.\r\n\r\nSandro Botticelli, The Birth of Venus, <\/em>ca. 1484-86.\r\n\r\nAlexandre Cabanel, The Birth of Venus, <\/em>1875.\r\n\r\nSandro Botticelli, Spring, <\/em>ca. 1480.\r\n\r\nPhillipp Otto Runge, The Morning, <\/em>1808.\r\n\r\nPhillip Otto Runge, Red Currant, <\/em>ca. Late 18th, early 19th century.\r\n\r\nPhillip Otto Runge, A Stalk of Lilies with Six Blooms, <\/em>1808.\r\n\r\nPhillip Otto Runge, The Morning, <\/em>1808.\r\n\r\nClaude Monet, Nympheas, <\/em>1907.\r\n
    6.11\u00a0 The Garden at Giverny: Influence of the Orient<\/strong><\/h5>\r\nJanine Marsh, Monet\u2019s House at Giverny Normandy, The Good Life France, <\/em>date unknown.\r\n\r\nClaude Monet, The House Among the Roses, <\/em>1925.\r\n\r\n\u201cClaude Monet\u2019s Garden, Our Tour of Giverny and his Water Pond,\u201d Frame to frame- Bob and Jean: Discovering the World Through our Lens, <\/em>31 August 2022.\r\n\r\nRitsurin Koen, Takamatsu, Japan.\r\n\r\nRitsurin Garden, Takamatsu, Japan.\r\n\r\nStone Bridge, Rikugien.\r\n\r\nYuan Jiang, The Palace of Nine Perfections, <\/em>1691.\r\n\r\nGarden, Ch\u00e2teau de Vaux-le Vicomte, <\/em>Maincy.\r\n\r\nLouis le Vau, Andr\u00e9 le N\u00f4tre, and Charles le Brun, Palace of Versailles, 1664-1710.\r\n\r\nJohn Passmore, Man\u2019s Responsibility for Nature<\/em> (New York: Scribner, 1974).\r\n\r\n\u201cTypes nationaux \u00e0 l\u2019Exposition universelle.- Japon.- Int\u00e9rieur de la maison du gouverneur de Satzouma. (D'apr\u00e8s le dessin de M. Montani),\u201d Le Monde Illustr\u00e9, <\/em>28 September 1867.\r\n\r\nLe Japon Artistique, <\/em>no. 3, July 1888.\r\n\r\nClaude Lorrain (Claude Gell\u00e9e), Pastoral Landscape: The Roman Campagna, <\/em>ca. 1639.\r\n\r\nSir William Temple, Upon the Gardens of Epicurus, with Other XVIIth Century Garden Essays<\/em> (London: Chatto and Windus, 1908)\r\n\r\nSamuel Taylor Coleridge, Kubla Khan,<\/em> ca. 1797-1816.\r\n\r\nMap of Giverny showing Monet\u2019s property, \u201cM. Claude Monet. Jardin, Village de Giverny,\u201d Archives D\u00e9partementales de l\u2019Eure, \u00c9vreux.\r\n\r\nUtagawa Hiroshige I, The Plum Garden at Kameido Shrine, <\/em>1857.\r\n\r\nUtagawa Hiroshige I, Sumida River, the Wood of the Water God, <\/em>at Masaki, <\/em>ca. 1856-58.\r\n
    6.12\u00a0 Water Landscapes<\/strong><\/h5>\r\nClaude Monet, Water Lilies, Evening Effect<\/em>, 1897.\r\n\r\nClaude Monet, Water Lilies, <\/em>ca. 1898.\r\n\r\nClaude Monet, Water Lilies, <\/em>ca. 1897-98.\r\n\r\nClaude Monet, Bridge Over a Pond of Water Lilies, <\/em>1899.\r\n\r\nClaude Monet, Japanese Footbridge and the Water Lily Pool, Giverny, <\/em>1899.\r\n\r\nNymphaea Mexicana (Yellow Water Lily).\r\n\r\nJoseph Bory Latour-Marliac, Water Lily Ponds<\/em>.\r\n\r\nA gardener cleaning out the pond near the Japanese Bridge, Giverny.\r\n\r\nUtagawa Hiroshige, 69 Stations of the Kisokaido- Moon at Seba, <\/em>ca. 1797-1858.\r\n\r\nClaude Monet, Water Lily Pond and Weeping Willow, <\/em>1916.\r\n
    6.13\u00a0 The Water Lilies <\/em>Installation: Monet and Immersive Experience<\/strong><\/h5>\r\nClaude Monet, Reflections of Cloud on the Water-Lily Pond, <\/em>ca. 1920.\r\n\r\nClaude Monet, Green Reflections, <\/em>ca. 1914-26.\r\n\r\nClaude Monet, The Water Lilies- Setting Sun, <\/em>ca. 1914-26.\r\n\r\nHenri Manuel, Claude Monet in His Studio, <\/em>ca. 1920.\r\n\r\nPhotograph of Claude Monet in his studio at Giverny.\r\n\r\nClaude Monet and Camille Lefebvre (architect), Nymph\u00e9as (Water Lilies) Gallery, first room, facing east wall, <\/em>ca. 1914-26.\r\n\r\nCamille Lefebvre, Water Lilies Gallery Floorplan for the Orangerie des Tuileries, <\/em>1922.\r\n\r\nClaude Monet and Camille Lefebvre (architect), Water Lilies Gallery beneath Vellum Canopy and Skylight, first room, facing west wall, <\/em>ca. 1914-26.\r\n\r\nDetail of Claude Monet, Les nuages (Clouds)<\/em>, ca. 1914-26.\r\n\r\nDetail of Claude Monet, Le Matin clair aux saules (Clear Morning with Willows), <\/em>ca. 1914-26.\r\n\r\nClaude Monet and Camille Lefebvre (architect), Water Lilies Gallery, second room, facing east wall, <\/em>ca. 1914-26.\r\n

    Chapter 7\r\nPaul Gauguin and the Colonial Myth of Primitivism<\/strong><\/h1>\r\nPaul Gauguin, Nevermore<\/em>, 1897.\r\n
    7.1\u00a0 Early Influences<\/strong><\/h5>\r\nLouis-Maurice Boutet de Movel, Paul Gauguin Wearing a Breton Jacket, <\/em>1891.\r\n\r\nPaul Gauguin, Working the Land, <\/em>1873.\r\n\r\nCamille Pissarro, The Harvest, Pontoise<\/em>, 1881.\r\n\r\nPaul Gauguin, Suzanne Sewing, <\/em>1880.\r\n\r\nPaul Gauguin, Portrait of Clovis and Pola Gauguin, <\/em>1885.\r\n\r\nPaul Gauguin, Double-Necked Vase Joined by Stirrup-Shaped Handle, <\/em>ca. 1886-87.\r\n\r\nPaul Gauguin, Vessel with Women and Goats, <\/em>ca. 1887-89.\r\n\r\nErnest Chaplet, Vase, <\/em>ca. 1881-1887.\r\n
    7.2\u00a0 Brittany and the Path to Primitivism<\/strong><\/h5>\r\nPaul Gauguin, Bonjour Monsieur Gauguin, <\/em>1889.\r\n\r\nGustave Courbet, The Meeting, or Bonjour, Monsieur Courbet!, <\/em>1854.\r\n\r\nArtist Unknown, The Calvary of Notre-Dame de Trono\u00ebn, <\/em>15th century.\r\n\r\nPaul Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), <\/em>1888.\r\n\r\nKatsushika Hokusai, Sumo Wrestlers, Denshin kaishu Hokusai manga, <\/em>ca. 19th century.\r\n\r\nPaul Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), <\/em>1888.\r\n\r\nPaul Gauguin, Four Breton Women, <\/em>1886.\r\n\r\nPaul Gauguin, Breton Woman, <\/em>1886.\r\n\r\nPaul Gauguin, Bretonne de profil \u00e0 droite, <\/em>1886.\r\n\r\nPaul Gauguin, Four Studies of Breton Women; Shapes and Vases [Verso], <\/em>ca. 1884-88.\r\n\r\nPaul Gauguin, Four Breton Women<\/em>, 1886.\r\n\r\nPaul Gauguin, Christmas Night (The Blessing of the Oxen), <\/em>ca. 1894-98.\r\n\r\nCamille Pissarro, Place du Th\u00e9\u00e2tre Fran\u00e7ais, Paris: Rain, <\/em>1898.\r\n\r\nPaul C\u00e9zanne, Mont Sainte-Victoire, <\/em>ca. 1887.\r\n
    7.3\u00a0 \u00c9mile Bernard and Synthetism<\/strong><\/h5>\r\n\u00c9mile Bernard, Two Breton Women in a Meadow, <\/em>1886.\r\n\r\n\u00c9mile Bernard, Breton Women in the Meadow (Le Pardon de Pont-Aven)<\/em>, 1888.\r\n\r\nVincent Van Gogh (Copy after \u00c9mile Bernard), Breton Women and Children, <\/em>1888.\r\n\r\n\u00c9mile Bernard, Self-Portrait with Portrait of Gauguin, <\/em>1888.\r\n\r\n\u00c9mile Bernard, Breton Women in the Meadow (Le Pardon de Pont-Aven), <\/em>1888.\r\n\r\n\u00c9mile Bernard, Buckwheat Harvesters at Pont-Aven, <\/em>1888.\r\n\r\n\u00c9mile Bernard, Yellow Christ, <\/em>1889.\r\n\r\nPaul Gauguin, The Yellow Christ, <\/em>1889.\r\n\r\nPaul Gauguin, The Green Christ, <\/em>1889.\r\n
    7.4\u00a0 The Studio of the South and the Volpini Exhibition<\/strong><\/h5>\r\nPaul Gauguin, Van Gogh Painting Sunflowers, <\/em>1888.\r\n\r\nGauguin in his Studio, <\/em>from the Noa-Noa album, ca. 1893-94.\r\n
    7.5\u00a0 Portraits of the Artist as Other<\/strong><\/h5>\r\nPaul Gauguin, Christ on the Mount of Olives, <\/em>1889.\r\n\r\nPaul Gauguin, Self-Portrait with Portrait of \u00c9mile Bernard (Les Mis\u00e9rables), <\/em>1888.\r\n\r\nPaul Gauguin, Christ on the Mount of Olives,<\/em> 1889.\r\n\r\nPaul Gauguin, Portrait of the Artist with the Yellow Christ, <\/em>1891.\r\n\r\nPaul Gauguin, Jug in the Form of a Head, <\/em>1889.\r\n\r\nPaul Gauguin, Self-Portrait, <\/em>ca. 1889.\r\n\r\nPaul Gauguin, Portrait of the Artist with the Idol, <\/em>ca. 1893.\r\n\r\nPaul Gauguin, Beach at Le Pouldu, <\/em>1889.\r\n\r\nPaul Gauguin, Haymaking Season, or Harvest: Le Pouldu, <\/em>1890.\r\n
    7.6\u00a0 \u2018Savage\u2019 Influences: Tahiti 1891<\/strong><\/h5>\r\nJules Agnostini, Gauguin House at Tahiti, <\/em>1905.\r\n\r\nS\u00e9bastien Charles Giraud, Prise du fort de Fautahua \u00e0 Tahiti, <\/em>1857.\r\n\r\nGeorge Dobson Valentine, Port of Papeete, Tahiti, <\/em>1887.\r\n\r\nA conference of all church members in French Polynesia held on the atoll of Faaite, January 6, 1893.\r\n\r\nJean-L\u00e9on G\u00e9r\u00f4me, Dance of the Aimeh, <\/em>1863.\r\n\r\nEdward W. Said, Orientalism <\/em>(Pantheon Books, 1978).\r\n\r\nJean-Auguste-Dominique Ingres, The Valpin\u00e7on Bather, <\/em>1808.\r\n\r\nJohn Frederick Lewis, The Harem- Introduction of an Abyssinian Slave, <\/em>ca. 1860.\r\n\r\nPierre Loti, The Marriage of Loti<\/em> (1880).\r\n\r\nGustave Le Bon, Lois Psychologiques de l\u2019\u00e9volution des peuples, <\/em>3rd ed. (Paris: F\u00e9lix Alcan, \u00e9diteur, 1898).\r\n\r\nHerbert Spencer, Descriptive Sociology; or Groups of Sociological Facts, <\/em>parts 1-8, classified and arranged by Spencer, compiled and abstracted by David Duncan, Richard Schepping, and James Collier (London, Williams & Norgate, 1873-1881).\r\n\r\nCharles Darwin, On the Origin of Species<\/em> (London: John Murray, 1859).\r\n\r\nJohn James Rousseau [Jean-Jacques Rousseau], Discourse upon the Origin and Foundation of the Inequality Among Mankind<\/em> (London: R. and J.D. in Pall Mall, 1761).\r\n\r\nDenis Diderot, Suppl\u00e9ment au Voyage de Bougainville <\/em>(Paris: NRF, 1921 [1771]).\r\n\r\nJoseph Ducreux, Louis-Antoine, Comte de Bougainville, <\/em>1790.\r\n\r\nThe Trocad\u00e9ro Palace, home of the Mus\u00e9e d\u2019Ethnographie du Trocad\u00e9ro, in the 1890s.\r\n\r\n\u201cMus\u00e9e d\u2019Ethnographie du Trocad\u00e9ro. Salle d\u2019Asie B1. Vitrine Indochine, mo\u00ef,\u201d 1934.\r\n\r\nPaul Gauguin, Woman with Mango Fruits, <\/em>ca. 1889.\r\n
    7.7\u00a0 Fantastical Figures, Scandalous Subjects<\/strong><\/h5>\r\nPaul Gauguin, The Delightful Land, <\/em>1892.\r\n\r\nPaul Gauguin, Paul Gauguin\u2019s Intimate Journals<\/em> (New York: Crown Publishers, 1936).\r\n\r\nEug\u00e8ne Emmanuel Amaury Duval, Birth of Venus, <\/em>1862.\r\n\r\nPierre Loti, Rarahu<\/em>, date unknown.\r\n\r\nPaul Gauguin, Tehamana Has Many Parents, or, The Ancestors of Tehamana, <\/em>1893.\r\n\r\nTahitian Girls wearing Mother Hubbard dress, ca. 1860-79.\r\n\r\nPaul Gauguin, Spirit of the Dead Watching [Spectre Watches Over Her. Mano Tupapau], <\/em>1892.\r\n\r\nPierre Puvis de Chavannes, The Dream, <\/em>1883.\r\n\r\n\u00c9mile Bernard, Madeleine in the Bois d\u2019Amour, <\/em>1888.\r\n\r\nPaul Gauguin, The Loss of Virginity, <\/em>ca. 1890-91.\r\n\r\n\u00c9douard Manet, Olympia, <\/em>1863.\r\n\r\nPaul Gauguin, Spirit of the Dead Watching [Spectre Watches Over Her, Mano Tupapau], <\/em>1892.\r\n
    7.8\u00a0 Noa Noa<\/em><\/strong><\/h5>\r\nLinda Goddard, Savage Tales: The Writings of Paul Gauguin <\/em>(New Haven: Yale University Press, 2019).\r\n\r\nPaul Gauguin, Noa Noa, <\/em>trans. O.F. Theis (New York: Nicholas L. Brown, 1920).\r\n\r\nPaul Gauguin, Le Sourire <\/em>(Caricature of Governor Gallet), ca. 1899-1900.\r\n\r\nPaul Gauguin, Femmes et d\u00e9esses polyn\u00e9siennes, <\/em>Album Noa Noa, folio 30 recto, ca. 1893.\r\n\r\nPaul Gauguin, Portrait with Hat, <\/em>1893.\r\n
    7.9\u00a0 Existential Manifesto: Where do we come from? Who are we? Where are we going?<\/em><\/strong><\/h5>\r\nPaul Gauguin, Where do we come from? Who are we? Where are we going? <\/em>1897.\r\n\r\nPierre Puvis de Chavannes, The Sacred Groves, Beloved of the Arts and the Muses, <\/em>ca. 1884-89.\r\n\r\nPierre Puvis de Chavannes, Hope, <\/em>1872.\r\n\r\nPaul Gauguin, Where do we come from? Who are we? Where are we going? <\/em>1897.\r\n\r\nThomas Carlyle, Sartor Resartus, <\/em>ed. Archibald MacMechan (Boston: Ginn & Company, Publishers, 1897).\r\n
    7.10\u00a0 Exoticism, Eroticism and the Spirituality<\/strong><\/h5>\r\nPaul Gauguin, Tehamana Has Many Parents, or, The Ancestors of Tehamana, <\/em>1893.\r\n\r\nPaul Gauguin, Spirit of the Dead Watching [Spectre Watches Over Her. <\/em>Mano Tupapau], <\/em>1892.\r\n\r\nPaul Gauguin, Nevermore, <\/em>1897.\r\n\r\nEdgar Poe, Le corbeau (...) avec illustrations par \u00c9douard Manet, <\/em>trans. St\u00e9phane Mallarm\u00e9 (Paris: Richard Lesclide, \u00c9diteur, 1875).\r\n\r\n\u00c9douard Manet, The Flying Raven, Ex Libris for the Raven by Edgar Allan Poe, <\/em>1875.\r\n
    7.11\u00a0 Critical Conversations<\/strong><\/h5>\r\nNorma Broude, ed. New Perspectives: After Postmodernism<\/em> (Bloomsbury Visual Arts, 2018).\r\n\r\nPaul Gauguin, Two Tahihitan Women, <\/em>1899.\r\n\r\nBuy My Apples, <\/em>anonymous, ca. 19th century.\r\n\r\nLinda Nochlin, Buy My Bananas, <\/em>1972.\r\n\r\nPaul Gauguin, Collaged images and text, date unknown.\r\n\r\nPaul Gauguin, \u201cChapitre IV, Le conteur parle,\u201d from the Noa Noa <\/em>album, 1894.\r\n\r\nPaul Gauguin, Self-Portrait with Hat, <\/em>1893.\r\n\r\nPaul Gauguin., Self-Portrait with Palette, <\/em>1894.\r\n\r\nPaul Gauguin, Self-Portrait (Near Golgotha), <\/em>1896.\r\n\r\nFlora Tristan, The Worker\u2019s Union, <\/em>trans. Beverly Livingston (Chicago: University of Illinois Press, 1983 [1843]).\r\n\r\nPaul Gauguin, Idol in the Shell, <\/em>ca. 1900-15.\r\n\r\nPaul Gauguin, Head of a Young Girl, <\/em>ca. 1893-94.\r\n\r\nPaul Gauguin, Oviri, <\/em>1894.\r\n\r\nPaul Gauguin, Vase, <\/em>ca. 1887-88.\r\n\r\nPaul Gauguin, Noa Noa, <\/em>ca. 1893-94.\r\n\r\nPaul Gauguin, The Delightful Land, <\/em>1892.\r\n\r\nPaul Gauguin, Delightful Land, <\/em>1893-94.\r\n\r\nPaul Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), <\/em>1888.\r\n\r\nPaul Gauguin, Bathers, <\/em>1902.\r\n\r\nPaul Gauguin, The Sorceror of Hiva Oa. Marquesan Man in the Red Cape, <\/em>1902.\r\n\r\nPaul Gauguin, Tehamana Has Many Parents, or, The Ancestors of Tehamana, <\/em>1893.\r\n\r\nPaula Modersohn-Becker, Child with Goldfish Bowl, <\/em>ca. 1906-07.\r\n\r\nPaula Modersohn-Becker, Self-Portrait Nude with Amber Necklace, <\/em>1906.\r\n\r\nAmrita Sher-Gil, Bride\u2019s Toilet, <\/em>1937.\r\n\r\nAmrita Sher-Girl, Self-Portrait, <\/em>1930.\r\n\r\nKay George, Exhibition 103.<\/em>\r\n\r\nTyla Vaeau Ta\u2019ufo\u2019ou, When Will You Marry?<\/em> (Dee and Dallas Do Gauguin Series), 2009.\r\n\r\nDebra Drexler, Gauguin Zombie <\/em>(installation view), 2002.\r\n\r\nAdrienne Pao, Hula Girl Dress Tent, <\/em>2017.\r\n

    Chapter 8\r\nMadness and Modernity<\/h1>\r\nEdvard Munch, Evening on Karl Johan Street<\/em>, 1892.\r\n

    Francisco Jos\u00e9 de Goya<\/h2>\r\n

    \u00a08.1\u00a0 Goya\u2019s Demons<\/strong><\/h5>\r\nFrancisco de Goya, The Sleep of Reason Produces Monsters (No. 43), from Los Caprichos, <\/em>1799.\r\n\r\nFrancisco de Goya, Courtyard with Lunatics<\/em>, or, Yard with Madmen, <\/em>1794.\r\n\r\nFrancisco de Goya, The Madhouse, <\/em>ca. 1808-12.\r\n\r\nFrancisco de Goya, Cannibals Chopping up Victims, <\/em>ca. 1808-14.\r\n\r\nFrancisco de Goya, Saturn Devouring His Son, <\/em>ca. 1819-23.\r\n
    8.2\u00a0 \u00a0 \u00a0 \u00a0Goya's Disasters of War<\/em><\/strong><\/h5>\r\nFrancisco de Goya, The Same (The Disasters of War)<\/em>, ca. 1810-14.\r\n\r\nFrancisco de Goya, They do not want to (The Disasters of War)<\/em>, ca. 1810-14.\r\n

    James Ensor<\/h2>\r\n

    8.3\u00a0 \u00a0Psychic Malaise<\/strong><\/h5>\r\nJames Ensor, Ensor and his Easel, <\/em>ca. 1890.\r\n\r\nJames Ensor, The Beach at Ostende, <\/em>1890.\r\n\r\nMichel Foucault, Folie et d\u00e9raison: Histoire de la folie \u00e0 l\u2019\u00e2ge classique<\/em> (Paris: Plon, 1961).\r\n\r\nJames Ensor, Afternoon in Ostend, <\/em>1881.\r\n\r\nJames Ensor, Russian Music, <\/em>1881.\r\n\r\nJames Ensor, Afternoon in Ostend, <\/em>1881.\r\n\r\nJames Ensor, The Bourgeois Salon, <\/em>1881.\r\n
    8.4\u00a0 The Painter of Masks<\/strong><\/h5>\r\nJames Ensor, Scandalized Mask, <\/em>1883.\r\n\r\nJames Ensor, Skeleton Looking at Chinoiseries, <\/em>1885.\r\n\r\nJames Ensor, Skeletons Warming Themselves, <\/em>1889.\r\n\r\nJames Ensor, Self-Portrait with Masks, <\/em>1899.\r\n\r\nMikhail Bakhtin, Rabelais and his World, <\/em>trans. H\u00e9l\u00e8ne Iswolsky (Bloomington: Indiana University Press, 1965).\r\n\r\nJames Ensor, Old Lady with Masks, <\/em>1889.\r\n\r\nJames Ensor, Portrait of the Artist\u2019s Niece in Chinese Costume, <\/em>1899.\r\n
    8.5\u00a0 The Carnivalesque: Images of Social Morbidity and Spiritual Crisis<\/strong><\/h5>\r\nLouis Tinayre, \u201cRoux- Les chasseurs du 3e r\u00e9giment, sous les ordres du Capitaine Bulot, dispersant par la force les \u00e9meutiers qui viennent d\u2019incendier la Verrerie du Hainaut,\u201d, Le Monde Illustr\u00e9, <\/em>April 10, 1886.\r\n\r\nJames Ensor, Christ\u2019s Entry into Brussels in 1889, <\/em>1888.\r\n\r\nPieter Bruegel the Elder, The Fight Between Carnival and Lent, <\/em>1559.\r\n\r\nDetail of Pieter Bruegel the Elder, The Fight Between Carnival and Lent, <\/em>1559.\r\n\r\nDetail of Pieter Bruegel the Elder, The Fight Between Carnival and Lent, <\/em>1559.\r\n\r\nJames Ensor, Christ\u2019s Entry into Brussels in 1889, <\/em>1888.\r\n\r\nJames Ensor, The Strike, <\/em>1888.\r\n\r\nJames Ensor, Doctrinal Nourishment, second plate, <\/em>1889.\r\n\r\nJames Ensor, Christ\u2019s Entry into Brussels in 1889, <\/em>1888.\r\n\r\nJames Ensor, Christ\u2019s Entry into Jerusalem, <\/em>1885.\r\n\r\nDetail of James Ensor, Christ\u2019s Entry into Brussels in 1889, <\/em>1888.\r\n\r\nHieronymous Bosch, The Ship of Fools, <\/em>ca. 1490-1500.\r\n
    8.6\u00a0 Madness, Mania, Melancholy: The Artist as Observer<\/strong><\/h5>\r\nJames Ensor, Demons Taunting Me, <\/em>1895.\r\n\r\nMartin Schongauer, Saint Anthony Tormented by Demons, <\/em>ca. 1470-74.\r\n\r\nLucas Cranach the Elder, The Temptation of St. Anthony, <\/em>1506.\r\n

    Vincent Van Gogh<\/h2>\r\n

    8.7\u00a0\u00a0 Finding the Spiritual in Art<\/strong><\/h5>\r\nVincent Van Gogh, Coalmine in the Borinage, <\/em>1879.\r\n\r\nVincent Van Gogh, Miners\u2019 Wives Carrying Sacks of Coal, <\/em>1882.\r\n\r\nJules Breton, The Weeders, <\/em>1860.\r\n\r\nLetter from Vincent Van Gogh to his brother Th\u00e9o, 1881.\r\n
    8.8\u00a0 Van Gogh\u2019s Empathetic Eye<\/strong><\/h5>\r\nVincent van Gogh, Sorrow, <\/em>ca. 1882.\r\n\r\nAnton Mauve, A Dutch Road, <\/em>ca. 1880\r\n\r\nVincent van Gogh, Weaver, <\/em>1884.\r\n\r\nVincent van Gogh, Weaver at the Loom, <\/em>1884.\r\n\r\nVincent van Gogh. Weaver at the Loom, <\/em>1884.\r\n\r\nVincent van Gogh, Weber Near an Open Window, <\/em>1884.\r\n\r\nVincent van Gogh, Weaver Facing Right (Half-Figure), <\/em>1884.\r\n\r\nCharles Dickens, \u201cHard Times,\u201d Household Words, <\/em>no. 210, Saturday, April 1, 1854.\r\n\r\nCurrer Bell, Shirley: A Tale, <\/em>vol. 1 (London: Smith, Elder and Co., 1849)\r\n\r\nVincent van Gogh, A Weaver\u2019s Cottage, <\/em>1884.\r\n\r\nVincent van Gogh, Weaver Facing Left, <\/em>1884.\r\n\r\nVincent van Gogh, The Potato Eaters, <\/em>April 1885.\r\n\r\nVincent van Gogh, A letter from Vincent van Gogh to His brother Th\u00e9o van Gogh, sketch of The Potato Eaters, <\/em>1885.\r\n\r\nKatsushika Hokusai, Chrysanthemums and Bee, <\/em>from and untitled series of large flowers, ca. 1833-34.\r\n\r\nVincent van Gogh, Still Life with Meadow Flowers and Roses, <\/em>1886.\r\n\r\nVincent van Gogh, Small Bottle with Peonies and Blue Delphiniums, <\/em>1886.\r\n\r\nCharles Blanc, Colour Star (etoile des couleurs), <\/em>1867.\r\n
    8.9\u00a0 Arles: Aesthetic Advances and Visions of Madness<\/strong><\/h5>\r\nVincent van Gogh, The Sower, <\/em>1888.\r\n\r\nVincent van Gogh, The Sower III (version 1), <\/em>1888.\r\n\r\nVincent van Gogh, The Sower III (version 2), <\/em>1888.\r\n\r\nVincent van Gogh, The Sower (after Millet), <\/em>1889.\r\n\r\nVincent van Gogh, Sower with Setting Sun (<\/em>in Letter 501a), <\/em>1888.\r\n\r\nVincent van Gogh, Sower with Setting Sun<\/em> (in Letter B7, to \u00c9mile Bernard), 1888.\r\n\r\nVincent van Gogh, Sower with Setting Sun<\/em> (in Letter 558a, to Th\u00e9o van Gogh), 1888.\r\n\r\nVincent van Gogh, The Sower, <\/em>1888.\r\n\r\nJean-Francois Millet, The Sower, <\/em>1850.\r\n\r\nVincent van Gogh, The Sower III (version 1)<\/em>, 1888.\r\n\r\nVincent van Gogh, Still Life: Vase with Fourteen Sunflowers, <\/em>1888.\r\n\r\nVincent van Gogh, Self-Portrait with a Bandaged Ear, <\/em>1889.\r\n\r\nVincent van Gogh, The Courtyard of the Hospital at Arles<\/em>, 1889.\r\n\r\nVincent van Gogh, Orchards in Blossom, View of Arles, <\/em>1889.\r\n\r\nVincent van Gogh, Ravine with a Small Stream, <\/em>1889.\r\n\r\nVincent van Gogh, Mountainous Landscape Behind Saint-Paul Hospital, <\/em>1889.\r\n\r\nVincent van Gogh, The Starry Night, <\/em>1889.\r\n\r\nVincent van Gogh, Cypresses, <\/em>1889.\r\n\r\nVincent van Gogh, Dormitory in the Hospital in Arles, <\/em>1889.\r\n
    8.10\u00a0 Asylum<\/strong><\/h5>\r\nJeffrey A. Lieberman with Ogi Ogas, Shrinks: The Untold Story of Psychiatry<\/em> (Boston: Little Brown, 2015).\r\n\r\nJames Hogg after Francis Wheatley, John Howard Visiting a Prisoner: a group of inmates sitting or lying on the floor, <\/em>1787.\r\n\r\nJohn Howard, The States of Prisons in England and Wales with Preliminary Observations, and An Account of Some Foreign Prisons<\/em> (Warrington: William Eyres, 1777).\r\n\r\nWilliam Hogarth, The Orgy, <\/em>ca. 1732-35.\r\n\r\nWilliam Hogarth, The Arrest, <\/em>ca. 1732-35.\r\n\r\nWilliam Hogarth, The Gaming House, <\/em>ca. 1732-35.\r\n\r\nWilliam Hogarth, The Madhouse, <\/em>ca. 1732-35.\r\n\r\nWilliam Hogarth, In the Madhouse, <\/em>1735 (Retouches by Hogarth in 1763, adding Britannia).\r\n\r\nFrancisco de Goya, The Madhouse, <\/em>ca. 1808-1812.\r\n\r\nWilliam Blake, Nebuchadnezzar, <\/em>ca. 1795-1805.\r\n\r\nCharles Bell, Essays on the Anatomy and Philosophy of Expression <\/em>(London: John Murray, 1824), 121.\r\n\r\nCharles Bell, Essays on the Anatomy of Expression in Painting<\/em> (London: Longman, Hurst, Rees and Orne, 1806), 151.\r\n\r\nArnaud, James Norris, Bethlem Patient<\/em>, ca. 1814-1815.\r\n\r\nSamuel Tuke, Description of the Retreat, an Institution Near York for Insane Persons of the Society of Friends<\/em> (...) (York: Darton, Harvey and Co., 1813).\r\n\r\nTony Robert-Fleury, Pinel, Releasing Lunatics from their Chains at the Salpt\u00eatri\u00e8re Asylum in Paris in 1795<\/em>, 1876.\r\n\r\nPhilippe Pinel, A Treatise on Insanity <\/em>(...), trans. D. D. Davis (Sheffield: Cadell and Davies, Strand, London, 1806).\r\n
      \r\n \t
    1. [\u00c9tienne-Jean Georget], De la folie: consid\u00e9rations sur cette maladie; son si\u00e8ge et ses sympt\u00f4mes; la nature et le mode d\u2019action de ses causes; sa march et ses terminaisons; les diff\u00e9rences qui la distinguent du d\u00e9lire aigu; les moyens de traitement qui lui conviennent; suivies de recherches cadav\u00e9riques <\/em>(Paris: Chez Crevot, 1820).<\/li>\r\n<\/ol>\r\n
      8.11\u00a0 Portraits of Madness and Soulful Self-Images<\/strong><\/h5>\r\nTh\u00e9odore G\u00e9ricault, Portrait of a Demented Woman, <\/em>ca. 1819-1822.\r\n\r\nTh\u00e9odore G\u00e9ricault, A Madwoman and Compulsive Gambler, <\/em>ca. 1820.\r\n\r\nTh\u00e9odore G\u00e9ricault, Man with Delusions of Military Command, <\/em>ca. 1819-1822.\r\n\r\nTh\u00e9odore G\u00e9ricault, Portrait of A Kleptomaniac or The Mad Assassin, <\/em>1822.\r\n\r\nA Chronological list of self-portraits painted by van Gogh during his stay in Paris between 1886 and 1888.\r\n\r\nJohan Kaspar [Caspar] Lavater, \u201cPhlegmatic,\u201d \u201cCholeric,\u201d \u201cSanguine,\u201d and \u201cMelancholic,\u201d in Physiognomische Fragmente zur Bef\u00f6rderung der Menschenkennt und Menschenliebe<\/em> (Leipzig: Weidmanns Erben und Reich, 1778).\r\n\r\nJohann Caspar [Kaspar] Lavater, A man with a nose indicating reflectiveness, <\/em>according to Lavater, ca. 1794.\r\n\r\nThomas O\u2019Conor Sloane, Lavater\u2019s Apparatus for Taking Silhouettes<\/em> (from an ancient engraving of 1783), 1895.\r\n\r\nJohann Caspar Lavater, Two eyes, expressing a character of genius, according to Lavater, <\/em>ca. 1794.\r\n\r\nVincent van Gogh, Self-Portrait as a Painter, <\/em>ca. 1887-88.\r\n\r\nVincent van Gogh, Self-Portrait, <\/em>1887.\r\n\r\nVincent van Gogh, Self-Portrait with Pipe and Straw Hat, <\/em>1887.\r\n\r\nVincent van Gogh, Self-Portrait, Dedicated to Paul Gauguin, <\/em>1888.\r\n\r\nCesare Lombroso, L\u2019homme de genie, <\/em>trad. Colonna D\u2019Istria (Paris: F\u00e9lic Alcan, \u00e9diteur, 1889).\r\n\r\nCesare Lombroso, L\u2019homme de genie, <\/em>trad. Colonna D\u2019Istria (Paris: F\u00e9lic Alcan, \u00e9diteur, 1889), 122.\r\n\r\nVincent van Gogh, Self-Portrait, Dedicated to Paul Gauguin, <\/em>1888.\r\n\r\nArtist Unknown, Fazang Buddhist Monk, <\/em>13th century.\r\n\r\nVincent van Gogh, Self-Portrait with a Bandaged Ear, <\/em>1889.\r\n\r\nVincent van Gogh, Self-Portrait, <\/em>1889.\r\n\r\nVincent van Gogh, Self-Portrait, <\/em>1889.\r\n\r\nVincent van Gogh, Self-Portrait, <\/em>1889.\r\n\r\nVincent van Gogh, Self-Portrait<\/em>, late August 1889.\r\n\r\nVincent van Gogh, Self-Portrait, <\/em>September 1889.\r\n\r\nVincent van Gogh, Wheatfield with Crows, <\/em>1890.\r\n

      Edvard Munch<\/h2>\r\n

      8.12\u00a0 Death and Life<\/strong><\/h5>\r\nEdvard Munch, Self-Portrait, <\/em>1882.\r\n\r\nEdvard Munch, Death and Spring, <\/em>1893.\r\n\r\nEdvard Munch, The Sick Child, <\/em>ca. 1885-1886.\r\n\r\nEdvard Munch, The Sick Child I, <\/em>1896.\r\n\r\nEdvard Munch, The Sick Girl I, <\/em>1896.\r\n
      8.13\u00a0 The Frieze of Life<\/strong><\/h5>\r\nEdvard Munch, Death in the Sickroom, <\/em>1893.\r\n\r\nEdvard Munch, The Scream, <\/em>1893.\r\n\r\nEdvard Munch, The Vampire, <\/em>1893.\r\n\r\nEdvard Munch, Madonna, <\/em>1894.\r\n\r\nEdvard Munch, Anxiety, <\/em>1894.\r\n\r\nEdvard Munch, Melancholy, <\/em>1894.\r\n\r\nEdvard Munch, Death in the Sickroom, <\/em>1893.\r\n\r\nEdvard Munch, The Scream, <\/em>1893.\r\n\r\nEdvard Munch, The Vampire, <\/em>1893.\r\n
      8.14\u00a0 Female Representations: Halos and Hysteria<\/strong><\/h5>\r\nEdvard Munch, Madonna, <\/em>1894.\r\n\r\nFranz Anton Mesmer, Mesmerism: The Discovery of Animal Magnetism: English Translation of Mesmer\u2019s historic M\u00e9moire sur la d\u00e9couverte du Magn\u00e9tisme<\/em> (Soul Care Publishing, 2016).\r\n\r\nArnold Schopenhauer, The Essential Philosopher <\/em>(Allen and Unwin, 1962).\r\n\r\nAndr\u00e9 Brouillet, A Clinical Lesson at the Salp\u00eatri\u00e8re, <\/em>1887.\r\n\r\nAndrea del Sarto, Liberation of the Woman Possessed by the Devil, <\/em>ca. 1509-1510.\r\n\r\nDetail of Andrea del Sarto, Liberation of the Woman Possessed by the Devil<\/em>, ca. 1509-1510.\r\n\r\nJean-Martin Charcot, Iconographie photographique de la Salp\u00eatri\u00e8re<\/em>, 1878.\r\n\r\nEdvard Munch, Madonna, <\/em>ca. 1895-1902.\r\n
      8.15\u00a0 Alienation, Angst and Collective Despair<\/strong><\/h5>\r\nEdvard Munch, Anxiety, <\/em>1894.\r\n\r\nEdvard Munch, Evening on Karl Johan Street, <\/em>1892.\r\n\r\nEdvard Munch, The Scream, <\/em>1893.\r\n\r\nEdvard Munch, Anxiety, <\/em>1894.\r\n\r\nEdvard Munch, Anxiety, <\/em>1896.\r\n\r\nEdvard Munch, Melancholy<\/em>, 1894.\r\n\r\nEdvard Munch, Despair, <\/em>1894.\r\n\r\nEdvard Munch, Evening. Melancholy, <\/em>1891.\r\n\r\nEdvard Munch, Melancholy, <\/em>presumably 1892.\r\n\r\nEdvard Munch, Jealousy, <\/em>1895.\r\n\r\nEdvard Munch, The Kiss, <\/em>1897.\r\n\r\nEdvard Munch, Munch in the Open Air Studio, <\/em>ca. 1927.\r\n\r\nEdvard Munch, The Scream, <\/em>1893.\r\n\r\nEdvard Munch, Edvard Munch in the open-air studio at Ekely<\/em>, 1933.\r\n\r\nEdvard Munch, The Sun, <\/em>1911.\r\n\r\nThe Aula at the University in Oslo.\r\n

      Ferdinand Hodler<\/h2>\r\n

      8.16\u00a0 \u201cAlways a Corpse in the House\u201d: The Search for Constancy<\/strong><\/h5>\r\nFerdinand Hodler, Self-Portrait, <\/em>1912.\r\n\r\nBarth\u00e9lemey Menn, Lakeside near Bellerive (Lac L\u00e9man)<\/em>, ca. 1860.\r\n\r\nFerdinand Hodler, Landscape Near Madrid<\/em>, 1878.\r\n\r\nFerdinand Hodler, Watchmakers\u2019 Workshop in Madrid<\/em>, 1879.\r\n\r\nFerdinand Hodler, Self-Portrait with Wing Collar, <\/em>1879.\r\n
      8.17\u00a0 Symbolic Expressionism<\/strong><\/h5>\r\nFerdinand Hodler, The Night, <\/em>ca. 1889-90.\r\n
      8.18\u00a0 Disillusion and Psychic Despair<\/strong><\/h5>\r\nFerdinand Hodler, The Disillusioned One, <\/em>1892.\r\n\r\nFerdinand Hodler, Eurythmy, <\/em>1895.\r\n\r\nFerdinand Hodler, Eurythmie<\/em>, 1895.\r\n
      8.19\u00a0 Hodler\u2019s Parallelism<\/strong><\/h5>\r\nFerdinand Hodler, The Day, <\/em>ca. 1904-1906.\r\n\r\nFerdinand Hodler, The Grand Muveran, <\/em>ca. 1912.\r\n

      Chapter 9\r\nBlack Slavery, Racism and Modernity<\/h1>\r\nHenry Ossawa Tanner, The Thankful Poor, <\/em>1894.\r\n
      9.1\u00a0 \u00a0The Atlantic Slave Trade: Records and Reverberations<\/strong><\/h5>\r\nTh\u00e9odore G\u00e9ricault, The Raft of the Medusa, <\/em>1819.\r\n\r\nTh\u00e9odore G\u00e9ricault, Boxers, <\/em>1818.\r\n\r\nJ.B. Henry Savigny and Alexander Corr\u00e9ard, 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<\/em> (London: Printed for Henry Colburn, 1818).\r\n\r\nTh\u00e9odore G\u00e9ricault, A Young Negro Woman, <\/em>ca. 1810.\r\n\r\nTh\u00e9odore G\u00e9ricault, Head of a Black Man, <\/em>ca. 1818-1819.\r\n\r\nTh\u00e9odore G\u00e9ricault, The Raft of the Medusa, <\/em>1819.\r\n\r\nDetail of Th\u00e9odore G\u00e9ricault, The Raft of the Medusa, <\/em>1819.\r\n\r\nTh\u00e9odore G\u00e9ricault, The Slave Market, <\/em>ca. 1823.\r\n\r\nTh\u00e9odore G\u00e9ricault, The Slave Trade, <\/em>1823.\r\n\r\nTh\u00e9odore G\u00e9ricault, The Raft of the Medusa, <\/em>1819.\r\n\r\nMichelangelo, The Last Judgment, <\/em>ca. 1534-41.\r\n\r\nMichelangelo, detail from The Last Judgment, <\/em>ca 1534-41.\r\n
      9.2\u00a0 \u00a0The Atlantic Slave Trade: Records and Reverberations<\/strong><\/h5>\r\nJoseph Mallord William Turner, The Slave Ship, <\/em>1840.\r\n\r\nBlunt, Meeting of the Society for the Extinction of the Slave Trade & For the Civilization of Africa, <\/em>1840.\r\n\r\nTriangle Trade.\r\n
      9.3\u00a0 \u00a0Abolition and Aesthetics in Britain: J. M. W. Turner\u2019s Slave Ship<\/em><\/strong><\/h5>\r\nJoseph Mallord William Turner, The Slave Ship, <\/em>1840.\r\n\r\nThomas Clarkson, The History of the Rise, Progress, and Accomplishment of the Abolition of the African Slave-Trade by the British Parliament, <\/em>vol. 1 (New York: John S. Taylor, 1836).\r\n\r\nJoseph Mallord William Turner, The Slave Ship, <\/em>1840.\r\n\r\nLieutenant Henri Samuel Hawker, The Portuguese Slaver Diligent\u00e9 captured by H.M. Sloop Pearl with 600 slaves on board, taken in charge to Nassau, <\/em>1838.\r\n\r\nDetail of Joseph Mallord William Turner, The Slave Ship, <\/em>1840.\r\n\r\nDetail of Joseph Mallord William Turner, The Slave Ship, <\/em>1840.\r\n\r\nFrancois-Auguste Biard, The Slave Trade (Slaves on the West Coast of Africa), <\/em>ca. 1833.\r\n
      9.4\u00a0 Picturing Enslavement: Genre, Race and Stereotype in Antebellum America<\/strong><\/h5>\r\nWilliam Sidney Mount, Farmers Nooning, <\/em>1836.\r\n\r\nWilliam Sidney Mount, Farmers Nooning, <\/em>1836.\r\n\r\nJames Goodwyn Clonney, Waking Up, <\/em>1851.\r\n\r\nHarriet Beecher Stowe, Uncle Tom\u2019s Cabin<\/em> (London: H.G. Bohn, 1852).\r\n\r\nRobert Seldon Duncanson, Uncle Tom and Little Eva, <\/em>1853.\r\n\r\nEdwin M. Stanton, \u201cReport 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\u2019s Inquire Commission,\u201d 1864.\r\n\r\nWilliam Sidney Mount, The Power of Music, <\/em>1847.\r\n\r\nWilliam Sidney Mount, The Bone Player, <\/em>1856.\r\n\r\nDan D. Emmett, Dandy Jim from Caroline<\/em> (London: Delmaine & Co., ca. 1844).\r\n\r\nPhotograph of Dan Emmett in blackface, ca. 1860.\r\n\r\nJ.W. Turner, Songs of the Virginia Serenaders<\/em> (Boston: Keith\u2019s Music Publishing House, 1844).\r\n\r\nEastman Johnson, Negro Life at the South, <\/em>1859.\r\n\r\nStephen Foster, \u201cMy Old Kentucky Home\u201d (Baltimore: Thomas G. Doyle, 1853).\r\n\r\nAmerican Anti-Slavery Society, \u201cSlave Market of America\u201d (New York: American Anti-Slavery Society, 1836).\r\n
      9.5\u00a0 Civil War<\/strong><\/h5>\r\nEastman Johnson, A Ride for Liberty- The Fugitive Slaves, <\/em>ca. 1862.\r\n\r\nMary Armstrong, ex-slave, Houston, 1937.\r\n\r\nAbigail Cooper, Map of contraband camps on a relief map compiled from historical imagery data from 1930, reproduced from \u201cLord, Until I Reach My Home\u201d: Inside the Refugee Camps of the American Civil War,\u201d PhD dissertation, University of Pennsylvania, 2015.\r\n\r\nJames F. Gibson, Cumberland Landing, Va. Group of \u201ccontrabands\u201d at Foller\u2019s house, 1862.\r\n\r\nDavid B. Woodbury, Arrival of Negro family in the lines, 1863.\r\n\r\n\u201cNegroes Leaving their Home,\u201d Harper\u2019s Weekly, <\/em>April 9, 1864.\r\n\r\n\u201cHeavy Weights- Arrival of a Party at League Island,\u201d 1872.\r\n\r\nSlabtown, a refugee camp in Hampton, Virginia, now the site of Hampton University.\r\n\r\nTimothy H. O\u2019Sullivan, Culpeper, Va. \u201cContrabands,\u201d 1863.\r\n\r\nA contraband school, ca. 1860-65.\r\n\r\nEastman Johnson, The Lord is My Shepherd, <\/em>1863.\r\n
      9.6\u00a0 Emancipation, Black Civil Rights and Social Reform<\/strong><\/h5>\r\nThomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.\r\n\r\nDetail of Thomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.\r\n\r\nDetail of Thomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.\r\n\r\nDetail of Thomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.\r\n\r\nDetail of Thomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.\r\n\r\nDetail of Thomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.\r\n\r\nDetail of Thomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.\r\n\r\nThomas Nast, Emancipation, <\/em>ca. 1865.\r\n\r\n\u201cGordon under medical inspection,\u201d Harper\u2019s Weekly, <\/em>July 4, 1863.\r\n\r\nMartin Benjamin Brady, Gordon, Scourged Back, <\/em>1863.\r\n\r\nWilliam D. McPherson, and Mr. Oliver, Civil War CDV of Gordon (slave) upon arrival at the Baton Rouge Union camp, 1863.\r\n\r\nThomas Nast, \u201cSlavery is Dead(?),\u201d Harper\u2019s Weekly, <\/em>January 12, 1867.\r\n\r\nFrank Vizetelly, \u201cThe riots in New York: The mob lynching a negro in Clarkson Street,\u201d Illustrated London News, <\/em>August 8, 1863.\r\n\r\nThomas Nast, \u201cWorse than Slavery,\u201d Harper\u2019s Weekly, <\/em>October 24, 1874.\r\n\r\nThomas Nast, \u201cMove on! Has the Native American no rights that the naturalized American is bound to respect?\u201d Harper\u2019s Weekly, <\/em>April 22, 1871.\r\n\r\nThomas Nast, \u201c\u2018Every Dog\u2019 (No distinction of color) \u2018Has his day\u2019,\u201d Harper\u2019s Weekly, <\/em>February 8, 1879.\r\n
      9.7\u00a0 Winslow Homer: Bearing Witness<\/strong><\/h5>\r\nWinslow Homer, \u201cA Bivouac Fire on the Potomac,\u201d Harper\u2019s Weekly, <\/em>December 21, 1861.\r\n\r\nWinslow Homer, Campaign sketches: Our jolly cook,<\/em> 1863.\r\n\r\nWinslow Homer, Defiance: Inviting a Shot Before Petersburg, <\/em>1864.\r\n\r\nWinslow Homer, Army Boots, <\/em>1865.\r\n\r\nWinslow Homer, The Bright Side, <\/em>1865.\r\n\r\nWinslow Homer, Near Andersonville, <\/em>ca. 1866.\r\n
      9.8\u00a0 Reconstruction and the Remaking of Identity<\/strong><\/h5>\r\nWinslow Homer, Weaning the Calf, <\/em>1875.\r\n\r\nWinslow Homer, Uncle Ned at Home, <\/em>1875.\r\n\r\nWinslow Homer, A Visit from the Old Mistress, <\/em>1876.\r\n\r\nWinslow Homer, The Busy Bee, <\/em>1875.\r\n\r\nWinslow Homer, Taking Sunflower to Teacher, <\/em>1875.\r\n\r\nWinslow Homer, The Watermelon Boys, <\/em>1876.\r\n\r\n\u201cThe South.- The Watermelon Season- A Scene on the Savannah Docks,\u201d Frank Leslie\u2019s Illustrated Newspaper, <\/em>July 5, 1873.\r\n\r\nRichard Felton Outcault, Postcard depicting a caricatured boy eating a slice of watermelon, 1909.\r\n\r\nAshtray in the form of a \u201cpicaninny\u201d boy eating a watermelon slice, ca. 1920-29.\r\n\r\nSculpture in the form of a caricatured man standing on a watermelon slice, 20th century.\r\n\r\nJosiah 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<\/em> (Philadelphia: Lippincott, Grambo & Co., 1855), 459.\r\n
      9.9\u00a0 The Tools of Freedom<\/strong><\/h5>\r\nJohn Roger, Uncle Ned\u2019s School<\/em>, 1866.\r\n\r\nWinslow Homer, Sunday Morning in Virginia, <\/em>1877.\r\n\r\nWinslow Homer 1860-1870, <\/em>1870.\r\n\r\nWinslow Homer, Upland Cotton, <\/em>ca. 1879-95.\r\n\r\nWinslow Homer, The Cotton Pickers, <\/em>1876.\r\n\r\nWinslow Homer, Dressing for the Carnival, <\/em>1877.\r\n
      9.10\u00a0 Nature as Metaphor<\/strong><\/h5>\r\nWinslow Homer, West India Divers, <\/em>1899.\r\n\r\nWinslow Homer, The Gulf Stream, <\/em>1899.\r\n\r\nWinslow Homer, Shark Fishing, <\/em>1885.\r\n\r\nWinslow Homer, Sharks; <\/em>also, The Derelict, <\/em>1885.\r\n\r\nWinslow Homer, The Gulf Stream, <\/em>ca. 1899.\r\n\r\nWinslow Homer, The Gulf Stream, <\/em>ca. 1898-1899.\r\n\r\nWinslow Homer, The Gulf Stream, <\/em>1899.\r\n\r\nFrederick Douglass, The Speeches of Frederick Douglass: A Critical Edition <\/em>(New Haven: Yale University Press, 2018).\r\n\r\nWinslow Homer, \u201cExpulsion of negroes and abolitionists from Tremont Temple, Boston, Massachusetts, on December 3, 1860,\u201d Harper\u2019s Weekly, <\/em>December 15, 1860.\r\n
      9.11\u00a0 Frederick Douglass\u2019s \u201cPictures and Progress\u201d: Reclaiming Race<\/strong><\/h5>\r\nFrederick Douglass, ca. 1855.\r\n\r\nMathew B. Brady, Frederick Douglass, <\/em>ca. 1880.\r\n\r\nFrederick Douglass, Narrative of the Life of Frederick Douglass, and American Slave<\/em> (Boston: Anti-Slavery Office, 1845).\r\n\r\nPhotographic portraits of Frederick Douglass.\r\n\r\nThe Liberator, <\/em>April 20, 1849, 2.\r\n
      9.12\u00a0 Edmonia Lewis and Henry Ossawa Tanner: Breaking Free<\/strong><\/h5>\r\nHenry Rocher, restored by Adam Cuerden, \u201cEdmonia Lewis,\u201d ca. 1870.\r\n\r\nEdmonia Lewis, Forever Free, <\/em>1867.\r\n\r\nEdmonia Lewis, The Death of Cleopatra, <\/em>1876.\r\n\r\nFrederick Gutekunst, Henry Ossawa Tanner, <\/em>1907.\r\n\r\nHenry Ossawa Tanner, The Banjo Lesson, <\/em>1893.\r\n\r\nHenry Ossawa Tanner, The Thankful Poor, <\/em>1894.\r\n\r\nHenry Ossawa Tanner, The Raising of Lazarus, <\/em>1896.\r\n

      Chapter 10\r\nReligious and Racial Antisemitism and the Jewish Artist<\/h1>\r\nMoritz Daniel Oppenheim, Lavater and Lessing visit Moses Mendelssohn, <\/em>1856.\r\n\r\nMoritz Daniel Oppenheim, The Return of the Jewish Volunteer from the Wars of Liberation to his Family Still Living in Accordance with Old Customs, <\/em>1833-34.\r\n
      10.1\u00a0 A Narrative of Exclusion and Emancipation<\/strong><\/h5>\r\nMatthias Gr\u00fcnewald, The Mocking of Christ, <\/em>ca. 1503-05.\r\n\r\nHartmann Schedel, \u201cMartyrdom of Simon von Trent,\u201d Nuremberg World Chronicle, <\/em>1493. Woodcuts by Michael Wolgemut and Wilhelm Pleydenwurff.\r\n\r\nPortrait of a Jewish Man Smiling at a Denture with a Gold Tooth, <\/em>ca. 1870.\r\n\r\nLouis-Fran\u00e7ois Couch\u00e9, Napoleon Grants the Jews Freedom to Worship, <\/em>1806.\r\n\r\nJean-Baptiste Mauzaisse, Napoleon I, Crowned by the Allegory of Time, Writes the Code Civil, <\/em>1833.\r\n
      10.2\u00a0 England: Expressions of Myth and Faith<\/strong><\/h5>\r\nWilliam Blake, Job and His Family, <\/em>ca. 1805-20.\r\n\r\nWilliam Blake, Satan Smiting Job with Boils, <\/em>1805.\r\n\r\nWilliam Blake, Job and His Family Restored to Prosperity, <\/em>1805.\r\n\r\nJulia Margaret Cameron, William Holman Hunt in His Eastern Dress, <\/em>1864.\r\n\r\nWilliam Holman Hunt, The Finding of the Saviour in the Temple, <\/em>ca. 1854-55.\r\n\r\nWilliam Holman Hunt, Christ Amongst the Doctors, <\/em>1886-87, 1890.\r\n\r\nSimeon Solomon, Self-Portrait, <\/em>1859.\r\n\r\nSimeon Solomon, Dante\u2019s First Meeting with Beatrice, <\/em>1859-63.\r\n\r\nSimeon Solomon, The Mother of Moses, <\/em>1860.\r\n
      10.3\u00a0 Imaging the Jewess: La belle juive \/ L\u2019affreuse juive<\/em><\/strong><\/h5>\r\n\u00a0<\/em>Charles Steuben, La Esm\u00e9ralda, <\/em>1839.\r\n\r\nPaul Delaroche, L\u2019H\u00e9micycle des Beaux-Arts<\/em> (central section), ca. 1841-42.\r\n\r\nGustave Moreau, Salome, <\/em>1876.\r\n\r\nGustave Moreau, The Apparition, <\/em>ca. 1876.\r\n\r\nAubrey Beardsley, The Climax, <\/em>1894.\r\n\r\nAubrey Beardsley, The Dancer\u2019s Reward, <\/em>1894.\r\n\r\nGustav Klimt, Judith and the Head of Holofernes, <\/em>1901.\r\n\r\nGustav Klimt, Salom\u00e9 II, <\/em>1909.\r\n\r\nBram Dijkstra, Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Si\u00e8cle Culture<\/em> (Oxford University Press, 1998).\r\n
      10.4\u00a0 Moritz Daniel Oppenheim: \u201cThe Rothschild of Painters\u201d<\/strong><\/h5>\r\nEttore Roesler Franz, Vicolo Capocciuto in Ghetto (rione Sant\u2019Angelo), <\/em>ca. 1880.\r\n\r\nMoritz Daniel Oppenheim, Self-Portrait, <\/em>ca. 1814-16.\r\n\r\nMoritz Daniel Oppenheim, Lionel Nathan de Rothschild, <\/em>1835.\r\n\r\nRichard Whately, A Speech in the House of Lords, August 1, 1833, On a Bill for the Removal of Certain Disabilities from His Majesty\u2019s Subjects of the Jewish Persuasion<\/em> (London: B. Fellowes, 1848).\r\n\r\nHenry 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, <\/em>1872.\r\n\r\nMoritz Daniel Oppenheim, The Elector of Hesse Entrusting Mayor Armschel Rothschild (1743-1812) with his Treasure, <\/em>ca. 1820-82.\r\n\r\nMoritz Daniel Oppenheim, Marriage Portrait of Charlotte von Rothschild, <\/em>1836.\r\n\r\nRothschild Palace, as seen from north, main site of the Jewish Museum Frankfurt, Frankfurt am Main, date unknown.\r\n\r\nCharlotte von Rothschild, Self-Portrait of Charlotte von Rothschild Painting Her Husband Anselm von Rothchild, Two of Their Children, and Their Nanny, <\/em>1838.\r\n\r\nCharlotte Von Rothschild, Haggadah Frankfurt, <\/em>1842.\r\n\r\nMoritz Daniel Oppenheim, The Return of the Jewish Volunteer from the Wars of Liberation to His Family Still Living in Accordance with Old Customs, <\/em>ca. 1833-34.\r\n\r\nJohann Peter Krafft, The Militiaman\u2019s Return, <\/em>1820.\r\n
      10.5\u00a0 The Politics of Genre<\/strong><\/h5>\r\nMoritz Daniel Oppenheim, The Return of the Jewish Volunteer from the Wars of Liberation to His Family Still Living in Accordance with Old Customs, <\/em>ca. 1833-34.\r\n\r\nMoritz Daniel Oppenheim, Lavater and Lessing Visit Moses Mendelssohn, <\/em>1856.\r\n\r\nGotthold Ephraim Lessing, Nathan the Wise, <\/em>2nd Edition (1779).\r\n\r\nCharles Bonnet, La paling\u00e9n\u00e9sie philosophique, ou Id\u00e9es sur l\u2019etat passe et sur l'\u00e9tat futur des \u00eatres vivants, <\/em>Vol. 1 (Geneva: Claude Philibert & Barthelemi, 1770).\r\n\r\nHans Holbein, Judas Iscariot, <\/em>ca. 1789.\r\n\r\nHans Holbein the Younger, The Last Supper, <\/em>ca. 1524-25.\r\n\r\nDaniel Niklaus Chodowiecki, Moses Mendelssohn, <\/em>1774.\r\n\r\nMoritz Daniel Oppenheim, The Wedding, <\/em>1866.\r\n\r\nGillis van Tilborgh, Elegant Company, <\/em>ca. 1655-75.\r\n\r\nCarl Joseph Begas, Portrait of the Begas Family, <\/em>1821.\r\n\r\nDie Generalpumpe<\/em>, ca. 19th century.\r\n\r\nMoritz Daniel Oppenheim, Sabbath Rest, <\/em>1886.\r\n
      10.6\u00a0 Maurycy Gottlieb: Strife and Synthesis<\/strong><\/h5>\r\nMaurycy Gottlieb, ca 1880.\r\n\r\nJan Matejko, The Fall of Poland, <\/em>1866.\r\n\r\nKarl von Piloty, Seni at the Dead Body of Wallenstein, <\/em>1855.\r\n\r\nHeinrich Graetz, Geschichte der Juden,<\/em> 1891.\r\n\r\nStyle of Rembrandt, Head of Christ, <\/em>ca. 1650.\r\n\r\nMaurycy Gottlieb, Christ Preaching at Capernaum, <\/em>ca. 1878-79.\r\n\r\nMaurycy Gottlieb, Ahasuerus, Wandering Jew, <\/em>1876.\r\n\r\nMaurycy Gottlieb, Shylock and Jessica, <\/em>1876.\r\n\r\nMaurycy Gottlieb, Jews Praying in the Synagogue on Yom Kippur, <\/em>1878.\r\n\r\nMaurycy Gottlieb, Christ Before His Judges, <\/em>1877-79.\r\n\r\nRembrandt van Rijn, Christ Preaching, <\/em>called La Petite Tombe, <\/em>ca. 1657.\u00a0<\/strong>\r\n
      10.7\u00a0 \u00a0Meijer Isaac de Haan: Controversy and Escape<\/strong><\/h5>\r\nMeijer Isaac de Haan. Petrus Franciscus Greive, <\/em>ca. 1870-1875.\r\n\r\nMeijer de Haan Old Jewish Woman, <\/em>1880.\r\n\r\nMeijer de Haan, Talmudic Anatomy, <\/em>ca. 1880.\r\n\r\nUriel da Costa, Examination of Phraisaic Traditions. <\/em>Supplemented by Semuel da Silva\u2019s Treatise on the Immortality of the Soul,<\/em> 1993.\r\n\r\nMeijer de Haan, Breton Women Scrutching Flax: Labour<\/em>, 1889.\r\n\r\nMeiijer de Haan, Motherhood: Mary Henry Breastfeeding her Daughter, <\/em>1889.\r\n\r\nMeijer Isaac de Haan, Self-Portrait, <\/em>1889-1890.\r\n\r\nPaul Gauguin, Portrait of Meijer de Haan, <\/em>1889-1890.\r\n\r\nPaul Gauguin, Portrait of Jacob Meyer de Haan,<\/em> 1889.\r\n\r\nPaul Gauguin, Nirvana, Portrait of Meijer de Haan, <\/em>ca. 1889.\r\n
      10.8\u00a0 Max Liebermann: Pioneering Change<\/strong><\/h5>\r\nMax Liebermann, Self-Portrait, <\/em>1906.\r\n\r\nMax Liebermann, Women Plucking Geese, <\/em>ca. 1871-72.\r\n\r\nLudwig Knaus, Dance Under the Linden Tree, <\/em>1881.\r\n\r\nMax Liebermann, Potato Gatherers, <\/em>1875.\r\n\r\nJean-Fran\u00e7ois Millet, The Gleaners, <\/em>1857.\r\n\r\nMax Liebermann, Children\u2019s Playground in Tiergarten Park in Berlin, <\/em>ca. 1885.\r\n\r\nMax Liebermann, Terrasse of the Restaurant Jacob in Nienstedten Upon Elbe, <\/em>1902.\r\n\r\nMax Liebermann, Two Riders on the Beach to the Left, <\/em>1901.\r\n\r\nMax Liebermann, Boys Bathing, <\/em>1898.\r\n\r\nMax Liebermann, B\u00fcrgermeister Carl Friedrich Petersen, <\/em>1891.\r\n\r\nRudolf D\u00fchrkoop, Carl Friedrich Petersen, Hamburger B\u00fcrgermeister<\/em>, before 1892.\r\n\r\nFrans Hals, Paulus Verschuur, <\/em>1643.\r\n\r\nMax Liebermann, The Hamburg Convention of Professors, <\/em>1906.\r\n\r\nMax Liebermann, Self-Portrait, <\/em>ca. 1922.\r\n\r\nWilhelm Schulz, Berliner Secession, <\/em>1902.\r\n\r\nCharlotte Berend-Corinth, Max Pallenberg, <\/em>ca. 1877-1934.\r\n\r\nJosef Block, The Wayward Son, <\/em>1890.\r\n\r\nErnst Oppler, Three Girls in the Access Balcony, <\/em>ca. 1910.\r\n\r\nEmil Orlik, The Weavers by G. Hauptmann, <\/em>1897.\r\n\r\nEugene Spiro, Portrait of Dr. Meier-Graefe<\/em>, 1913.\r\n\r\nHermann Struck, Jerusalem X, <\/em>ca. 1924.\r\n\r\nLesser Ury, Reproduction of a Landscape Painting, <\/em>1892.\r\n\r\nJulie Wolfthorn, Witch of the Woods, <\/em>ca. 1899.\r\n
      10.9\u00a0 \u00a0Liebermann: Subculture and Identity<\/strong><\/h5>\r\nMax Liebermann, Self-Portrait with Kitchen Still Life, <\/em>1873.\r\n\r\nAbraham van Beyeren, Still Life with Lobster and Fruit, <\/em>ca. 1650.\r\n\r\nMax Liebermann, Self-Portrait with Kitchen Still Life, <\/em>1873.\r\n\r\nMax Liebermann, Jesus among the Doctors, <\/em>or The 12-Year-Old Jesus in the Temple with the Scholars, <\/em>1879.\r\n\r\nMax Liebermann, Study for The Twelve-Year-Old Jesus in the Temple, <\/em>1879.\r\n\r\nAdolph Menzel, Infant Christ Surrounded by the Doctors; Joseph and the Virgin Approaching, <\/em>1852.\r\n\r\nFritz von Uhde, Last Supper, <\/em>1886.\r\n\r\nMax Liebermann, The Synagogue in Amsterdam, <\/em>1876.\r\n\r\nMax Liebermann, The Jewish Street in Amsterdam, <\/em>1906.\r\n\r\nMax Liebermann, Amsterdam Jewish Quarter, <\/em>ca. 1900-10.\r\n\r\nMax Liebermann, Jewish Quarter in Amsterdam, <\/em>1905.\r\n\r\nMax Liebermann, after E. Hancke, Judengasse in Amsterdam, <\/em>1907.\r\n\r\nCamille Pissarro, The Boulevard Montmartre on a Winter Morning, <\/em>1897.\r\n\r\nMax Liebermann, Judengasse in Amsterdam, <\/em>1909.\r\n\r\nMax Liebermann, The Artist\u2019s Studio, <\/em>1902.\r\n\r\nMax Liebermann, Flower Perennials on Gardener\u2019s House, <\/em>1928.\r\n\r\nMax Liebermann, Wanseegarten, <\/em>1926.\r\n
      10.10\u00a0 \u00a0The Dreyfus Affair<\/strong><\/h5>\r\nAron Gerschel, Alfred Dreyfus, <\/em>ca. 1894.\r\n\r\nHenri Meyer, \u201cLe capitaine Dreyfus devant le conseil de guerre,\u201d Le Petit Journal, <\/em>December 23, 1894.\r\n\r\n\u201cLe tra\u00eetre, D\u00e9gradation d\u2019Alfred Dreyfus,\u201d Le Petit Journal, <\/em>January 13, 1895.\r\n\r\nDreyfus on the Devil\u2019s Island, <\/em>1898.\r\n\r\nFortun\u00e9 M\u00e9aulle, After Lionel Royer, \u201cAlfred Dreyfus dans sa prison,\u201d Le Petit Journal, <\/em>January 20, 1895.\r\n\r\nLionel Royer, engraving by Fortun\u00e9 M\u00e9aulle, \u201cLa d\u00e9gradation,\u201d Le Journal Illustr\u00e9, <\/em>1895.\r\n\r\nEmile Zola, \u201cJ\u2019accuse\u2026! Lettre au Pr\u00e9sident de la R\u00e9publique,\u201d L\u2019Aurore, <\/em>January 12, 1898.\r\n\r\nJean Baptiste Guth, Caricature of Major Ferdinand Walsin Esterhazy, <\/em>1898.\r\n\r\nCaptain Alfred Dreyfus, full-length portrait, standing, facing front, with wife and two children, ca. 1910-1935.\r\n
      10.11\u00a0 Edgar Degas: Other Impressions<\/strong><\/h5>\r\nEdgar Degas, At the Stock Exchange, <\/em>1878.\r\n\r\nEdgar Degas, Ludovic Hal\u00e9vy et Albert Boulanger-Cav\u00e9 dans les coulisses de l\u2019Op\u00e9ra, <\/em>1878.\r\n\r\nEdgar Degas, Six Friends at Dieppe, <\/em>1885.\r\n\r\n\u201cLe tra\u00eetre condamn\u00e9. Dix ans de d\u00e9tention et la d\u00e9gradation. \u00c0 bas les Juifs!\u201d La Libre Parole, <\/em>September 10, 1899.\r\n\r\nJules Ch\u00e9ret, La France juive, <\/em>1886.\r\n\r\n\u00c9mile Courtet, Les qualit\u00e9s du Juif d'apr\u00e8s la m\u00e9thode de Gall (Jewish Virtues According to Gall\u2019s Method), La libre parole illustr\u00e9e, <\/em>December 23, 1893.\r\n\r\nChanteclair, Fruitless Soaping, <\/em>1894.\r\n\r\nCham (Am\u00e9d\u00e9e de No\u00e9), La peinture impressionniste, <\/em>1894.\r\n
      10.12\u00a0 Camille Pissarro; Outsider Impressionist?<\/strong><\/h5>\r\nCamille Pissarro, Self-Portrait, <\/em>1873.\r\n\r\nCamile Pissarro, Two Women Chatting by the Sea, St. Thomas, <\/em>1856.\r\n\r\nCamille Pissarro, Landscape with Farm Buildings and Palm Trees, <\/em>1856.\r\n\r\nCamille Pissarro, Poultry Market at Gisors, <\/em>1885.\r\n\r\nCamille Pissarro, C\u2019est la guerre des d\u00e9poss\u00e9d\u00e9s contres les d\u00e9possesseurs. <\/em>Turpitudes sociales,<\/em> 1889-1890.\r\n\r\nCamille Pissarro, The New Idolators, <\/em>1889.\r\n\r\nEdgar Degas, Ren\u00e9-Hilaire Degas, Grandfather of the Artist, <\/em>ca. 1856-57.\r\n\r\nToulouse Lautrec, La revue blanche, <\/em>1896.\r\n\r\nCamille Pissarro, The Cabbage Field, Pontoise, <\/em>1873.\r\n\r\n ","rendered":"

      Chapter 1
      \nGustave Courbet and Revolutionary Realism<\/h1>\n

      Gustave Courbet, Le D\u00e9sesp\u00e9r\u00e9, 1843-45.<\/p>\n

      Gustave Courbet, The Stone Breakers<\/em>, 1849.<\/p>\n

      1.1\u00a0 Revolution and Reform<\/strong><\/h5>\n

      Franz Xaver Winterhalter, Louis-Philippe I, King of the French from 1830 to 1848, <\/em>1841.<\/p>\n

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

      Honor\u00e9 Daumier, The Uprising<\/em>, ca. 1848<\/p>\n

      Ange-Louis Janet, Louis-Eug\u00e8ne Cavaignac, <\/em>ca. 1872.<\/p>\n

      Charles Fran\u00e7ois Thibault, Barricades rue Saint-Maur-Popincourt avant l\u2019attaque par les troupes du g\u00e9n\u00e9ral Lamorici\u00e8re, le dimanche 25 juin 1848, <\/em>1848.<\/p>\n

      Charles Fran\u00e7ois Thibault, Barricades rue Saint-Maur-Popincourt apr\u00e8s l\u2019attaque par les troupes du g\u00e9n\u00e9ral Lamorici\u00e8re, le lundi 26 juin 1848, <\/em>1848.<\/p>\n

      Charles Fran\u00e7ois Thibault, La barricade de la rue Saint-Maur-Popincourt le Dimanche matin, d’apr\u00e8s un planchet daguerr\u00e9otyp\u00e9e par M. Thibeault, <\/em>1848.<\/p>\n

      1.2\u00a0 Capturing Contemporary History:\u00a0 The Artist as Witness<\/strong><\/h5>\n

      Ernest Meissonier, The Barricade, <\/em>1848.<\/p>\n

      Ernest Meissonier, The Barricade, Rue de la Mortellerie, June 1848, <\/em>also known as, Remembrance of the Civil War,<\/em> ca. 1850-51.<\/p>\n

      Ernest Meissonier, Study for The Barricade, <\/em>1848.<\/p>\n

      Ernest Meissonier, Study of an Insurgent<\/em>, ca. 1848-50.<\/p>\n

      Jean-Louis-Ernest Meissoner, Napoleon III at the Battle of Solferino, <\/em>1863.<\/p>\n

      1.3\u00a0 Caricature and Social Critique<\/strong><\/h5>\n

      Honor\u00e9 Daumier, Gargantua<\/em>, 1831.<\/p>\n

      Honor\u00e9 Daumier, The Uprising<\/em>, ca. 1848.<\/p>\n

      Honor\u00e9 Daumier, The Third-Class Carriage, <\/em>ca. 1863-65.<\/p>\n

      1.4\u00a0 Realism and the Democratization of Art<\/strong><\/h5>\n

      Fran\u00e7ois G\u00e9rard, Portrait de Juliette R\u00e9camier, n\u00e9e Bernard (1777-1849), <\/em>ca. 1802-1805.<\/p>\n

      L\u00e9on Hal\u00e9vy and Henri Saint-Simon, Opinions litt\u00e9raires, philosophiques et industrielles (Paris: Galerie de Bossange P\u00e8re, 1825).<\/p>\n

      Gustave Courbet, Self-Portrait with Pipe<\/em>, ca. 1848-1849.<\/p>\n

      Gustave Courbet, Self-Portrait with Black Dog, <\/em>1842.<\/p>\n

      Parmigianino, Self-Portrait in a Convex Mirror, <\/em>ca. 1523-24.<\/p>\n

      Gustave Courbet, Self-Portrait with Black Dog, <\/em>ca. 1842-44.<\/p>\n

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

      Samuel F.B. Morse, Gallery of the Louvre, <\/em>ca. 1831-33.<\/p>\n

      1.5\u00a0 Radical Realists: The Advent of the Avant-Garde<\/strong><\/h5>\n

      Gustave Courbet, Cabaret Andler-Keller, <\/em>1862.<\/p>\n

      Gustave Courbet, Portrait de Baudelaire, <\/em>1848-49.<\/p>\n

      Gustave Courbet, Proudhon and his Children, <\/em>1865.<\/p>\n

      Gustave Courbet, Portrait de Champfleury, \u00e9crivain<\/em>, 1855.<\/p>\n

      1.6\u00a0 Courting Scandal, Creating Sensation: Courbet and the Paris Salon<\/strong><\/h5>\n

      Theodor Josef Hubert Hoffbauer, Salon de 1849, aux Tuileries<\/em>, ca. 1875-82.<\/p>\n

      Gustave Courbet, After Dinner at Ornans, <\/em>1849.<\/p>\n

      Dirck Hals, Merry Company at Table, <\/em>ca. 1627-29.<\/p>\n

      1.7\u00a0 Painting Ordinary People: Elevating the Humble Hero<\/strong><\/h5>\n

      Gustave Courbet, The Stone Breakers, <\/em>1849.<\/p>\n

      Gustave Courbet, A Burial at Ornans<\/em>, 1849-50.<\/p>\n

      Detail of Gustave Courbet, A Burial at Ornans, <\/em>1849-50.<\/p>\n

      Detail of Gustave Courbet, A Burial at Ornans, <\/em>1849-50.<\/p>\n

      Detail of Gustave Courbet, A Burial at Ornans, <\/em>1849-50.<\/p>\n

      Detail of Gustave Courbet, A Burial at Ornans, <\/em>1849-50.<\/p>\n

      El Greco, The Burial of the Count of Orgaz<\/em>, ca. 1586-88.<\/p>\n

      Jacques-Louis David, Oath of the Horatii, <\/em>1784.<\/p>\n

      Gustave Courbet, The Peasants of Flagey Returning from the Fair, <\/em>ca. 1850-55.<\/p>\n

      Gustave Courbet, The Wheat Sifters, <\/em>1854.<\/p>\n

      Jean-Fran\u00e7ois Millet, The Gleaners, <\/em>1857.<\/p>\n

      Jean-Fran\u00e7ois Millet, Man with a Hoe<\/em>, ca. 1860-62.<\/p>\n

      Louis Le Nain, Happy Family, <\/em>1642.<\/p>\n

      Philippe-Auguste Jeanron, Sc\u00e8ne de Paris<\/em>, 1833.<\/p>\n

      Philippe Derussy, Portrait of a Young Girl, Standing, Sitting on the Right of a Balustrade and a Drapery<\/em>, 1846.<\/p>\n

      Champfleury, Le r\u00e9alisme <\/em>(Paris: Michel L\u00e9vy Fr\u00e8res, Libraires-\u00c9diteurs, 1857).<\/p>\n

      Champfleury, Le<\/em> r\u00e9alisme <\/em>(Paris: Michel L\u00e9vy Fr\u00e8res, Libraires-\u00c9diteurs, 1857), 274-275.<\/p>\n

      Champfleury, Le<\/em> r\u00e9alisme <\/em>(Paris: Michel L\u00e9vy Fr\u00e8res, Libraires-\u00c9diteurs, 1857), 272-273.<\/p>\n

      Jules-Antoine Castagnary, Philosophie du Salon de 1857 <\/em>(Paris: Poulet-Malassis et De Broise, 1858).<\/p>\n

      Jules-Antoine Castagnary, Philosophie du Salon de 1857 <\/em>(Paris: Poulet Malassis et De Broise, 1858), 8.<\/p>\n

      1.8\u00a0 A Class in Transition: Courbet\u2019s Young Ladies of the Village <\/em>and Young Ladies on the Banks of the Seine<\/em><\/strong><\/h5>\n

      Gustave Courbet, Young Ladies of the Village, <\/em>1851-52.<\/p>\n

      Bertall, Caricature of Young Ladies of the Village, Le journal pour rire, <\/em>April 16, 1852.<\/p>\n

      Detail of Gustave Courbet, Young Ladies of the Village, <\/em>1851-52.<\/p>\n

      Walking dresses, Petit courrier des dames, journal des modes, <\/em>September 1837.<\/p>\n

      Gustave Courbet, Portrait of Z\u00e9lie<\/em>, 1847.<\/p>\n

      Detail of Gustave Courbet, Young Ladies of the Village, <\/em>1851-52.<\/p>\n

      Jean-Antoine Watteau, The Fortune Teller, <\/em>ca. 1710 (copy).<\/p>\n

      Louis-Napol\u00e9on, The Extinction of Pauperism <\/em>(London: Cleave, 1844).<\/p>\n

      Linda Nochlin, Mis\u00e8re: The Visual Representation of Misery in the 19th Century <\/em>(London: Thames & Hudson, 2018).<\/p>\n

      Gustave Courbet, Young Ladies on the Banks of the Seine, <\/em>1857.<\/p>\n

      Gustave Courbet, The Bathers, <\/em>ca. 1853.<\/p>\n

      1.9\u00a0 Art, Patronage and the Outsider Artist<\/strong><\/h5>\n

      Gustave Courbet, Portrait of Alfred Bruyas, <\/em>1853.<\/p>\n

      Gustave Courbet, The Meeting or Good Day, Monsieur Courbet<\/em>, 1854.<\/p>\n

      Human-headed winged lion (Lamassu), <\/em>ca. 883-859 BCE.<\/p>\n

      1.10\u00a0 Inside The Artist\u2019s Studio<\/em><\/strong><\/h5>\n

      Gustave Courbet, The Artist\u2019s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, <\/em>1854.<\/p>\n

      Detail of Gustave Courbet, The Artist\u2019s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, <\/em>1854.<\/p>\n

      Jan Saenredam, after Hendrick Goltzius, Allegory of Sight and of the Art of Painting (An Artist and His Model), <\/em>1616.<\/p>\n

      Champfleury, Les chats: Histoire, m\u0153urs, observations, anecdotes <\/em>(Paris: J. Rothschild, 1869.)<\/p>\n

      Detail of Gustave Courbet, The Artist\u2019s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, <\/em>1854.<\/p>\n

      Julien Vallou de Villeneuve, Nude Study, <\/em>registered 1853.<\/p>\n

      Detail of Gustave Courbet, The Artist\u2019s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, <\/em>1854.<\/p>\n

      Gustave Courbet, The Artist\u2019s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, <\/em>1854.<\/p>\n

      Detail of Gustave Courbet, The Artist\u2019s Studio: A Real Allegory Summing Up Seven Years of My Artistic and Moral Life, <\/em>1854.<\/p>\n

      Gustave Courbet, Source of the Lison, <\/em>ca. 1864-66.<\/p>\n

      Eug\u00e8ne Feyen, Gustave Courbet\u2019s studio in Ornans, showing a lay figure, <\/em>1864.<\/p>\n

      Eug\u00e8ne Vermersch, Maxime Vuillaume and Alphonse Humbert, \u2018Le Citoyen Courbet\u2019, P\u00e8re Duch\u00eane, 1871.<\/p>\n

      Gustave Courbet, Self-Portrait at Sainte-Pelagie, <\/em>1872.<\/p>\n

      Gustave Courbet, Portrait of Jules-Antoine Castagnary, <\/em>1870.<\/p>\n

      Gustave Courbet, Landscape with a Hunter,<\/em> 1873.<\/p>\n

      Chapter 2
      \nManet and Modern Life<\/h1>\n

      \u00c9douard Manet, Le Dejeuner sur l\u2019herbe<\/em> ( Luncheon on the Grass<\/em>), <\/em>1863.<\/p>\n

      Introduction<\/strong><\/h5>\n

      Artist Unknown, Paris, \u00cele de la Cit\u00e9,<\/em> A map based on the 1771 Robert de Vaugondy plan. <\/em><\/p>\n

      James Farley\/Getty Images, Aerial view of Paris.<\/em><\/p>\n

      Gustave Caillebotte, Le Pont de L\u2019Europe, <\/em>1876.<\/p>\n

      Henri Fantin-Latour, Portrait d\u2019\u00c9douard Manet, <\/em>1867.<\/p>\n

      2.1\u00a0 The Challenge of the New:\u00a0 Modernist Attitudes and the Acad\u00e9mie<\/strong><\/h5>\n

      \u00c9douard Baldus, Palais de l\u2019Industrie<\/em>, ca. 1850-1860.<\/p>\n

      Jean L\u00e9on Ger\u00f4me, Death of Caesar, <\/em>ca. 1859-1867.<\/p>\n

      Gustave Moreau, Salome Dancing Before Herod, <\/em>1876.<\/p>\n

      Th\u00e9odore Rousseau, Forest of Fontainebleau, Cluster of Tall Trees Overlooking the Clair-Bois at the Edge of Bas-Br\u00e9au, <\/em>ca. 1849-52.<\/p>\n

      Jules Breton, Erecting a Calvary, <\/em>1858.<\/p>\n

      Rosa Bonheur, Ploughing in Nevers, <\/em>1849.<\/em><\/p>\n

      Rosa Bonheur, The Horse Fair, <\/em>1853-55.<\/p>\n

      Cavalcade<\/em>, Block II from the West frieze of the Parthenon, ca. 447-433 BCE.<\/p>\n

      Rosa Bonheur, Study for the Horse Fair<\/em>, ca. 1853-55.<\/p>\n

      Rosa Bonheur, wearing the Legion of Honour, 1865.<\/p>\n

      2.2\u00a0 Enter \u00c9douard Manet:\u00a0 The Paris Salon, 1859<\/strong><\/h5>\n

      Nadar, \u201cClose-up photograph of artist \u00c9douard Manet, before 1870,\u201d (enlargement by Paul Nadar), 1870.<\/p>\n

      \u00c9douard Manet, The Absinthe Drinker, <\/em>1859 (reworked 1868-72).<\/p>\n

      Charles Baudelaire, \u201cThe Wine of the Ragpickers,\u201d in Poems of Baudelaire, <\/em>translated by Campbell (New York: Pantheon Books, 1925).<\/p>\n

      Diego Vel\u00e0zquez, Aesop, <\/em>ca. 1638.<\/p>\n

      2.3\u00a0 The Perfect Storm: Le D\u00e9jeuner sur l\u2019herbe<\/em>, the Paris Salon and the Salon des Refus\u00e9s<\/strong><\/h5>\n

      Theodor Josef Hubert Hoffbauer, Salon de 1849<\/em>, aux Tuileries, <\/em>ca. 1875-82.<\/p>\n

      \u00c9douard Manet, Luncheon on the Grass, <\/em>1863.<\/p>\n

      Giorgione and\/or his disciple Titian, The Pastoral Concert, <\/em>1509.<\/p>\n

      Marcantonio Raimondi, after Raphael, The Judgment of Paris, <\/em>ca. 1514-18.<\/p>\n

      Antoine Watteau, Pleasures of Love, <\/em>ca. 1716.<\/p>\n

      Pierre Alexandre Aveline, after Antoine Watteau, La Villageoise, <\/em>18th century.<\/p>\n

      \u00c9douard Manet, Jesus Mocked by the Soldiers, <\/em>ca. 1864-65.<\/p>\n

      2.4 Olympia<\/em> in Context<\/strong><\/h5>\n

      \u00c9douard Manet, Olympia<\/em>, 1863.<\/p>\n

      Jean-L\u00e9on G\u00e9r\u00f4me, The Slave Market, <\/em>1866.<\/p>\n

      Detail of \u00c9douard Manet, Olympia<\/em>, 1863.<\/p>\n

      Charles Expilly, Les femmes et les m\u0153urs du Br\u00e9sil<\/em> (Paris: Charlieu et Huillery, 1863).<\/p>\n

      \u00c9douard Manet, Children in the Tuileries Gardens<\/em>, 1861-62.<\/p>\n

      \u00c9douard Manet, Portrait of Laure, <\/em>1862.<\/p>\n

      Detail of \u00c9douard Manet, Olympia, <\/em>1863.<\/p>\n

      Eunice Lipton, Alias Olympia: A Woman\u2019s Search for Manet\u2019s Notorious Model and Her Own Desire <\/em>(Ithaca: Cornell University Press, 1992).<\/p>\n

      \u00c9douard Manet, Mademoiselle V\u2026 in the Costume of an Espada, <\/em>1862.<\/p>\n

      \u00c9douard Manet, Portrait of Victorine Meurent, <\/em>1862.<\/p>\n

      Victorine Meurent, Self-Portrait, <\/em>1876.<\/p>\n

      Victorine Meurent, Palm Sunday, <\/em>ca. 1880.<\/p>\n

      V.R. Main, A Woman With No Clothes On<\/em> (London: Delancey, 2008).<\/p>\n

      Victorine Meurent, <\/em>ca. 1862.<\/p>\n

      Victorine Meurent, <\/em>ca. 1865.<\/p>\n

      Titian, Venus of Urbino<\/em> (also known as Reclining Venus<\/em>), 1538.<\/p>\n

      \u00c9douard Manet, Olympia<\/em>, 1863.<\/p>\n

      Francisco de Goya, The Naked Maja, <\/em>ca. 1795-1800.<\/p>\n

      \u00c9douard Manet, Olympia, <\/em>1863.<\/p>\n

      \u00c9douard Manet, Young Woman Reclining in Spanish Costume, <\/em>ca. 1862-63.<\/p>\n

      Francisco de Goya, The Clothed Maja, <\/em>ca. 1800-1807.<\/p>\n

      Gustave Courbet, Woman with a Parrot, <\/em>1866.<\/p>\n

      Alexandre Cabanel, The Birth of Venus, <\/em>1863.<\/p>\n

      Honor\u00e9 Daumier, \u201cPartons madame\u2026 ces nudit\u00e9s sont r\u00e9voltantes\u2026 (\u00e0 part) je reviendrai tout seul!\u201d, Le Charivari, <\/em>May 15, 1866.<\/p>\n

      2.5\u00a0 The International Exposition of 1867<\/strong><\/h5>\n

      Eug\u00e8ne Cic\u00e9ri and Philippe Benoist, Official bird\u2019s eye view of Exposition Universelle, <\/em>1867,<\/p>\n

      Photograph of the building called Exposition Courbet on the front, built Place de l\u2019Alma, during the International Exhibition, Paris, <\/em>1867.<\/p>\n

      Andr\u00e9 Gill, \u201c<\/em>Courbet, Peint par lui-m\u00eame- et par Gill,\u201d<\/em> La Lune, <\/em>9 June, 1867.<\/p>\n

      L\u00e9once Petit, \u201cG. Courbet<\/em>, par L. Petit,\u201d Le Hanneton, <\/em>June 13, 18677.<\/p>\n

      Catalogue des Tableaux de M. \u00c9douard Manet: expos\u00e9s Avenue de L\u2019Alma en 1867 <\/em>(Paris: Imprimerie L. Poupart-Davyl, 1867).<\/p>\n

      \u00c9douard Manet,\u00a0 View of the 1867 Exposition Universelle, <\/em>1867.<\/p>\n

      2.6\u00a0 The Political Manet: The Execution of Emperor Maximilian<\/em><\/strong><\/h5>\n

      \u00c9douard Manet, The Execution of the Emperor Maximilian, <\/em>1868.<\/p>\n

      \u00c9douard Manet, The Execution of the Emperor Maximilian, <\/em>1867.<\/p>\n

      \u00c9douard Manet, The Execution of Emperor Maximilian of Mexico, <\/em>1868.<\/p>\n

      \u00c9douard Manet, The Execution of Maximilian of Mexico, <\/em>1867.<\/p>\n

      Fran\u00e7ois Aubert, Emperor Maximilian\u2019s Firing Squad, <\/em>1867.<\/p>\n

      \u00c9douard Manet, The Execution of the Emperor Maximilian<\/em>, 1868.<\/p>\n

      Francisco de Goya, The Third of May, <\/em>1814.<\/p>\n

      Jean-Louis-Ernest Meissonier, The Barricade, Rue de la Mortellerie, June 1848, <\/em>also known as Remembrance of Civil War, <\/em>ca. 1850.<\/p>\n

      \u00c9douard Manet, The Dead Christ with Angels, <\/em>1864.<\/p>\n

      \u00c9douard Manet, Jesus Mocked by the Soldiers, <\/em>ca. 1864-65.<\/p>\n

      \u00c9douard Manet, The Execution of Emperor Maximilian of Mexico, <\/em>1868.<\/p>\n

      2.7\u00a0 Portrait of \u00c9mile Zola<\/em>: Japonisme and the Influence of the Multiple<\/strong><\/h5>\n

      \u00c9douard Manet, Portrait of \u00c9mile Zola, <\/em>1868.<\/p>\n

      Detail of \u00c9douard Manet, Portrait of \u00c9mile Zola, <\/em>1868.<\/p>\n

      Utagawa Kuniaki, Sum\u00f4 Wrestler \u00d4naruto Nadaemon of Awa Province (Ash\u00fb \u00d4naruto Madaemon), <\/em>1860.<\/p>\n

      Detail of \u00c9douard Manet, Portrait of \u00c9mile Zola, <\/em>1868.<\/p>\n

      Types nationaux \u00e0 l\u2019Exposition universelle. \u2013 Japon. \u2013 Int\u00e9rieur de la maison du gouverneur de Satzouma. (D\u2019apr\u00e8s le dessin de M. Montani)\u201d Le Monde Illustr\u00e9<\/em>, September 28, 1867.<\/em><\/p>\n

      \u201cExposition universelle. \u2013 Section orientale. \u2013 Vue G\u00e9n\u00e9rale de l\u2019exposition japonaise dans le parc.\u201d Le Monde Illustr\u00e9, <\/em>August 31, 1867.<\/p>\n

      \u201cLes ateliers Goupil & Cie d\u2019Asni\u00e8res\u201d, L\u2019Illustration, <\/em>12 April, 1873.<\/p>\n

      Gazette des Beaux-Arts<\/em>, 1 July, 1859.<\/p>\n

      Charles Blanc et al., Histoire des Peintres de Toutes les \u00c9coles: \u00c9cole Espagnole <\/em>(Paris: Librairie Renouard, 1865).<\/p>\n

      Charles Blanc, Histoire des Peintres de Toutes le \u00c9coles: \u00c9cole Fran\u00e7aise<\/em> (Paris: Librairie Renouard, 1862).<\/p>\n

      Edgar Degas, The Collector of Prints, <\/em>1866.<\/p>\n

      2.8\u00a0 Manet\u2019s Entourage<\/strong><\/h5>\n

      Fr\u00e9d\u00e9ric Bazille, Bazille\u2019s Studio, <\/em>1870.<\/p>\n

      Henri Fantin-Latour, A Studio at Les Batignolles, <\/em>1870.<\/p>\n

      \u00c9douard Manet, At the Caf\u00e9, <\/em>1869.<\/p>\n

      2.9\u00a0 Paris Commune, 1871<\/strong><\/h5>\n

      \u201cBombardement de Paris. \u2013 Habitants r\u00e9fugi\u00e9s dans leurs caves.\u201d L\u2019Illustration, Journal Universel<\/em>, 4 February, 1871.<\/p>\n

      \u00c9douard Manet, The Barricade, <\/em>1871.<\/em><\/p>\n

      Alfred le Petit, \u201cOn n\u2019entre pas! Par Alfred le Petit: Com\u00e9die en un acte (ridicule) et deux tableaux (m\u00e9diocres)\u201d, Le Grelot<\/em>, 28 April 1872.<\/p>\n

      2.10\u00a0 Impressionism and its Contexts<\/strong><\/h5>\n

      Nadar, Atelier Nadar 35 Boulevard des Capucines, <\/em>1860.<\/p>\n

      Claude Monet, Impression, Sunrise<\/em>, 1872.<\/p>\n

      Paul C\u00e9zanne, The Hanged Man\u2019s House, Auvers-sur-Oise<\/em>, ca. 1873.<\/p>\n

      Edgar Degas, At the Races in the Countryside, <\/em>ca. 1872.<\/p>\n

      Claude Monet, Boulevard des Capucines<\/em>, 1873.<\/p>\n

      Berthe Morisot, The Cradle, <\/em>1873.<\/p>\n

      Camille Pissarro, The Cabbage Field, Pontoise,<\/em> 1873.<\/p>\n

      Pierre-August Renoir, The Dancer, <\/em>1874.<\/p>\n

      Pierre-Auguste Renoir, Claude Monet Painting in his Garden at Argenteuil, <\/em>1873.<\/p>\n

      Chapter 3
      \nFemale Labour and Prostitution in Paris<\/h1>\n

      Georges Seurat, Models<\/em>, ca. 1886-88.<\/p>\n

      Introduction<\/strong><\/h5>\n

      Splendeurs et mis\u00e8res: Images de la prostitution, 1850-1910<\/em>, 22 September 2015-17 January 2016.<\/p>\n

      Nicole Canet, The Hindi Room<\/em>, Au Bonheur du Jour, Gallery.<\/p>\n

      Nicole Canet, The Grotto Entrance, <\/em>Au Bonheur du Jour, Gallery.<\/p>\n

      3.1\u00a0 Framing the Female Figure: Debauchery and Decorum in Nineteenth-Century Art<\/strong><\/h5>\n

      Gustave Courbet, Young Ladies Beside the Seine, <\/em>1857.<\/p>\n

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

      Alfred Stevens, Family Scene<\/em> or Domestic Happiness<\/em> or All the Joys<\/em>, ca. 1880.<\/p>\n

      3.2\u00a0 Avant-Garde Painters and the Subject of Prostitution<\/strong><\/h5>\n

      \u00c9douard Manet, Olympia, <\/em>1863.<\/p>\n

      Paul C\u00e9zanne, The Eternal Feminine, <\/em>ca. 1877.<\/p>\n

      Paul C\u00e9zanne, A Modern Olympia, <\/em>ca. 1873-74.<\/p>\n

      Jules Lefebvre, Odalisque, <\/em>1874.<\/p>\n

      3.3\u00a0 Fashion and the Courtesan<\/strong><\/h5>\n

      \u00c9douard Manet, Nana, <\/em>1877.<\/p>\n

      Gallicelo, \u201cLe corset sans g\u00eane, c\u2019est le Corset Parfait,\u201d ca. 1910.<\/p>\n

      3.4\u00a0 Anonymity, Identity and the Parisian Prostitute<\/strong><\/h5>\n

      Gustave Courbet, The Origin of the World, <\/em>1866.<\/p>\n

      Andr\u00e9 Adolphe-Eug\u00e8ne Disderi, Constance Qu\u00e9nioux<\/em>, n.d.<\/p>\n

      Paul \u00c9mile Pesme, \u00a0Constance Qu\u00e9nioux, <\/em>1861.<\/p>\n

      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<\/em> (Privately printed at the Press of the Prefecture de Police, 1883).<\/p>\n

      Charles Reutlinger, Portrait of Latour Am\u00e9lie, <\/em>ca. 1860-90.<\/p>\n

      Nadar, Portrait of Henriette de Barras (actress at the Th\u00e9\u00e2tre de la Renaissance), <\/em>ca. 1870-90.<\/p>\n

      3.5\u00a0 Female Spectacle: Photography, Theatre and the French Courtesan<\/strong><\/h5>\n

      L\u00e9opold Reutlinger, La Belle Ot\u00e9ro, <\/em>ca. 1877-1917.<\/p>\n

      Fran\u00e7ois-Rupert Carabin, Groupe de Quatre femmes nues, assises, <\/em>ca. 1895-1910.<\/p>\n

      Georges Clairin, Portrait of Sarah Bernhardt, <\/em>1876.<\/p>\n

      Sarah Bernardt, My Double Life: Memoirs of Sarah Bernhardt; With many portraits and illustrations<\/em> (London: Willian Heinemann, 1907).<\/p>\n

      Sarah Bernhardt, My Double Life: Memoirs of Sarah Bernhardt; With many portraits and Illustrations<\/em> (London: Willian Heinemann, 1907), 90-91.<\/p>\n

      Sarah Bernhardt, My Double Life: Memoirs of Sarah Bernhardt; With many portraits and Illustrations <\/em>(London: Willian Heinemann, 1907), 342-343.<\/p>\n

      Melandri, Sarah Bernhardt<\/em>, 1879.<\/p>\n

      3.6\u00a0 The Brothel as Modern Subject<\/strong><\/h5>\n

      Edgar Degas, The Client, <\/em>1879.<\/p>\n

      Edgar Degas, In the Salon, <\/em>ca. 1876-77 or 1879-80.<\/p>\n

      Edgar Degas, The Fireside, <\/em>ca. 1876-77.<\/p>\n

      Edgar Degas, Woman Reading, <\/em>ca. 1885.<\/p>\n

      Guy de Maupassant, La Maison Tellier: Illustration d\u2019Edgar Degas<\/em> (Paris: \u00c9ditions Ambroise Vollard, 1934).<\/p>\n

      Pierre Louys, Mimes des courtisanes: Illustrations d\u2019Edgar Degas<\/em> (Paris: \u00c9ditions Ambroise Vollard, 1935).<\/p>\n

      Edgar Degas, Waiting, <\/em>1879.<\/p>\n

      3.7<\/strong> \u00a0Deviance, Lesbianism, Racism and the Other<\/strong><\/h5>\n

      Alexandre Jean-Baptiste Parent du Ch\u00e2telet (Parent-Duch\u00e2telet), De la Prostitution dans la ville de Paris, consid\u00e9r\u00e9e sous le rapport de l\u2019hygi\u00e8ne publique, de la moral de l\u2019administration; Ouvrage appuy\u00e9 de documents statistiques, puis\u00e9s dans les archives de la Pr\u00e9fecture de la police<\/em> (Paris: J-B Bailli\u00e8re et Fils. 1836).<\/p>\n

      Alexandre Jean-Baptiste Parent du Ch\u00e2telet (Parent-Duch\u00e2telet), Distribution des prostitu\u00e9es dans chacun des 48 quartiers de la Ville de Paris<\/em>, 1836.<\/p>\n

      Nicole G. Albert, trans. Nancy Erber and William Peniston, Lesbian Decadence: Representations in Art and Literature of Fin-de-Si\u00e8cle France <\/em>(New York: Harrington Park Press, 2016).<\/p>\n

      Charles Baudelaire, Les fleurs du Mal<\/em> (Paris: Charles Meunier, 1900). Illustration, Carlos Schwabe.<\/p>\n

      Pauline Tarnowsky, \u201cAnomalies of the Face and the Ear in Prostitutes,\u201d in \u00c9tude anthropom\u00e9trique sur les prostitu\u00e9es et les voleuses<\/em> (Paris: E. Lecrosnier et B\u00e9b\u00e9, 1889).<\/p>\n

      Gustave Courbet, The Sleepers, <\/em>1866.<\/p>\n

      Jean-L\u00e9on G\u00e9r\u00f4me, Pool in a Harem, <\/em>1876.<\/p>\n

      \u00c9douard Debat-Ponsan, The Massage<\/em>, 1883.<\/p>\n

      Ingres, The Turkish Bath, <\/em>1862.<\/p>\n

      Nicolas de Nicolay, Les navigation, p\u00e9r\u00e9grinations et voyages, faicts en la Turquie<\/em> (Antwerp: Guillaume Silvius, 1577).<\/p>\n

      Edgar Degas, Two Women (Scene from a Brothel)<\/em>, ca. 1877-79.<\/p>\n

      Charles Williams, Love and Beauty- Sartjee the Hottentot Venus, <\/em>1822.<\/p>\n

      3.8\u00a0 Edgar Degas\u2019s Bathers<\/strong><\/h5>\n

      Edgar Degas, Leaving the Bath, <\/em>ca. 1879-80.<\/p>\n

      Edgar Degas, Woman in a Tub, <\/em>1886.<\/p>\n

      Edgar Degas, Woman in a Tub, <\/em>ca. 1883.<\/p>\n

      Edgar Degas, Woman Bathing in a Shallow Tub, <\/em>1885.<\/p>\n

      Pierre-Auguste Renoir, Blonde Bather, <\/em>1882.<\/p>\n

      Pierre-Auguste Renoir, Study Torso Sunlight Effect, <\/em>ca. 1876.<\/p>\n

      Edgar Degas, After the Bath, Woman Drying Herself, <\/em>ca. 1890-95.<\/p>\n

      Edgar Degas, Woman Combing Her Hair, <\/em>ca. 1887-90.<\/p>\n

      3.9\u00a0 Henri\u00a0 de Toulouse-Lautrec: The Travails and Tragedies of the Ordinary Prostitute<\/strong><\/h5>\n

      Henri de Toulouse-Lautrec, At the Salon of the Rue des Moulins, <\/em>1894.<\/p>\n

      Maurice Guibert, Toulouse-Lautrec in his workshop with a nude model, <\/em>1895.<\/p>\n

      Henri de Toulouse-Lautrec, The Ladies in the Brother Dining-Room, <\/em>1893.<\/p>\n

      Henri de Toulouse-Lautrec, The Two Girlfriends, <\/em>1894.<\/p>\n

      Henri de Toulouse-Lautrec, The Bed, <\/em>1893.<\/p>\n

      Kitagawa Utamaro I, The Hour of the Ox (1 A.M. – 3 A.M.), <\/em>ca. 1794.<\/p>\n

      Kitagawa Utamaro I, The Hour of the Horse, <\/em>ca. 1794.<\/p>\n

      Kitagawa Utamaro I, Courtesan with Child Attendant, <\/em>ca. 1789-1806.<\/p>\n

      Henri de Toulouse-Lautrec, At the Salon of the Rue des Moulins, <\/em>1894.<\/p>\n

      Henri de Toulouse-Lautrec, Rue des Moulins, <\/em>1894.<\/p>\n

      M.A. Hardy and A. de Montm\u00e9ja, \u201cSyphilide pigmentaire,\u201d Clinique photographique de l\u2019h\u00f4pital Saint-Louis<\/em> (Paris: Chamerot et Lauwereyns, 1868).<\/p>\n

      Reproduced from G. Tilles, \u201cLe Mus\u00e9e de l’h\u00f4pital Saint-Louis, The Museum of the H\u00f4pital Saint-Louis,\u201d Annales de Dermatologie et de V\u00e9n\u00e9r\u00e9ologie<\/em> 145, no. 4, September 2018.<\/p>\n

      Cherry Chapman, \u201cTwo Very Unusual Medical Museums in Paris,\u201d A Psychotherapist in Paris<\/em>, 22 September 2014.<\/p>\n

      3.10\u00a0 Covert Prostitution: Shopgirls and Serveuses <\/em><\/strong><\/h5>\n

      View of Paris in 1878, during the World Fair<\/em>, 1878.<\/p>\n

      Charles Marville, Rue du Jardinet (du passage Hautefeuille), <\/em>ca. 1853-70.<\/p>\n

      Pierre-Auguste Renoir, Pont-Neuf, <\/em>1872.<\/p>\n

      Pierre Petit, Portrait of Julie-Victoire Daubi\u00e9<\/em>, 1861.<\/p>\n

      \u201cPARIS. – Les magasins de nouveaut\u00e9s. – LE BON MARCH\u00c9. Int\u00e9rieur. – (Dessin de MM. Clerget et Vierge).\u201d Le Monde Illustr\u00e9, <\/em>30 March 1872.<\/p>\n

      Au Bon March\u00e9: Comptoir des Modes, Chapeaux de Dentelles et de Cr\u00eape, \u00c9t\u00e9 1891, <\/em>1891.<\/p>\n

      James Tissot, The Shop Girl, <\/em>ca. 1883-85.<\/p>\n

      Pierre-Auguste Renoir, At the Milliner\u2019s<\/em>, 1878,<\/p>\n

      Edgar Degas, The Little Milliners, <\/em>1882.<\/p>\n

      Edgar Degas, At the Milliner\u2019s, <\/em>1881.<\/p>\n

      Edgar Degas, At the Milliner, <\/em>ca. 1882-85.<\/p>\n

      Edgar Degas, The Milliner<\/em>, ca. 1882.<\/p>\n

      Edgar Degas, At the Milliner\u2019s, <\/em>1883.<\/p>\n

      Edgar Degas, The Milliners, <\/em>ca. 1898.<\/p>\n

      Edgar Degas, At the Milliner\u2019s, <\/em>1882.<\/p>\n

      Gonin, \u201cChapeau Jolie Miss, en feutre flamand bleu marine. Les bords sont r\u00e9trouss\u00e9s et des belles plumes amazone<\/em> garnissent tout le chapeau. – Mod\u00e8le de Mme. H\u00e9l\u00e8ne (31, rue Caumartin),\u201d La Modiste Universelle, <\/em>1 January 1882.<\/p>\n

      Edgar Degas, At the Milliner\u2019s, <\/em>1882.<\/p>\n

      Topical Press Agency, \u201cA South African ostrich farm,\u201d ca. 1900.<\/p>\n

      Ostrich feathers for sale at the Cutler Street Warehouses in London,<\/em> 1896.<\/p>\n

      Edgar Degas, At the Milliner\u2019s, <\/em>1882.<\/p>\n

      \u00c9douard Manet, Waitress Serving Beer, <\/em>1879.<\/p>\n

      \u00c9douard Manet, A Bar at the Folies-Berg\u00e8re, <\/em>1882.<\/p>\n

      Detail of \u00c9douard Manet, A Bar at the Folies-Berg\u00e8re, <\/em>1882.<\/p>\n

      Liqueurs Sup\u00e9rieures, <\/em>1879.<\/p>\n

      \u00c9mile L\u00e9vy, \u201cFolies-Berg\u00e8re,\u201d 1874.<\/p>\n

      3.11\u00a0 The Paris Op\u00e9ra: \u201cThe Brothel of France\u201d<\/strong><\/h5>\n

      Edgar Degas, Little Dancer Aged Fourteen, <\/em>1878-81.<\/p>\n

      Henri Christiani, Petits Rats: Polka<\/em> (Paris: Durand et Fils, 1907).<\/p>\n

      Charles Garnier, Elevation sketch of the \u2018Foyer de Danse\u2019 (located behind the stage house at the first loge level) in the Paris Opera\u2019s Palais Garnier,<\/em> ca. 1863.<\/p>\n

      Edgar Degas, The Star<\/em>, ca. 1876-78.<\/p>\n

      Jean B\u00e9raud, The Wings at the Op\u00e9ra, <\/em>1889.<\/p>\n

      Ludovic Halevy, La famille Cardinal <\/em>(Paris: Calmann L\u00e9vy, 1883).<\/p>\n

      Rita Sangalli. Paris-Th\u00e9\u00e2tre, 59<\/em> July 1874.<\/p>\n

      Edgar Degas, Dancers Backstage, <\/em>ca. 1876-83.<\/p>\n

      Edgar Degas, Waiting, <\/em>1882.<\/p>\n

      Edgar Degas, The Dance Class, <\/em>1874.<\/p>\n

      Edgar Degas, The Rehearsal, <\/em>1873.<\/p>\n

      Edgar Degas, Two Dancers Entering the Stage, <\/em>ca. 1877-78.<\/p>\n

      Edgar Degas, Dancers, Pink and Green,<\/em> ca. 1890.<\/p>\n

      3.12\u00a0 Georges Seurat, Poseuses <\/em>and Pictorial Politics<\/strong><\/h5>\n

      Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte<\/em>, ca. 1884-86.<\/p>\n

      Georges Seurat, A Woman Fishing, <\/em>1884.<\/p>\n

      Georges Seurat, Models, <\/em>ca. 1886-84.<\/p>\n

      Raphael, The Three Graces, <\/em>1504.<\/p>\n

      Antonio Canova, The Three Graces, <\/em>ca. 1814-17.<\/p>\n

      Georges Seurat, Models, <\/em>ca. 1886-88.<\/p>\n

      Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, <\/em>ca. 1884-86.<\/p>\n

      Hollis Clayson, Painted Love: Prostitution in French Art of the Impressionist Era<\/em> (New Haven: Yale University Press, 1991).<\/p>\n

      Chapter 4
      \nBerthe Morisot and Mary Cassatt: Women Artists of the Impressionist Circle<\/strong><\/h1>\n

      Berthe Morisot, The Psyche Mirror<\/em>, 1876.<\/p>\n

      Introduction<\/strong><\/h5>\n

      Berthe Morisot, Self-Portrait, <\/em>1885.<\/p>\n

      Mary Cassatt, Self-Portrait, <\/em>ca. 1880.<\/p>\n

      Griselda Pollock, Vision and Difference: Femininity, Feminism and the Histories of Art<\/em> (London and New York: Routledge, 1988.)<\/p>\n

      Berthe Morisot, The Harbor at Lorient, <\/em>1869.<\/p>\n

      Mary Cassatt, Woman with a Pearl Necklace in a Loge, <\/em>1879.<\/p>\n

      Berthe Morisot<\/strong><\/h2>\n
      4.1\u00a0 Public \u00a0Debut<\/strong><\/h5>\n

      Berthe Morisot, <\/em>ca. 1841-95.<\/p>\n

      \u00c9douard Manet, The Balcony, <\/em>ca. 1868-69.<\/p>\n

      \u00c9douard Manet, Berthe Morisot with a Bouquet of Violets, <\/em>1872.<\/p>\n

      \u00c9douard Manet, Repose, <\/em>1871.<\/p>\n

      4..2\u00a0 Fashionable Subjects<\/strong><\/h5>\n

      Berthe Morisot, Two Sisters<\/em>, 1869.<\/p>\n

      Berthe Morisot, The Pink Dress (Albertie – Marguerite Carr\u00e9, Later Madame Ferdinand – Henri Himmes)<\/em>, 1870.<\/p>\n

      Berthe Morisot, The Butterfly Hunt<\/em>, 1874.<\/p>\n

      \u201cToilettes de Mme. Br\u00e9ant-Castet, 6, rue Gluck,\u201d La Mode Illustr\u00e9e, <\/em>no. 3, 1882.<\/p>\n

      La famille: Voyages, Romans, Modes, Musique, Beaux-Arts, Actualit\u00e9s, etc., <\/em>9 February 1890.<\/p>\n

      \u201cCostume Parisien: Coiffure orn\u00e9e d\u2019une fl\u00e8che et d\u2019un peigne renvers\u00e9,\u201d Journal des dames et des modes <\/em>(Year 11, 6 November 1807) 69.<\/p>\n

      \u201cLes Modes de la Saison,\u201d Journal Illustr\u00e9 de la Famille, <\/em>no. 22, 1880.<\/p>\n

      H\u00e9lo\u00efse Colin and Adele-Ana\u00efs Toudouze, Portraits d\u2019H\u00e9lo\u00efse Colin et Adele-Ana\u00efs Toudouze, par Elles-M\u00eames<\/em>, 1836.<\/p>\n

      H\u00e9lo\u00efse Leloir, Illustration for a French Fashion Magazine, <\/em>ca. 1862.<\/p>\n

      Adele-Ana\u00efs Toudouze, \u201cToilettes de Mme. Br\u00e9ant-Castel, 28, r. Nve des Pts. Champs,\u201d La Mode Illustr\u00e9e<\/em>, no. 51, 1869.<\/p>\n

      4.3\u00a0 Sisterhood<\/strong><\/h5>\n

      Edma Morisot, Berthe Morisot, <\/em>ca. 1865.<\/p>\n

      4.4\u00a0 Familiar Subjects<\/strong><\/h5>\n

      Berthe Morisot, Portrait of the Artist\u2019s Mother and Sister, ca. 1869-70.<\/em><\/p>\n

      \u00c9mile Zola, Au bonheur des dames <\/em>(Paris: G. Charpentier, 1883).<\/p>\n

      Berthe Morisot, Portrait of the Artist\u2019s Mother and Sister, ca. 1869-70.<\/em><\/p>\n

      Detail of Berthe Morisot, Portrait of the Artist\u2019s Mother and Sister, <\/em>ca. 1869-70.<\/p>\n

      Berthe Morisot, Portrait of Madame Edma Pontillon, <\/em>1871.<\/p>\n

      4..5\u00a0 The Space In Between<\/strong><\/h5>\n

      Berthe Morisot, Woman and Child on a Balcony, <\/em>1872.<\/p>\n

      \u00c9douard Manet, The Railway, <\/em>1873.<\/p>\n

      4..6\u00a0 Painting en plein air<\/em><\/strong><\/h5>\n

      Berthe Morisot, Reading, <\/em>1873.<\/p>\n

      Camille Corot, Forest of Fontainebleau, <\/em>1834.<\/p>\n

      Pierre-Henri de Valenciennes, View of the Palace of Nemi, <\/em>ca. 1780.<\/p>\n

      Berthe Morisot, In a Park, <\/em>ca. 1874.<\/p>\n

      Berthe Morisot, Summer-day<\/em>, 1879.<\/p>\n

      4.7\u00a0 Les Liseuses<\/em><\/strong><\/h5>\n

      Berthe Morisot, Reading, <\/em>1873.<\/p>\n

      Kathryn Brown, Women Readers in French Panting, 1870-90.<\/em><\/p>\n

      Antoine Wiertz, La liseuse de romans (The Reader of Novels)<\/em>, 1853.<\/p>\n

      Janis Bergman-Carton, The Woman of Ideas in French Art, 1830-48 <\/em>(New Haven: Yale University Press, 1995)<\/p>\n

      La Voix des Femmes<\/em>, 20 April 1848.<\/p>\n

      La Femme Libre, <\/em>1st edition, August 1832.<\/p>\n

      Honor\u00e9 Daumier, \u201cMoeurs conjugales no. 6,\u201d Le Charivari, <\/em>30 June 1839.<\/p>\n

      Honor\u00e9 Daumier, Voil\u00e0 une femme qui a l\u2019heure solennelle\u2026, <\/em>1848.<\/p>\n

      Honor\u00e9 Daumier, Citoyennes on fait courir le bruit\u2026,<\/em> 1848.<\/p>\n

      P.-J. Stahl et al., La vie publique et priv\u00e9e des animaux: Vignettes par Grandville <\/em>(Paris: J. Hetzel et Paulin, \u00c9diteurs, 1842).<\/p>\n

      4.8\u00a0 Motherhood<\/strong><\/h5>\n

      Berthe Morisot, The Cradle, <\/em>1872.<\/p>\n

      William Bouguereau, Young Mother Gazing at her Child, <\/em>1871.<\/p>\n

      William Bouguereau, Breton Brother and Sister, <\/em>1871.<\/p>\n

      Berthe Morisot, The Wet Nurse Feeding Julie Manet, <\/em>1880.<\/p>\n

      Detail of Berthe Morisot, The Wet Nurse Feeding Julie Manet, <\/em>1880.<\/p>\n

      Edgar Degas, At the Races in the Countryside, <\/em>ca. 1872.<\/p>\n

      Wet Nurses in a public park<\/em>, reproduced from Linda Nochlin, \u201cMorisot\u2019s Wet Nurse:<\/em> The Construction of Work and Leisure in Impressionist Painting,\u201d in Women, Art and Power, and Other Essays<\/em> (London: Routledge, 1988).<\/p>\n

      A nourrice from Morvan in Paris<\/em>, date unknown.<\/p>\n

      Berthe Morisot, Eug\u00e8ne Manet and His Daughter at Bougival, <\/em>1881.<\/p>\n

      Berthe Morisot, Julie and her Greyhound Laerte<\/em>, 1893.<\/p>\n

      Berthe Morisot, Portrait of Berthe Morisot and Her Daughter, <\/em>1885.<\/p>\n

      4.9\u00a0 Looking Female<\/strong><\/h5>\n

      Berthe Morisot, The Psyche Mirror, <\/em>1876.<\/p>\n

      Berthe Morisot, Young Woman Powdering Her Face<\/em>, 1877.<\/p>\n

      Berthe Morisot,\u00a0 The Artist\u2019s Daughter, Julie, With Her Nanny,<\/em> ca. 1884.<\/p>\n

      Berthe Morisot, Julie Playing a Violin, <\/em>1893.<\/p>\n

      Mary Cassatt<\/strong><\/h2>\n
      4.10\u00a0 An American in Paris<\/strong><\/h5>\n

      Mary Cassatt, Portrait of the Artist, <\/em>1878.<\/p>\n

      Marie Bashkirtseff, In the Studio<\/em>, 1881.<\/p>\n

      Mary Cassatt, The Mandolin Player, <\/em>ca. 1868.<\/p>\n

      Paul Durand, Ruel in his gallery in 1910<\/em>.<\/p>\n

      4.11\u00a0 Modern Attitudes<\/strong><\/h5>\n

      Mary Cassatt, Afternoon Tea Party, <\/em>1891.<\/p>\n

      Mary Cassatt, Lady at the Tea Table, <\/em>ca. 1883-85.<\/p>\n

      Edgar Degas, Mary Cassatt, <\/em>ca. 1880-84.<\/p>\n

      Mary Cassatt, Reading \u201cLe Figaro\u201d, <\/em>1878.<\/p>\n

      Mary Cassatt, Mrs. Robert S. Cassatt, the Artist\u2019s Mother, <\/em>ca. 1889.<\/p>\n

      4.12\u00a0 Femininity and the Gaze<\/strong><\/h5>\n

      Mary Cassatt. In the Loge, <\/em>1878.<\/p>\n

      Pierre-Auguste Renoir, A Box at the Theater (At the Concert), <\/em>1880.<\/p>\n

      Mary Cassatt, The Loge, <\/em>1882.<\/p>\n

      4.13\u00a0 Mother and Child<\/strong><\/h5>\n

      Mary Cassatt, Mother and Child, <\/em>1890.<\/p>\n

      Mary Cassatt, Mother About to Wash Her Sleepy Child,<\/em>, 1880.<\/p>\n

      Raphael, \u00a0Madonna and Child with the Book, <\/em>1503.<\/p>\n

      Vincent Van Gogh, Mother Roulin with Her Baby, <\/em>1888.<\/p>\n

      William Bouguereau, Rest,<\/em> 1879.<\/p>\n

      Mary Cassatt, After the Bath, <\/em>ca. 1901.<\/p>\n

      Mary Cassatt, Reine Lefebvre Holding a Nude Baby (Mother and Child)<\/em>, ca. 1902-03.<\/p>\n

      Joshua Reynolds, Lady Cockburn and Her Three Eldest Sons, <\/em>ca. 1773-75.<\/p>\n

      \u00c9lisabeth Louise Vig\u00e9e Le Brun, Self-Portrait with Her Daughter, Julie<\/em>, 1786.<\/p>\n

      Daughters of Charity with orphan girls in a park, <\/em>date unknown.<\/p>\n

      Couturier, \u201cLes Filles-M\u00e8res,\u201d L\u2019Assiette au Beurre, <\/em>no. 89, December 1902.<\/p>\n

      Alfred Stevens, The Hunters of Vincennes or, What is Called Vagrancy<\/em>, 1854.<\/p>\n

      4.14\u00a0 New Perspectives<\/strong><\/h5>\n

      Mary Cassatt, The Child\u2019s Bath, <\/em>1893.<\/p>\n

      Edgar Degas, Woman in a Tub, <\/em>ca. 1883.<\/p>\n

      Kitagawa Utamaro I, Mother and Child, ca. <\/em>1797.<\/p>\n

      Mary Cassatt, The Bath,<\/em> ca. 1890-91.<\/p>\n

      Kitagawa Utamaro I, A Mother Bathing Her Son, <\/em>ca. 1753-1806.<\/p>\n

      Mary Cassatt, The Bath<\/em>, ca. 1890-91.<\/p>\n

      4.15\u00a0 World of Children<\/strong><\/h5>\n

      Mary Cassatt, Little Girl in a Blue Armchair, <\/em>1878.<\/p>\n

      Pierre-Auguste Renoir, A Girl with a Watering Can, <\/em>1876.<\/p>\n

      \u00c9mile Jumeau (manufacturer), Poup\u00e9e B\u00e9b\u00e9 Jumeau<\/em>, ca. 1850-1915.<\/p>\n

      Pierre-Auguste Renoir, Madame Georges Charpentier and Her Children, <\/em>1878.<\/p>\n

      Mary Cassatt, Little Girl in a Blue Armchair, <\/em>1878.<\/p>\n

      Mary Cassatt, A Woman and a Girl Driving, <\/em>1881.<\/p>\n

      Mary Cassatt, Baby Reaching for an Apple, <\/em>1893.<\/p>\n

      Mary Cassatt, Mother and Child, <\/em>ca. 1905.<\/p>\n

      Lewis Carroll, Beatrice Hatch, 30 July 1873<\/em>, 1873.<\/p>\n

      Sally Mann, Virginia at 3, <\/em>1988.<\/p>\n

      4.16\u00a0 The Language of Prints<\/strong><\/h5>\n

      Mary Cassatt, Mother\u2019s Kiss, <\/em>ca. 1890-91.<\/p>\n

      Mary Cassatt, Maternal Caress, <\/em>ca. 1890-91.<\/p>\n

      Mary Cassatt, The Coiffure, <\/em>1890-91.<\/p>\n

      Mary Cassatt, The Fitting, <\/em>ca. 1890-91.<\/p>\n

      Kitagawa Utamaro I, Yahoo of the Matsubaya, from the series Selections from Six Houses in Yoshiwara (Seiro rokkasen) (Matsubaya Yosooi)<\/em>, ca. 1801-02.<\/p>\n

      Mary Cassatt, The Letter, <\/em>ca. 1890-91.<\/p>\n

      Mary Cassatt, The Bath <\/em>ca. 1890-91.<\/p>\n

      John Fiorillo, \u201cColor Changes (Fading in Ukiyo-e<\/em>),\u201d Viewing Japanese Prints, date unknown.<\/p>\n

      Mary Cassatt, The Letter, <\/em>ca. 1890-91.<\/p>\n

      4.17\u00a0 \u00a0\u201cModern Woman\u201d<\/strong><\/h5>\n

      Woman\u2019s Building, <\/em>1893.<\/p>\n

      Mary Cassatt, Modern Woman, <\/em>1893.<\/p>\n

      Coloured engraving after Mary Cassatt, Modern Woman, <\/em>1893, published in William Walton, World\u2019s Columbian Exposition<\/em>, Art and Architecture, Volume I<\/em> (Philadelphia: George Barrie & Son, 1893), opp. P. xxxvi.<\/p>\n

      Mary Fairchild MacMonnies, Primitive Woman, <\/em>1893.<\/p>\n

      Mary Cassatt, Modern Woman, <\/em>1893.<\/p>\n

      Mary Cassatt, Modern Woman, <\/em>1893, taken from a photo in Harper\u2019s New Monthly Magazine<\/em> (May 1893), inset with a colour detail printed by George Barrie.<\/p>\n

      James Tissot, The Bunch of Lilacs, <\/em>ca. 1875.<\/p>\n

      Coloured engraving after Mary Cassatt, Modern Woman, <\/em>1893.<\/p>\n

      Pierre Puvis de Chavannes, Inter Artes et Naturam (Between Art and Nature), <\/em>ca. 1890-95.<\/p>\n

      Office of Board of Lady Managers, portraits of 10 women, <\/em>1896.<\/p>\n

      Madeleine Lemaire, Art and Handicraft in the Woman\u2019s Building, <\/em>1893.<\/p>\n

      William Henry Jackson, Interior of the Woman\u2019s Building, 1893.<\/p>\n

      4.18\u00a0 \u00a0The Suffrage Exhibition<\/strong><\/h5>\n

      Mary Cassatt, Louisine Havemeyer, <\/em>1896.<\/p>\n

      Mary Cassatt, Mother and Child, <\/em>ca. 1905.<\/p>\n

      We Want to Vote for President in 1904, <\/em>ca. 1904.<\/p>\n

      Durand-Ruel, Cassatt seated in a chair with an umbrella, <\/em>1913.<\/p>\n

      Photograph of the Suffrage Loan Exhibition at Knoedler Gallery,<\/em> 1915.<\/p>\n

      Acad\u00e9mie Julian, Paris, group of art students, <\/em>ca. 1885.<\/p>\n

      Chapter 5
      \nThe Modern Portrait in Photography and Impressionist Painting<\/strong><\/h1>\n

      Julia Margaret Cameron, Portrait of Julia Stephen born Julia Jackson, Mother of Virginia Woolf<\/em>, 1867.<\/p>\n

      Edgar Degas, Place de la Concorde<\/em>, 1875.<\/p>\n

      5.1\u00a0 The Advent of Photography<\/strong><\/h5>\n

      Jean-Baptiste Sabatier-Blot, Portrait of Louis Daguerre, <\/em>1844.<\/p>\n

      Louis Daguerre, Historique et description des proc\u00e9d\u00e9s<\/em> de daguerr\u00e9otype et du diorama<\/em> (Paris: Alphonse Giroux et cie., 1839).<\/p>\n

      Le Daguerr\u00e9otype, The Daguerre-Giroux Camera<\/em>, date unknown.<\/p>\n

      Portrait of a Daguerreotypist Displaying Daguerreotypes and Cases,<\/em> 1845.<\/p>\n

      Staff at William Henry Fox Talbot\u2019s commercial calotype establishment in Reading, Berkshire, 1846.<\/p>\n

      5.2\u00a0 Early Photographic Portraiture<\/strong><\/h5>\n

      Andr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Prince Lobkowitz, <\/em>1858.<\/p>\n

      Andr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Demi-Monde II 57, <\/em>ca. 1858-68.<\/p>\n

      Scovill Manufacturing Co., Wet-plate camera with nine Darlot no. 2 lenses, <\/em>ca. 1860.<\/p>\n

      Charles Willson Peale, Mrs. Charles Wilson Peale (Rachel Brewer) and Baby Eleanor, <\/em>1790.<\/p>\n

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

      Andr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Emperor Napol\u00e9on III and his family, <\/em>ca. 1858.<\/p>\n

      Elizabeth Anne McCauley, A. A. E. Disd\u00e9ri and the Carte de Visite Portrait Photograph<\/em> (New Haven: Yale University Press, 1985).<\/p>\n

      Dolligen, and Andr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Galerie des contemporains, <\/em>vol. 1 (Paris, 1862).<\/p>\n

      Mayer & Pierson, Carte-de-visite Album of Prominent Personages<\/em>, ca. 1860-70.<\/p>\n

      Honor\u00e9 Daumier, \u201cCroquis parisiens: \u2018Pose de l\u2019homme de la nature,\u2019 \u2018Pose de l\u2019homme civilis\u00e9\u2019,\u201d Le Charivari, <\/em>31 March 1853.<\/p>\n

      Andr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Fiocre Nemea, <\/em>ca. 1862-65.<\/p>\n

      Andr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Soeurs Marchisio, <\/em>1862.<\/p>\n

      Andr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, L\u2019art de la photographie<\/em> (Paris: Chez l\u2019auteur, 1862).<\/p>\n

      Andr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, Self-portrait, <\/em>ca. 1860-65.<\/p>\n

      Andr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, L\u2019art de la photographie <\/em>(Paris: Chez l\u2019auteur, 1862).<\/p>\n

      5.3\u00a0 Portrait Photography, Art and Aesthetics<\/strong><\/h5>\n

      Gustave Le Gray, Self-portrait<\/em>, ca. 1850-55.<\/p>\n

      Gustave Le Gray, Eug\u00e9nie, Empress of the French, <\/em>1856.<\/p>\n

      Gustave Le Gray, Forest of Fontainebleau, <\/em>1855.<\/p>\n

      Gustave Le Gray, View of the Seine, Paris, <\/em>1857.<\/p>\n

      Gustave Le Gray, The Ramparts of Carcassonne, <\/em>1851.<\/p>\n

      \u201cSalons de l\u2019\u00e9tablissement photographique de M. Le Gray, Boulevard des Capucines, no. 35,\u201d L\u2019Illustration, Journal Universel<\/em>, 21 April 1856.<\/p>\n

      5.4\u00a0 Beyond the Documentary Portrait: F\u00e9lix Nadar<\/strong><\/h5>\n

      F\u00e9lix Nadar, Nadar (demonstration photograph), <\/em>ca. 1890-1910.<\/p>\n

      Nadar, Panth\u00e9on Nadar, <\/em>1854.<\/p>\n

      Detail of Nadar, Panth\u00e9on Nadar, <\/em>1854.<\/p>\n

      Nadar, Nadar, Les Binettes contemporaines, <\/em>ca. 1854.<\/p>\n

      Nadar, Atelier Nadar, 35 Boulevard des Capucines, <\/em>1860.<\/p>\n

      Nadar, Interior of the studio at 35 Boulevard des Capucines, <\/em>ca. 1861.<\/p>\n

      Nadar, View of the interior of the studio at 35 Boulevard des Capucines, with Nadar\u2019s Panth\u00e9on, <\/em>ca. 1861.<\/p>\n

      Nadar, Gustave Dor\u00e9\u2019s Portrait, <\/em>ca. 1883.<\/p>\n

      Nadar, \u00c9douard Manet,<\/em> ca. 1867-70.<\/p>\n

      Paul Nadar, \u201cPhotographs of his father F\u00e9lix Nadar with Michel-Eug\u00e8ne Chevreul, taken on August 18, 1886,\u201d Le Journal Illustr\u00e9, <\/em>5 September 1886.<\/p>\n

      \u00c9tienne-Jules Marey, Chronophotographie du saut en longueur, <\/em>ca. 1882-83.<\/p>\n

      Eadweard Muybridge, The Horse in Motion. \u201cSallie Gardner,\u201d owned by Leland Stanford; running at a 1:40 gait over the Palo Alto track, 19th June 1878<\/em>, ca. 1878.<\/p>\n

      Nadar, Sarah Bernhardt<\/em>, ca. 1864.<\/p>\n

      Paul Nadar, View of the terrace of the studio on Rue d\u2019Anjou, on the Rue des Mathurins<\/em>, ca. 1910.<\/p>\n

      Nadar, Nadar in a Balloon, <\/em>ca. 1860-70.<\/p>\n

      Nadar, Aerial view of Paris, Arc de Triomphe, <\/em>1868.<\/p>\n

      \u00c9doaurd Manet, View of the 1867 Exposition Universelle, <\/em>1867.<\/p>\n

      Nadar, Catacombs of Paris, <\/em>1861.<\/p>\n

      F\u00e9lix Nadar, When I was a Photographer, <\/em>trans. Eduardo Cadava and Liana Theoduratou (Cambridge: MIT Press, 2015; first published: Paris: Flammarion, 1899).<\/p>\n

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

      Nadar, M. Zola, \u00e9crivain, <\/em>ca. 1893-94.<\/p>\n

      Dornac, \u00c9mile Zola, <\/em>ca. 1887-1917.<\/p>\n

      5.5\u00a0 Julia Margaret Cameron: Art Photography and Pictorialism<\/strong><\/h5>\n

      George Frederic Watts, Julia Margaret Cameron, <\/em>ca. 1850-1852.<\/p>\n

      Julia Margaret Cameron, Sir John F. W. Herschel, <\/em>1867.<\/p>\n

      Julia Margaret Cameron, Annie Wilhelmina Philpot<\/em>, January 29, 1864.<\/p>\n

      Julia Margaret Cameron, Alfred Lord Tennyson, <\/em>1869.<\/p>\n

      Julia Margaret Cameron, Photographic Study \u201cPomona\u201d (Alice Lidell as a young woman), <\/em>1872.<\/p>\n

      Julia Margaret Cameron, Portrait of Julia Stephen born Julia Jackson, mother of Virginia Woolf, <\/em>April 1867.<\/p>\n

      Edward Steichen, Auguste Rodin seen in a parallel pose with Le Penseur (The Thinker), <\/em>1905.<\/p>\n

      Alfred Stieglitz, \u201cMiss S.R.\u201d, <\/em>1904.<\/p>\n

      5.6\u00a0 Modern Impressionist Portrait Paintings and the Impact of Photographic Techniques<\/strong><\/h5>\n

      Gustave Courbet, Proudhon and His Children, <\/em>1865.<\/p>\n

      Nadar, Pierre-Joseph Proudhon, <\/em>ca. 1860.<\/p>\n

      Franz von Lenbach, Portrait of Richard Wagner, <\/em>ca. 1878.<\/p>\n

      Louis Figuier, \u201cFig. 79- Effect de l\u2019appareil de M. Monckhoven pour l\u2019agrandissement des \u00e9preuves photographiques,\u201d Les Merveilles de la science ou description Populaire des inventions modernes<\/em>, vol. 3 (Paris: Librairie Furne, Jouvet et cie, 1869), 123.<\/p>\n

      Karl Hahn, Four Portrait Studies of Georg Ebers, ca. <\/em>1895.<\/p>\n

      Franz von Lenbach, Self-portrait, <\/em>ca. 1902-03.<\/p>\n

      5.7\u00a0 Edgar Degas<\/strong><\/h5>\n

      Edgar Degas, Edmond Duranty<\/em>, 1879.<\/p>\n

      Edmond Duranty, La Nouvelle Peinture: \u00c0 propos du groupe d\u2019artistes qui expose dans les galeries Durand-Ruel<\/em> (Paris: E. Dentu, 1876).<\/p>\n

      Johann Kaspar Lavater, \u201cPhlegmatic,\u201d \u201cCholeric,\u201d \u201cSanguine,\u201d and \u201cMelancholic,\u201d Physiognomische Fragmente zur Bef\u00f6rderung der Menschenkenntnis und Menschenliebe<\/em> (Leipzig: Weidmanns Erben und Reich, 1778).<\/p>\n

      Jean Gaspard Lavater (Johann Kaspar Lavater), Essai sur la physiognomonie, destin\u00e9 \u00e0 faire conna\u00eetre l\u2019Homme & \u00e0 le faire aimer, <\/em>trans Antoine-Bernard Caillard, and Marie-\u00c9lisabeth de la Fite, vol. 2 (La Have, 1783).<\/p>\n

      Edgar Degas, Diego Martelli, <\/em>1879.<\/p>\n

      Edgar Degas, Edmont Duranty, <\/em>1879.<\/p>\n

      Edgar Degas, Victoria Dubourg, <\/em>ca. 1868-69.<\/p>\n

      Winslow Homer, \u201cArt-Students and Copyists in the Louvre Gallery, Paris,\u201d Harper\u2019s Weekly XII<\/em>, 11 January, 1868.<\/p>\n

      Victoria Dubourg, Henri Fantin-Latour, Still Life with Pink and White Stock, <\/em>unknown date.<\/p>\n

      Jean-Baptiste-Sim\u00e9on Chardin, A Vase of Flowers, <\/em>1750.<\/p>\n

      Victoria Dubourg, Flowers, <\/em>unknown date.<\/p>\n

      Henri Fantin-Latour, Summer Flowers, <\/em>1880.<\/p>\n

      Edgar Degas, Mary Cassatt at the Louvre: The Etruscan Gallery<\/em>, ca. 1879-80.<\/p>\n

      Edgar Degas, Mary Cassatt at the Louvre: The Etruscan Gallery, <\/em>ca. 1879-80.<\/p>\n

      Edgar Degas, Mary Cassatt at the Louvre, <\/em>ca. 1880.<\/p>\n

      Edgar Degas, Mary Cassatt at the Louvre: The Paintings Gallery, <\/em>1885.<\/p>\n

      Edgar Degas, Madame Camus, <\/em>ca. 1869-70.<\/p>\n

      Edgar Degas, Madame Camus with a Fan, <\/em>ca. 1870.<\/p>\n

      Edgar Degas, Madame Camus at the Piano, <\/em>1869.<\/p>\n

      Edgar Degas, Degas\u2019s Father Listening to Lorenzo Pagans Playing the Guitar, <\/em>ca. 1869-72.<\/p>\n

      Edgar Degas, \u00c9douard Manet and his Wife, <\/em>ca. 1865-69.<\/p>\n

      Edgar Degas, H\u00e9l\u00e8ne Rouart in her Father\u2019s Study, <\/em>ca. 1886.<\/p>\n

      Edgar Degas, Henri Rouart in front of his Factory, <\/em>ca. 1875.<\/p>\n

      Edgar Degas, H\u00e9l\u00e8ne Rouart in her Father\u2019s Study, <\/em>ca. 1886.<\/p>\n

      Edgar Degas, The Belleli Family, <\/em>ca. 1858-69.<\/p>\n

      Edgar Degas, A Cotton Office in New Orleans, <\/em>1873.<\/p>\n

      Marylin R. Brown, Degas and the Business of Art: A Cotton Office in New Orleans <\/em>(University Park: Pennsylvania State University Press, 1994).<\/p>\n

      Edgar Degas, Place de la Concorde<\/em>, 1875.<\/p>\n

      Hippolyte Jouvin, Le Pont-Neuf, vu du quai des Grands Augustins, <\/em>ca. 1860-70.<\/p>\n

      Richard, Lenticular or \u201cBrewster\u201d stereoscope, <\/em>ca. 1910-30.<\/p>\n

      Edgar Degas, Place de la Concorde<\/em>, 1875.<\/p>\n

      Gustave Boulanger, Battle in Place de la Concorde in Paris, during the last days of the Commune, <\/em>1871.<\/p>\n

      James Pradier, The Statue of Strasbourg, <\/em>1838.<\/p>\n

      Pierre-Antoine Demachy, An Execution, Place de la R\u00e9volution, <\/em>ca. 1793.<\/p>\n

      Edgar Degas, Place de la Concorde, <\/em>1875.<\/p>\n

      Hilaire-Germain-Edgar Degas, Jules Taschereau, Edgar Degas and Jacques-\u00c9mile Blanche, <\/em>1895.<\/p>\n

      Edgar Degas, Portrait of Ludovic Hal\u00e9vy<\/em>, 1895.<\/p>\n

      5.8\u00a0 Impressionist Portraits of Colleagues and Friends<\/strong><\/h5>\n

      Fr\u00e9d\u00e9ric Bazille, Portrait of Pierre-Auguste Renoir, <\/em>1867.<\/p>\n

      Pierre-Auguste Renoir, Claude Monet Reading, <\/em>1872.<\/p>\n

      \u00c9douard Manet, Repose, <\/em>1871.<\/p>\n

      Edgar Degas, Mary Cassatt, <\/em>ca. 1880-84.<\/p>\n

      Mary Cassatt, Self-portrait, <\/em>ca. 1878.<\/p>\n

      Jean-Auguste-Dominique Ingres, Madame Moitessier, <\/em>1856.<\/p>\n

      5.9\u00a0 Fr\u00e9d\u00e9ric Bazille<\/strong><\/h5>\n

      Fr\u00e9d\u00e9ric Bazille, Self-portrait, <\/em>ca. 1865-66.<\/p>\n

      Fr\u00e9d\u00e9ric Bazille, Self-portrait at Saint-Sauveur, <\/em>1864.<\/p>\n

      Fr\u00e9d\u00e9ric Bazille, The Family Reunion, <\/em>1868.<\/p>\n

      Andr\u00e9-Adolphe-Eug\u00e8ne Disd\u00e9ri, (Family Portrait), <\/em>ca. 1855-65.<\/p>\n

      Frans Hals, Family Group in a Landscape, <\/em>ca. 1645-48.<\/p>\n

      Philippe de Champaigne (attrib.), Portrait of the family of Habert de Montmor, <\/em>ca. 1600-50.<\/p>\n

      Henri Fantin-Latour, A Studio at Les Batignolles, <\/em>1870.<\/p>\n

      Fr\u00e9d\u00e9ric Bazille, Bazille\u2019s Studio, <\/em>1870.<\/p>\n

      Fr\u00e9d\u00e9ric Bazille, Bazille\u2019s Studio, <\/em>1870.<\/p>\n

      Fr\u00e9d\u00e9ric Bazille, View of the Village, <\/em>1868.<\/p>\n

      Fr\u00e9d\u00e9ric Bazille, The Fisherman with a Net, <\/em>1868.<\/p>\n

      5.10\u00a0 Pierre-Auguste Renoir and the Group Portrait<\/strong><\/h5>\n

      \u00c9douard Manet, The Monet Family in Their Garden at Argenteuil, <\/em>1874.<\/p>\n

      Pierre-Auguste Renoir, Madame Monet and Her Son, <\/em>1874.<\/p>\n

      Pierre-Auguste Renoir, Luncheon of the Boating Party, <\/em>ca. 1880-81.<\/p>\n

      Pierre-Auguste Renoir, Dance at Le Moulin de la Galette, <\/em>1876.<\/p>\n

      The Moulin de la Galette and Montmartre\u2019s Rural character, <\/em>ca. 1900.<\/p>\n

      Georges Rivi\u00e8re, Renoir et ses amis <\/em>(Paris: H. Floury, 1921).<\/p>\n

      Pierre-Auguste Renoir, Dance at Le Moulin de la Galette, <\/em>1876.<\/p>\n

      Pierre-Auguste Renoir, Dance at the Moulin de la Galette, <\/em>1876.<\/p>\n

      \u00c9douard Manet, Masked Ball at the Opera, <\/em>1873.<\/p>\n

      Pierre-Auguste Renoir, Madame Georges Charpentier and her Children, <\/em>1878.<\/p>\n

      Fran\u00e7ois Boucher, Portrait of Madame de Pompadour, <\/em>1756.<\/p>\n

      Jean-Auguste-Dominique Ingres, Portrait of Marie-Fran\u00e7oise Rivi\u00e8re, <\/em>1805.<\/p>\n

      5.11\u00a0\u00a0\u00a0\u00a0 Renoir\u2019s Images of Children<\/strong><\/h5>\n

      Pierre-Auguste Renoir, On the Terrasse, <\/em>1881.<\/p>\n

      Pierre-Auguste Renoir, Marguerite-Th\u00e9r\u00e8se (Margot) Berard, <\/em>1879.<\/p>\n

      Pierre-Auguste Renoir, Sketches of Heads (The Berard Children)<\/em>, 1881.<\/p>\n

      Pierre-Auguste Renoir, The Daughters of Catulle Mend\u00e8s, Huguette (1871-1904), Claudine (1876-1937), and Helyonne (1879-1955)<\/em>, 1888.<\/p>\n

      Auguste Renoir, Pink and Blue- The Cahen d\u2019Anvers Girls, <\/em>1881.<\/p>\n

      Raphael, Madonna of the Pinks, <\/em>ca. 1506-07.<\/p>\n

      Raphael, Psyche Brings a Vessel up to Venus, <\/em>ca. 1517-18.<\/p>\n

      Pierre-Auguste Renoir, Mother Nursing her Child, <\/em>1885.<\/p>\n

      Raphael, Madonna della Seggiola, <\/em>ca. 1513-14.<\/p>\n

      Pierre-Auguste Renoir, Claude Renoir, Playing, <\/em>ca. 1905.<\/p>\n

      Chapter 6
      \nClaude Monet and the Impressionist Landscape<\/strong><\/h1>\n

      Claude Monet, Poppy Field in a Hollow near Giverny<\/em>, 1885. Oil on canvas. 65.1 x 81.3 cm. Museum of Fine Arts, Boston.<\/p>\n

      6.1\u00a0 Beyond the Atelier<\/strong><\/p>\n

      Claude Monet, A Corner of the Studio, <\/em>1861.<\/p>\n

      Detail of Claude Monet, A Corner of the Studio, <\/em>1861.<\/p>\n

      Detail of Claude Monet, A Corner of the Studio, <\/em>1861.<\/p>\n

      Detail of Claude Monet, A Corner of the Studio, <\/em>1861.<\/p>\n

      \u00c9douard-Antoine Renard, Atelier d\u2019Eug\u00e8ne Delacroix, <\/em>1852.<\/p>\n

      Eug\u00e8ne Delacroix, Combat of the Giaour and the Pasha, <\/em>1835.<\/p>\n

      Charles Lhullier, Portrait of Claude Monet in Uniform, <\/em>1861.<\/p>\n

      Gustave Courbet, The Artist\u2019s Studio, a Real Allegory Summing Up Seven Years of my Artistic and Moral Life, <\/em>1854.<\/p>\n

      Claude Monet, Luncheon on the Grass, <\/em>1866.<\/p>\n

      \u00c9douard Manet, Luncheon on the Grass, <\/em>1863.<\/p>\n

      Claude Monet, Luncheon on the Grass<\/em> (right section), ca. 1865-66.<\/p>\n

      Claude Monet, Luncheon on the Grass, <\/em>1866.<\/p>\n

      Claude Monet, Pav\u00e9 de Chailly in the Fontainebleau Forest, <\/em>1865.<\/p>\n

      6.2\u00a0 Controversial Style<\/strong><\/h5>\n

      Claude Monet, Camille<\/em>, 1866.<\/p>\n

      Claude Monet, Madame Monet Wearing a Kimono, <\/em>1875.<\/p>\n

      Hishikawa Moronobu, Dancer, <\/em>ca. 1618-94.<\/p>\n

      Detail of Claude Monet, Madame Monet Wearing a Kimono, <\/em>1875.<\/p>\n

      Installation in Gallery 2, \u201cMonet\u2019s Camille: Re-imagining the Full-Length Portrait\u201d: Promenade dress, 1865-68.<\/p>\n

      Claude Monet, Camille, <\/em>1866.<\/p>\n

      Gloria Groom, ed., Impressionism, Fashion, and Modernity<\/em> (Chicago: Art Institute of Chicago, 2012).<\/p>\n

      Claude Monet, Madame Louis Joachim Gaudibert, <\/em>1868.<\/p>\n

      6.3\u00a0 Claude Monet, Eug\u00e8ne Boudin and Normandy<\/strong><\/h5>\n

      Claude Monet, Camille on the Beach in Trouville, <\/em>1870.<\/p>\n

      Claude Monet, The Beach at Trouville, <\/em>1870.<\/p>\n

      Eug\u00e8ne Louis Boudin, Beach Scene in Trouville, <\/em>ca. 1870-74.<\/p>\n

      6.4\u00a0 Argenteuil and the Advent of Impressionism<\/strong><\/h5>\n

      Claude Monet, The Highway Bridge Under Repair, <\/em>1872.<\/p>\n

      Pierre-Auguste Renoir, Claude Monet Painting in His Garden at Argenteuil, <\/em>1873.<\/p>\n

      Claude Monet, The Artist\u2019s Garden in Argenteuil (A Corner of the Garden with Dahlias), <\/em>1873.<\/p>\n

      Claude Monet, Springtime, <\/em>1872.<\/p>\n

      Claude Monet, Gladioli, <\/em>ca. 1876.<\/p>\n

      Detail of Claude Monet, Gladioli<\/em>, ca. 1876.<\/p>\n

      Detail of Claude Monet, Gladioli, <\/em>ca. 1876.<\/p>\n

      Claude Monet, Gladioli, <\/em>ca. 1876.<\/p>\n

      James Tissot, Spring Morning, <\/em>ca. 1875.<\/p>\n

      Paul Hayes Tucker, The Impressionists at Argenteuil<\/em> (Washington: National Gallery of Art; Harford: Wadsworth Atheneum Museum of Art, 2000).<\/p>\n

      Claude Monet, The Studio Boat, <\/em>1876.<\/p>\n

      Claude Monet, Landscape: The Parc Monceau, <\/em>1876.<\/p>\n

      Claude Monet, The Parc Monceau, <\/em>1878.<\/p>\n

      Claude Monet, The Parc Monceau, <\/em>1878.<\/p>\n

      6.5\u00a0 Impressionism: A Critical Concept<\/strong><\/h5>\n

      Claude Monet, Impression, Sunrise, <\/em>1872.<\/p>\n

      Pierre-Henri de Valenciennes, Landscape with Ruins,<\/em> ca. 1782-85.<\/p>\n

      Camille Pisarro, Hoarfrost at Ennery, <\/em>1873.<\/p>\n

      Claude Monet, Boulevard des Capucines<\/em>, 1873.<\/p>\n

      Paul C\u00e9zanne, The Hanged Man\u2019s House, <\/em>ca. 1874.<\/p>\n

      Berthe Morisot, The Harbor at Cherbourg, <\/em>1871.<\/p>\n

      Pierre-Auguste Renoir, La loge, <\/em>1874.<\/p>\n

      Claude Monet, Impression, Sunrise<\/em>, 1872.<\/p>\n

      Joseph Mallord William Turner, Landscape with Water, <\/em>ca. 1840.<\/p>\n

      Joseph Mallord William Turner, Norham Castle, Sunrise, <\/em>1845.<\/p>\n

      John Constable, Weymouth Bay: Bowleaze Cove and Jordon Hill, <\/em>ca. 1816.<\/p>\n

      Joseph Mallord William Turner, The Lake, Petworth, Sunset; Sample Study, <\/em>ca. 1827.<\/p>\n

      Claude Lorrain, Sunrise, <\/em>ca. 1646-47.<\/p>\n

      6.6\u00a0 Landscape and the Legacy of Romanticism<\/strong><\/h5>\n

      Jean-Baptiste-Camille Corot, The Bridge at Narni, <\/em>1826.<\/p>\n

      Camille Pissarro, Jalais Hill, Pontoise, <\/em>1867.<\/p>\n

      Claude Monet, Impressionism, Sunrise<\/em>, 1872.<\/p>\n

      Arthur Rimbaud, Lettre Du Voyant & Other Writings<\/em>. Translated and edited by J.J. Loe (Moonlight Books, n.d.)<\/p>\n

      John Constable, The Hay Wain, <\/em>1821.<\/p>\n

      Joseph Mallord William Turner, The Fighting Temeraire Tugged to her Last Berth to be Broken Up, 1838<\/em>, 1839.<\/p>\n

      Caspar David Friedrich, Rocky Ravine in the Elbe Sandstone Mountains, <\/em>1822.<\/p>\n

      Caspar David Friedrich, Two Men Contemplating the Moon, <\/em>ca. 1825-30.<\/p>\n

      Jean-Baptiste-Camille Corot, Forest of Fontainebleau, <\/em>1834.<\/p>\n

      Charles-Fran\u00e7ois Daubigny, The Pond at Gylieu, <\/em>1853.<\/p>\n

      Th\u00e9odore Rousseau, The Village of Becquigny, <\/em>ca. 1857.<\/p>\n

      Jean-Fran\u00e7ois Millet, Autumn Landscape with a Flock of Turkeys, <\/em>ca. 1872-73.<\/p>\n

      Th\u00e9odore G\u00e9ricault, Riderless Racers at Rome<\/em>, 1817.<\/p>\n

      Eug\u00e8ne Delacroix, Death of Sardanapalus<\/em>, 1844.<\/p>\n

      Claude Monet, A Corner of the Studio, <\/em>1861.<\/p>\n

      Claude Monet, Poppy Field in a Hollow near Giverny<\/em>, 1885.<\/p>\n

      6.7\u00a0 Serial Subjects<\/strong><\/h5>\n

      Claude Monet, Poplars, <\/em>1891.<\/p>\n

      Claude Monet, The Four Trees, <\/em>1891.<\/p>\n

      Claude Monet, Stacks of Wheat (End of Summer),<\/em> ca. 1890-91.<\/p>\n

      Claude Monet, Grainstack, White Forest Effect, <\/em>ca. 1890-91.<\/p>\n

      Claude Monet, Haystack, End of Summer, <\/em>ca. 1890-91.<\/p>\n

      Claude Monet, Stacks of Wheat, (End of Summer), <\/em>ca. 1890-91.<\/p>\n

      Claude Monet, Wheatstacks, Snow Effect, Morning<\/em>, 1891.<\/p>\n

      Claude Monet, Rouen Cathedral Portal, Front View,<\/em> 1892.<\/p>\n

      Claude Monet, Rouen Cathedral, Fa\u00e7ade, <\/em>ca. 1892-94.<\/p>\n

      6.8\u00a0 \u00a0Colour Theory, Paint Tubes and Portable Easels: Monet\u2019s Modern Palette<\/strong><\/h5>\n

      Frederich Wilhelm Joseph von Schelling, Einleitung zu seinem Entwurf eines Systems der Naturphilosophie<\/em> (Jena and Leipzig: Christian Ernst Gabler, 1799).<\/p>\n

        \n
      1. Br\u00fccke and H. Helmholtz, Principes scientifiques des Beaux-Arts, essais et fragments de th\u00e9orie, suivis de L\u2019Optique de la peinture <\/em>(Paris: Librairie Germer Bailli\u00e8re et cie, 1878).<\/li>\n
      2. Br\u00fccke and H. Helmholtz, Principes scientifiques des Beaux-Arts, essais et fragments de th\u00e9orie, suivis de L\u2019Optique de la peinture <\/em>(Paris: Librairie Germer Bailli\u00e8re et cie, 1878), 62.<\/li>\n<\/ol>\n

        Claude Monet, V\u00e9theuil, <\/em>1901.<\/p>\n

        Johann Wolfgang von Goethe, Goethe\u2019s symmetric colour wheel with associated symbolic qualities, 1809.<\/p>\n

        Michel-Eug\u00e8ne Chevreul, De la loi du contraste simultan\u00e9 des couleurs et de l\u2019assortiment des objets color\u00e9s <\/em>(…) (Paris: Pitois-Levrault et cie, libraires, 1839).<\/p>\n

        Michel-Eug\u00e8ne Chevreul, \u201cConstruction chromatique hemisph\u00e9rique de Mr. Chevreuil, Fig 15,\u201d in De la loi du contraste simultan\u00e9 des couleurs<\/em> (Paris: Pitois-Levrault et cie, libraires, 1839).<\/p>\n

        Michel-Eug\u00e8ne Chevreul, \u201cAssortiments des couleurs simples et binaires des artistes avec le blanc, le noir et le gris,\u201d in De la loi du contraste simultan\u00e9 des couleurs<\/em> (Paris: Pitois-Levrault et cie, libraires, 1839), pl. 7.<\/p>\n

        Claude Monet, The Artist\u2019s Garden at V\u00e9theuil, <\/em>1881.<\/p>\n

        Grumbacher (Manufacturer), Vintage French Metamorphic Traveling Painters Box Easel<\/em>, ca. 1930-40.<\/p>\n

        The Windsor & Newton paint tube, ca. 1840-1911.<\/p>\n

        Claude Monet, Poppy Field in a Hollow near Giverny, <\/em>1885.<\/p>\n

        Claude Monet, Camille Monet on Her Deathbed, <\/em>1879.<\/p>\n

        Henri Regnault, Portrait of Madame Mazois on Her Deathbed, <\/em>1866.<\/p>\n

        Claude Monet, Camille Monet on Her Deathbed, <\/em>1879.<\/p>\n

        6.9\u00a0 Impressionism and Music<\/strong><\/h5>\n

        Claude Monet, Water Lilies, <\/em>1906.<\/p>\n

        Claude Monet, The Path Through the Irises, <\/em>ca. 1914-17.<\/p>\n

        Claude Monet, Water Lilies, <\/em>1906.<\/p>\n

        Claude Monet, Port-Goulphar, Belle-\u00cele, <\/em>1887.<\/p>\n

        Claude Monet, Weeping Willow, <\/em>ca. 1918.<\/p>\n

        Jean-Jacques Grandville et al., Les fleurs anim\u00e9es, <\/em>(Paris: Garnier Fr\u00e8res, Libraires-\u00c9diteurs, 1867).<\/p>\n

        6.10\u00a0 Landscape and the Female Form<\/strong><\/h5>\n

        Claude Monet, Poppy Field in Argenteuil, <\/em>1873.<\/p>\n

        Claude Monet, Camille Monet in the Garden at Argenteuil, <\/em>1876.<\/p>\n

        Claude Monet, Woman with a Parasol- Madame Monet and Her Son, <\/em>1875.<\/p>\n

        Claude Monet, Woman with a Parasol, facing left, <\/em>1886.<\/p>\n

        Claude Monet, Study of a Figure Outdoors, <\/em>1886.<\/p>\n

        Claude Monet, Boating on the River Epte, <\/em>1890.<\/p>\n

        Claude Monet, The Bark at Giverny, <\/em>ca. 1887.<\/p>\n

        Claude Monet, Water Lilies, <\/em>ca. 1915.<\/p>\n

        Jean-Baptiste-Camille Corot, A Morning. The Dance of the Nymphs, <\/em>ca. 1850.<\/p>\n

        Sandro Botticelli, The Birth of Venus, <\/em>ca. 1484-86.<\/p>\n

        Alexandre Cabanel, The Birth of Venus, <\/em>1875.<\/p>\n

        Sandro Botticelli, Spring, <\/em>ca. 1480.<\/p>\n

        Phillipp Otto Runge, The Morning, <\/em>1808.<\/p>\n

        Phillip Otto Runge, Red Currant, <\/em>ca. Late 18th, early 19th century.<\/p>\n

        Phillip Otto Runge, A Stalk of Lilies with Six Blooms, <\/em>1808.<\/p>\n

        Phillip Otto Runge, The Morning, <\/em>1808.<\/p>\n

        Claude Monet, Nympheas, <\/em>1907.<\/p>\n

        6.11\u00a0 The Garden at Giverny: Influence of the Orient<\/strong><\/h5>\n

        Janine Marsh, Monet\u2019s House at Giverny Normandy, The Good Life France, <\/em>date unknown.<\/p>\n

        Claude Monet, The House Among the Roses, <\/em>1925.<\/p>\n

        \u201cClaude Monet\u2019s Garden, Our Tour of Giverny and his Water Pond,\u201d Frame to frame- Bob and Jean: Discovering the World Through our Lens, <\/em>31 August 2022.<\/p>\n

        Ritsurin Koen, Takamatsu, Japan.<\/p>\n

        Ritsurin Garden, Takamatsu, Japan.<\/p>\n

        Stone Bridge, Rikugien.<\/p>\n

        Yuan Jiang, The Palace of Nine Perfections, <\/em>1691.<\/p>\n

        Garden, Ch\u00e2teau de Vaux-le Vicomte, <\/em>Maincy.<\/p>\n

        Louis le Vau, Andr\u00e9 le N\u00f4tre, and Charles le Brun, Palace of Versailles, 1664-1710.<\/p>\n

        John Passmore, Man\u2019s Responsibility for Nature<\/em> (New York: Scribner, 1974).<\/p>\n

        \u201cTypes nationaux \u00e0 l\u2019Exposition universelle.- Japon.- Int\u00e9rieur de la maison du gouverneur de Satzouma. (D’apr\u00e8s le dessin de M. Montani),\u201d Le Monde Illustr\u00e9, <\/em>28 September 1867.<\/p>\n

        Le Japon Artistique, <\/em>no. 3, July 1888.<\/p>\n

        Claude Lorrain (Claude Gell\u00e9e), Pastoral Landscape: The Roman Campagna, <\/em>ca. 1639.<\/p>\n

        Sir William Temple, Upon the Gardens of Epicurus, with Other XVIIth Century Garden Essays<\/em> (London: Chatto and Windus, 1908)<\/p>\n

        Samuel Taylor Coleridge, Kubla Khan,<\/em> ca. 1797-1816.<\/p>\n

        Map of Giverny showing Monet\u2019s property, \u201cM. Claude Monet. Jardin, Village de Giverny,\u201d Archives D\u00e9partementales de l\u2019Eure, \u00c9vreux.<\/p>\n

        Utagawa Hiroshige I, The Plum Garden at Kameido Shrine, <\/em>1857.<\/p>\n

        Utagawa Hiroshige I, Sumida River, the Wood of the Water God, <\/em>at Masaki, <\/em>ca. 1856-58.<\/p>\n

        6.12\u00a0 Water Landscapes<\/strong><\/h5>\n

        Claude Monet, Water Lilies, Evening Effect<\/em>, 1897.<\/p>\n

        Claude Monet, Water Lilies, <\/em>ca. 1898.<\/p>\n

        Claude Monet, Water Lilies, <\/em>ca. 1897-98.<\/p>\n

        Claude Monet, Bridge Over a Pond of Water Lilies, <\/em>1899.<\/p>\n

        Claude Monet, Japanese Footbridge and the Water Lily Pool, Giverny, <\/em>1899.<\/p>\n

        Nymphaea Mexicana (Yellow Water Lily).<\/p>\n

        Joseph Bory Latour-Marliac, Water Lily Ponds<\/em>.<\/p>\n

        A gardener cleaning out the pond near the Japanese Bridge, Giverny.<\/p>\n

        Utagawa Hiroshige, 69 Stations of the Kisokaido- Moon at Seba, <\/em>ca. 1797-1858.<\/p>\n

        Claude Monet, Water Lily Pond and Weeping Willow, <\/em>1916.<\/p>\n

        6.13\u00a0 The Water Lilies <\/em>Installation: Monet and Immersive Experience<\/strong><\/h5>\n

        Claude Monet, Reflections of Cloud on the Water-Lily Pond, <\/em>ca. 1920.<\/p>\n

        Claude Monet, Green Reflections, <\/em>ca. 1914-26.<\/p>\n

        Claude Monet, The Water Lilies- Setting Sun, <\/em>ca. 1914-26.<\/p>\n

        Henri Manuel, Claude Monet in His Studio, <\/em>ca. 1920.<\/p>\n

        Photograph of Claude Monet in his studio at Giverny.<\/p>\n

        Claude Monet and Camille Lefebvre (architect), Nymph\u00e9as (Water Lilies) Gallery, first room, facing east wall, <\/em>ca. 1914-26.<\/p>\n

        Camille Lefebvre, Water Lilies Gallery Floorplan for the Orangerie des Tuileries, <\/em>1922.<\/p>\n

        Claude Monet and Camille Lefebvre (architect), Water Lilies Gallery beneath Vellum Canopy and Skylight, first room, facing west wall, <\/em>ca. 1914-26.<\/p>\n

        Detail of Claude Monet, Les nuages (Clouds)<\/em>, ca. 1914-26.<\/p>\n

        Detail of Claude Monet, Le Matin clair aux saules (Clear Morning with Willows), <\/em>ca. 1914-26.<\/p>\n

        Claude Monet and Camille Lefebvre (architect), Water Lilies Gallery, second room, facing east wall, <\/em>ca. 1914-26.<\/p>\n

        Chapter 7
        \nPaul Gauguin and the Colonial Myth of Primitivism<\/strong><\/h1>\n

        Paul Gauguin, Nevermore<\/em>, 1897.<\/p>\n

        7.1\u00a0 Early Influences<\/strong><\/h5>\n

        Louis-Maurice Boutet de Movel, Paul Gauguin Wearing a Breton Jacket, <\/em>1891.<\/p>\n

        Paul Gauguin, Working the Land, <\/em>1873.<\/p>\n

        Camille Pissarro, The Harvest, Pontoise<\/em>, 1881.<\/p>\n

        Paul Gauguin, Suzanne Sewing, <\/em>1880.<\/p>\n

        Paul Gauguin, Portrait of Clovis and Pola Gauguin, <\/em>1885.<\/p>\n

        Paul Gauguin, Double-Necked Vase Joined by Stirrup-Shaped Handle, <\/em>ca. 1886-87.<\/p>\n

        Paul Gauguin, Vessel with Women and Goats, <\/em>ca. 1887-89.<\/p>\n

        Ernest Chaplet, Vase, <\/em>ca. 1881-1887.<\/p>\n

        7.2\u00a0 Brittany and the Path to Primitivism<\/strong><\/h5>\n

        Paul Gauguin, Bonjour Monsieur Gauguin, <\/em>1889.<\/p>\n

        Gustave Courbet, The Meeting, or Bonjour, Monsieur Courbet!, <\/em>1854.<\/p>\n

        Artist Unknown, The Calvary of Notre-Dame de Trono\u00ebn, <\/em>15th century.<\/p>\n

        Paul Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), <\/em>1888.<\/p>\n

        Katsushika Hokusai, Sumo Wrestlers, Denshin kaishu Hokusai manga, <\/em>ca. 19th century.<\/p>\n

        Paul Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), <\/em>1888.<\/p>\n

        Paul Gauguin, Four Breton Women, <\/em>1886.<\/p>\n

        Paul Gauguin, Breton Woman, <\/em>1886.<\/p>\n

        Paul Gauguin, Bretonne de profil \u00e0 droite, <\/em>1886.<\/p>\n

        Paul Gauguin, Four Studies of Breton Women; Shapes and Vases [Verso], <\/em>ca. 1884-88.<\/p>\n

        Paul Gauguin, Four Breton Women<\/em>, 1886.<\/p>\n

        Paul Gauguin, Christmas Night (The Blessing of the Oxen), <\/em>ca. 1894-98.<\/p>\n

        Camille Pissarro, Place du Th\u00e9\u00e2tre Fran\u00e7ais, Paris: Rain, <\/em>1898.<\/p>\n

        Paul C\u00e9zanne, Mont Sainte-Victoire, <\/em>ca. 1887.<\/p>\n

        7.3\u00a0 \u00c9mile Bernard and Synthetism<\/strong><\/h5>\n

        \u00c9mile Bernard, Two Breton Women in a Meadow, <\/em>1886.<\/p>\n

        \u00c9mile Bernard, Breton Women in the Meadow (Le Pardon de Pont-Aven)<\/em>, 1888.<\/p>\n

        Vincent Van Gogh (Copy after \u00c9mile Bernard), Breton Women and Children, <\/em>1888.<\/p>\n

        \u00c9mile Bernard, Self-Portrait with Portrait of Gauguin, <\/em>1888.<\/p>\n

        \u00c9mile Bernard, Breton Women in the Meadow (Le Pardon de Pont-Aven), <\/em>1888.<\/p>\n

        \u00c9mile Bernard, Buckwheat Harvesters at Pont-Aven, <\/em>1888.<\/p>\n

        \u00c9mile Bernard, Yellow Christ, <\/em>1889.<\/p>\n

        Paul Gauguin, The Yellow Christ, <\/em>1889.<\/p>\n

        Paul Gauguin, The Green Christ, <\/em>1889.<\/p>\n

        7.4\u00a0 The Studio of the South and the Volpini Exhibition<\/strong><\/h5>\n

        Paul Gauguin, Van Gogh Painting Sunflowers, <\/em>1888.<\/p>\n

        Gauguin in his Studio, <\/em>from the Noa-Noa album, ca. 1893-94.<\/p>\n

        7.5\u00a0 Portraits of the Artist as Other<\/strong><\/h5>\n

        Paul Gauguin, Christ on the Mount of Olives, <\/em>1889.<\/p>\n

        Paul Gauguin, Self-Portrait with Portrait of \u00c9mile Bernard (Les Mis\u00e9rables), <\/em>1888.<\/p>\n

        Paul Gauguin, Christ on the Mount of Olives,<\/em> 1889.<\/p>\n

        Paul Gauguin, Portrait of the Artist with the Yellow Christ, <\/em>1891.<\/p>\n

        Paul Gauguin, Jug in the Form of a Head, <\/em>1889.<\/p>\n

        Paul Gauguin, Self-Portrait, <\/em>ca. 1889.<\/p>\n

        Paul Gauguin, Portrait of the Artist with the Idol, <\/em>ca. 1893.<\/p>\n

        Paul Gauguin, Beach at Le Pouldu, <\/em>1889.<\/p>\n

        Paul Gauguin, Haymaking Season, or Harvest: Le Pouldu, <\/em>1890.<\/p>\n

        7.6\u00a0 \u2018Savage\u2019 Influences: Tahiti 1891<\/strong><\/h5>\n

        Jules Agnostini, Gauguin House at Tahiti, <\/em>1905.<\/p>\n

        S\u00e9bastien Charles Giraud, Prise du fort de Fautahua \u00e0 Tahiti, <\/em>1857.<\/p>\n

        George Dobson Valentine, Port of Papeete, Tahiti, <\/em>1887.<\/p>\n

        A conference of all church members in French Polynesia held on the atoll of Faaite, January 6, 1893.<\/p>\n

        Jean-L\u00e9on G\u00e9r\u00f4me, Dance of the Aimeh, <\/em>1863.<\/p>\n

        Edward W. Said, Orientalism <\/em>(Pantheon Books, 1978).<\/p>\n

        Jean-Auguste-Dominique Ingres, The Valpin\u00e7on Bather, <\/em>1808.<\/p>\n

        John Frederick Lewis, The Harem- Introduction of an Abyssinian Slave, <\/em>ca. 1860.<\/p>\n

        Pierre Loti, The Marriage of Loti<\/em> (1880).<\/p>\n

        Gustave Le Bon, Lois Psychologiques de l\u2019\u00e9volution des peuples, <\/em>3rd ed. (Paris: F\u00e9lix Alcan, \u00e9diteur, 1898).<\/p>\n

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

        Charles Darwin, On the Origin of Species<\/em> (London: John Murray, 1859).<\/p>\n

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

        Denis Diderot, Suppl\u00e9ment au Voyage de Bougainville <\/em>(Paris: NRF, 1921 [1771]).<\/p>\n

        Joseph Ducreux, Louis-Antoine, Comte de Bougainville, <\/em>1790.<\/p>\n

        The Trocad\u00e9ro Palace, home of the Mus\u00e9e d\u2019Ethnographie du Trocad\u00e9ro, in the 1890s.<\/p>\n

        \u201cMus\u00e9e d\u2019Ethnographie du Trocad\u00e9ro. Salle d\u2019Asie B1. Vitrine Indochine, mo\u00ef,\u201d 1934.<\/p>\n

        Paul Gauguin, Woman with Mango Fruits, <\/em>ca. 1889.<\/p>\n

        7.7\u00a0 Fantastical Figures, Scandalous Subjects<\/strong><\/h5>\n

        Paul Gauguin, The Delightful Land, <\/em>1892.<\/p>\n

        Paul Gauguin, Paul Gauguin\u2019s Intimate Journals<\/em> (New York: Crown Publishers, 1936).<\/p>\n

        Eug\u00e8ne Emmanuel Amaury Duval, Birth of Venus, <\/em>1862.<\/p>\n

        Pierre Loti, Rarahu<\/em>, date unknown.<\/p>\n

        Paul Gauguin, Tehamana Has Many Parents, or, The Ancestors of Tehamana, <\/em>1893.<\/p>\n

        Tahitian Girls wearing Mother Hubbard dress, ca. 1860-79.<\/p>\n

        Paul Gauguin, Spirit of the Dead Watching [Spectre Watches Over Her. Mano Tupapau], <\/em>1892.<\/p>\n

        Pierre Puvis de Chavannes, The Dream, <\/em>1883.<\/p>\n

        \u00c9mile Bernard, Madeleine in the Bois d\u2019Amour, <\/em>1888.<\/p>\n

        Paul Gauguin, The Loss of Virginity, <\/em>ca. 1890-91.<\/p>\n

        \u00c9douard Manet, Olympia, <\/em>1863.<\/p>\n

        Paul Gauguin, Spirit of the Dead Watching [Spectre Watches Over Her, Mano Tupapau], <\/em>1892.<\/p>\n

        7.8\u00a0 Noa Noa<\/em><\/strong><\/h5>\n

        Linda Goddard, Savage Tales: The Writings of Paul Gauguin <\/em>(New Haven: Yale University Press, 2019).<\/p>\n

        Paul Gauguin, Noa Noa, <\/em>trans. O.F. Theis (New York: Nicholas L. Brown, 1920).<\/p>\n

        Paul Gauguin, Le Sourire <\/em>(Caricature of Governor Gallet), ca. 1899-1900.<\/p>\n

        Paul Gauguin, Femmes et d\u00e9esses polyn\u00e9siennes, <\/em>Album Noa Noa, folio 30 recto, ca. 1893.<\/p>\n

        Paul Gauguin, Portrait with Hat, <\/em>1893.<\/p>\n

        7.9\u00a0 Existential Manifesto: Where do we come from? Who are we? Where are we going?<\/em><\/strong><\/h5>\n

        Paul Gauguin, Where do we come from? Who are we? Where are we going? <\/em>1897.<\/p>\n

        Pierre Puvis de Chavannes, The Sacred Groves, Beloved of the Arts and the Muses, <\/em>ca. 1884-89.<\/p>\n

        Pierre Puvis de Chavannes, Hope, <\/em>1872.<\/p>\n

        Paul Gauguin, Where do we come from? Who are we? Where are we going? <\/em>1897.<\/p>\n

        Thomas Carlyle, Sartor Resartus, <\/em>ed. Archibald MacMechan (Boston: Ginn & Company, Publishers, 1897).<\/p>\n

        7.10\u00a0 Exoticism, Eroticism and the Spirituality<\/strong><\/h5>\n

        Paul Gauguin, Tehamana Has Many Parents, or, The Ancestors of Tehamana, <\/em>1893.<\/p>\n

        Paul Gauguin, Spirit of the Dead Watching [Spectre Watches Over Her. <\/em>Mano Tupapau], <\/em>1892.<\/p>\n

        Paul Gauguin, Nevermore, <\/em>1897.<\/p>\n

        Edgar Poe, Le corbeau (…) avec illustrations par \u00c9douard Manet, <\/em>trans. St\u00e9phane Mallarm\u00e9 (Paris: Richard Lesclide, \u00c9diteur, 1875).<\/p>\n

        \u00c9douard Manet, The Flying Raven, Ex Libris for the Raven by Edgar Allan Poe, <\/em>1875.<\/p>\n

        7.11\u00a0 Critical Conversations<\/strong><\/h5>\n

        Norma Broude, ed. New Perspectives: After Postmodernism<\/em> (Bloomsbury Visual Arts, 2018).<\/p>\n

        Paul Gauguin, Two Tahihitan Women, <\/em>1899.<\/p>\n

        Buy My Apples, <\/em>anonymous, ca. 19th century.<\/p>\n

        Linda Nochlin, Buy My Bananas, <\/em>1972.<\/p>\n

        Paul Gauguin, Collaged images and text, date unknown.<\/p>\n

        Paul Gauguin, \u201cChapitre IV, Le conteur parle,\u201d from the Noa Noa <\/em>album, 1894.<\/p>\n

        Paul Gauguin, Self-Portrait with Hat, <\/em>1893.<\/p>\n

        Paul Gauguin., Self-Portrait with Palette, <\/em>1894.<\/p>\n

        Paul Gauguin, Self-Portrait (Near Golgotha), <\/em>1896.<\/p>\n

        Flora Tristan, The Worker\u2019s Union, <\/em>trans. Beverly Livingston (Chicago: University of Illinois Press, 1983 [1843]).<\/p>\n

        Paul Gauguin, Idol in the Shell, <\/em>ca. 1900-15.<\/p>\n

        Paul Gauguin, Head of a Young Girl, <\/em>ca. 1893-94.<\/p>\n

        Paul Gauguin, Oviri, <\/em>1894.<\/p>\n

        Paul Gauguin, Vase, <\/em>ca. 1887-88.<\/p>\n

        Paul Gauguin, Noa Noa, <\/em>ca. 1893-94.<\/p>\n

        Paul Gauguin, The Delightful Land, <\/em>1892.<\/p>\n

        Paul Gauguin, Delightful Land, <\/em>1893-94.<\/p>\n

        Paul Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), <\/em>1888.<\/p>\n

        Paul Gauguin, Bathers, <\/em>1902.<\/p>\n

        Paul Gauguin, The Sorceror of Hiva Oa. Marquesan Man in the Red Cape, <\/em>1902.<\/p>\n

        Paul Gauguin, Tehamana Has Many Parents, or, The Ancestors of Tehamana, <\/em>1893.<\/p>\n

        Paula Modersohn-Becker, Child with Goldfish Bowl, <\/em>ca. 1906-07.<\/p>\n

        Paula Modersohn-Becker, Self-Portrait Nude with Amber Necklace, <\/em>1906.<\/p>\n

        Amrita Sher-Gil, Bride\u2019s Toilet, <\/em>1937.<\/p>\n

        Amrita Sher-Girl, Self-Portrait, <\/em>1930.<\/p>\n

        Kay George, Exhibition 103.<\/em><\/p>\n

        Tyla Vaeau Ta\u2019ufo\u2019ou, When Will You Marry?<\/em> (Dee and Dallas Do Gauguin Series), 2009.<\/p>\n

        Debra Drexler, Gauguin Zombie <\/em>(installation view), 2002.<\/p>\n

        Adrienne Pao, Hula Girl Dress Tent, <\/em>2017.<\/p>\n

        Chapter 8
        \nMadness and Modernity<\/h1>\n

        Edvard Munch, Evening on Karl Johan Street<\/em>, 1892.<\/p>\n

        Francisco Jos\u00e9 de Goya<\/h2>\n
        \u00a08.1\u00a0 Goya\u2019s Demons<\/strong><\/h5>\n

        Francisco de Goya, The Sleep of Reason Produces Monsters (No. 43), from Los Caprichos, <\/em>1799.<\/p>\n

        Francisco de Goya, Courtyard with Lunatics<\/em>, or, Yard with Madmen, <\/em>1794.<\/p>\n

        Francisco de Goya, The Madhouse, <\/em>ca. 1808-12.<\/p>\n

        Francisco de Goya, Cannibals Chopping up Victims, <\/em>ca. 1808-14.<\/p>\n

        Francisco de Goya, Saturn Devouring His Son, <\/em>ca. 1819-23.<\/p>\n

        8.2\u00a0 \u00a0 \u00a0 \u00a0Goya’s Disasters of War<\/em><\/strong><\/h5>\n

        Francisco de Goya, The Same (The Disasters of War)<\/em>, ca. 1810-14.<\/p>\n

        Francisco de Goya, They do not want to (The Disasters of War)<\/em>, ca. 1810-14.<\/p>\n

        James Ensor<\/h2>\n
        8.3\u00a0 \u00a0Psychic Malaise<\/strong><\/h5>\n

        James Ensor, Ensor and his Easel, <\/em>ca. 1890.<\/p>\n

        James Ensor, The Beach at Ostende, <\/em>1890.<\/p>\n

        Michel Foucault, Folie et d\u00e9raison: Histoire de la folie \u00e0 l\u2019\u00e2ge classique<\/em> (Paris: Plon, 1961).<\/p>\n

        James Ensor, Afternoon in Ostend, <\/em>1881.<\/p>\n

        James Ensor, Russian Music, <\/em>1881.<\/p>\n

        James Ensor, Afternoon in Ostend, <\/em>1881.<\/p>\n

        James Ensor, The Bourgeois Salon, <\/em>1881.<\/p>\n

        8.4\u00a0 The Painter of Masks<\/strong><\/h5>\n

        James Ensor, Scandalized Mask, <\/em>1883.<\/p>\n

        James Ensor, Skeleton Looking at Chinoiseries, <\/em>1885.<\/p>\n

        James Ensor, Skeletons Warming Themselves, <\/em>1889.<\/p>\n

        James Ensor, Self-Portrait with Masks, <\/em>1899.<\/p>\n

        Mikhail Bakhtin, Rabelais and his World, <\/em>trans. H\u00e9l\u00e8ne Iswolsky (Bloomington: Indiana University Press, 1965).<\/p>\n

        James Ensor, Old Lady with Masks, <\/em>1889.<\/p>\n

        James Ensor, Portrait of the Artist\u2019s Niece in Chinese Costume, <\/em>1899.<\/p>\n

        8.5\u00a0 The Carnivalesque: Images of Social Morbidity and Spiritual Crisis<\/strong><\/h5>\n

        Louis Tinayre, \u201cRoux- Les chasseurs du 3e r\u00e9giment, sous les ordres du Capitaine Bulot, dispersant par la force les \u00e9meutiers qui viennent d\u2019incendier la Verrerie du Hainaut,\u201d, Le Monde Illustr\u00e9, <\/em>April 10, 1886.<\/p>\n

        James Ensor, Christ\u2019s Entry into Brussels in 1889, <\/em>1888.<\/p>\n

        Pieter Bruegel the Elder, The Fight Between Carnival and Lent, <\/em>1559.<\/p>\n

        Detail of Pieter Bruegel the Elder, The Fight Between Carnival and Lent, <\/em>1559.<\/p>\n

        Detail of Pieter Bruegel the Elder, The Fight Between Carnival and Lent, <\/em>1559.<\/p>\n

        James Ensor, Christ\u2019s Entry into Brussels in 1889, <\/em>1888.<\/p>\n

        James Ensor, The Strike, <\/em>1888.<\/p>\n

        James Ensor, Doctrinal Nourishment, second plate, <\/em>1889.<\/p>\n

        James Ensor, Christ\u2019s Entry into Brussels in 1889, <\/em>1888.<\/p>\n

        James Ensor, Christ\u2019s Entry into Jerusalem, <\/em>1885.<\/p>\n

        Detail of James Ensor, Christ\u2019s Entry into Brussels in 1889, <\/em>1888.<\/p>\n

        Hieronymous Bosch, The Ship of Fools, <\/em>ca. 1490-1500.<\/p>\n

        8.6\u00a0 Madness, Mania, Melancholy: The Artist as Observer<\/strong><\/h5>\n

        James Ensor, Demons Taunting Me, <\/em>1895.<\/p>\n

        Martin Schongauer, Saint Anthony Tormented by Demons, <\/em>ca. 1470-74.<\/p>\n

        Lucas Cranach the Elder, The Temptation of St. Anthony, <\/em>1506.<\/p>\n

        Vincent Van Gogh<\/h2>\n
        8.7\u00a0\u00a0 Finding the Spiritual in Art<\/strong><\/h5>\n

        Vincent Van Gogh, Coalmine in the Borinage, <\/em>1879.<\/p>\n

        Vincent Van Gogh, Miners\u2019 Wives Carrying Sacks of Coal, <\/em>1882.<\/p>\n

        Jules Breton, The Weeders, <\/em>1860.<\/p>\n

        Letter from Vincent Van Gogh to his brother Th\u00e9o, 1881.<\/p>\n

        8.8\u00a0 Van Gogh\u2019s Empathetic Eye<\/strong><\/h5>\n

        Vincent van Gogh, Sorrow, <\/em>ca. 1882.<\/p>\n

        Anton Mauve, A Dutch Road, <\/em>ca. 1880<\/p>\n

        Vincent van Gogh, Weaver, <\/em>1884.<\/p>\n

        Vincent van Gogh, Weaver at the Loom, <\/em>1884.<\/p>\n

        Vincent van Gogh. Weaver at the Loom, <\/em>1884.<\/p>\n

        Vincent van Gogh, Weber Near an Open Window, <\/em>1884.<\/p>\n

        Vincent van Gogh, Weaver Facing Right (Half-Figure), <\/em>1884.<\/p>\n

        Charles Dickens, \u201cHard Times,\u201d Household Words, <\/em>no. 210, Saturday, April 1, 1854.<\/p>\n

        Currer Bell, Shirley: A Tale, <\/em>vol. 1 (London: Smith, Elder and Co., 1849)<\/p>\n

        Vincent van Gogh, A Weaver\u2019s Cottage, <\/em>1884.<\/p>\n

        Vincent van Gogh, Weaver Facing Left, <\/em>1884.<\/p>\n

        Vincent van Gogh, The Potato Eaters, <\/em>April 1885.<\/p>\n

        Vincent van Gogh, A letter from Vincent van Gogh to His brother Th\u00e9o van Gogh, sketch of The Potato Eaters, <\/em>1885.<\/p>\n

        Katsushika Hokusai, Chrysanthemums and Bee, <\/em>from and untitled series of large flowers, ca. 1833-34.<\/p>\n

        Vincent van Gogh, Still Life with Meadow Flowers and Roses, <\/em>1886.<\/p>\n

        Vincent van Gogh, Small Bottle with Peonies and Blue Delphiniums, <\/em>1886.<\/p>\n

        Charles Blanc, Colour Star (etoile des couleurs), <\/em>1867.<\/p>\n

        8.9\u00a0 Arles: Aesthetic Advances and Visions of Madness<\/strong><\/h5>\n

        Vincent van Gogh, The Sower, <\/em>1888.<\/p>\n

        Vincent van Gogh, The Sower III (version 1), <\/em>1888.<\/p>\n

        Vincent van Gogh, The Sower III (version 2), <\/em>1888.<\/p>\n

        Vincent van Gogh, The Sower (after Millet), <\/em>1889.<\/p>\n

        Vincent van Gogh, Sower with Setting Sun (<\/em>in Letter 501a), <\/em>1888.<\/p>\n

        Vincent van Gogh, Sower with Setting Sun<\/em> (in Letter B7, to \u00c9mile Bernard), 1888.<\/p>\n

        Vincent van Gogh, Sower with Setting Sun<\/em> (in Letter 558a, to Th\u00e9o van Gogh), 1888.<\/p>\n

        Vincent van Gogh, The Sower, <\/em>1888.<\/p>\n

        Jean-Francois Millet, The Sower, <\/em>1850.<\/p>\n

        Vincent van Gogh, The Sower III (version 1)<\/em>, 1888.<\/p>\n

        Vincent van Gogh, Still Life: Vase with Fourteen Sunflowers, <\/em>1888.<\/p>\n

        Vincent van Gogh, Self-Portrait with a Bandaged Ear, <\/em>1889.<\/p>\n

        Vincent van Gogh, The Courtyard of the Hospital at Arles<\/em>, 1889.<\/p>\n

        Vincent van Gogh, Orchards in Blossom, View of Arles, <\/em>1889.<\/p>\n

        Vincent van Gogh, Ravine with a Small Stream, <\/em>1889.<\/p>\n

        Vincent van Gogh, Mountainous Landscape Behind Saint-Paul Hospital, <\/em>1889.<\/p>\n

        Vincent van Gogh, The Starry Night, <\/em>1889.<\/p>\n

        Vincent van Gogh, Cypresses, <\/em>1889.<\/p>\n

        Vincent van Gogh, Dormitory in the Hospital in Arles, <\/em>1889.<\/p>\n

        8.10\u00a0 Asylum<\/strong><\/h5>\n

        Jeffrey A. Lieberman with Ogi Ogas, Shrinks: The Untold Story of Psychiatry<\/em> (Boston: Little Brown, 2015).<\/p>\n

        James Hogg after Francis Wheatley, John Howard Visiting a Prisoner: a group of inmates sitting or lying on the floor, <\/em>1787.<\/p>\n

        John Howard, The States of Prisons in England and Wales with Preliminary Observations, and An Account of Some Foreign Prisons<\/em> (Warrington: William Eyres, 1777).<\/p>\n

        William Hogarth, The Orgy, <\/em>ca. 1732-35.<\/p>\n

        William Hogarth, The Arrest, <\/em>ca. 1732-35.<\/p>\n

        William Hogarth, The Gaming House, <\/em>ca. 1732-35.<\/p>\n

        William Hogarth, The Madhouse, <\/em>ca. 1732-35.<\/p>\n

        William Hogarth, In the Madhouse, <\/em>1735 (Retouches by Hogarth in 1763, adding Britannia).<\/p>\n

        Francisco de Goya, The Madhouse, <\/em>ca. 1808-1812.<\/p>\n

        William Blake, Nebuchadnezzar, <\/em>ca. 1795-1805.<\/p>\n

        Charles Bell, Essays on the Anatomy and Philosophy of Expression <\/em>(London: John Murray, 1824), 121.<\/p>\n

        Charles Bell, Essays on the Anatomy of Expression in Painting<\/em> (London: Longman, Hurst, Rees and Orne, 1806), 151.<\/p>\n

        Arnaud, James Norris, Bethlem Patient<\/em>, ca. 1814-1815.<\/p>\n

        Samuel Tuke, Description of the Retreat, an Institution Near York for Insane Persons of the Society of Friends<\/em> (…) (York: Darton, Harvey and Co., 1813).<\/p>\n

        Tony Robert-Fleury, Pinel, Releasing Lunatics from their Chains at the Salpt\u00eatri\u00e8re Asylum in Paris in 1795<\/em>, 1876.<\/p>\n

        Philippe Pinel, A Treatise on Insanity <\/em>(…), trans. D. D. Davis (Sheffield: Cadell and Davies, Strand, London, 1806).<\/p>\n

          \n
        1. [\u00c9tienne-Jean Georget], De la folie: consid\u00e9rations sur cette maladie; son si\u00e8ge et ses sympt\u00f4mes; la nature et le mode d\u2019action de ses causes; sa march et ses terminaisons; les diff\u00e9rences qui la distinguent du d\u00e9lire aigu; les moyens de traitement qui lui conviennent; suivies de recherches cadav\u00e9riques <\/em>(Paris: Chez Crevot, 1820).<\/li>\n<\/ol>\n
          8.11\u00a0 Portraits of Madness and Soulful Self-Images<\/strong><\/h5>\n

          Th\u00e9odore G\u00e9ricault, Portrait of a Demented Woman, <\/em>ca. 1819-1822.<\/p>\n

          Th\u00e9odore G\u00e9ricault, A Madwoman and Compulsive Gambler, <\/em>ca. 1820.<\/p>\n

          Th\u00e9odore G\u00e9ricault, Man with Delusions of Military Command, <\/em>ca. 1819-1822.<\/p>\n

          Th\u00e9odore G\u00e9ricault, Portrait of A Kleptomaniac or The Mad Assassin, <\/em>1822.<\/p>\n

          A Chronological list of self-portraits painted by van Gogh during his stay in Paris between 1886 and 1888.<\/p>\n

          Johan Kaspar [Caspar] Lavater, \u201cPhlegmatic,\u201d \u201cCholeric,\u201d \u201cSanguine,\u201d and \u201cMelancholic,\u201d in Physiognomische Fragmente zur Bef\u00f6rderung der Menschenkennt und Menschenliebe<\/em> (Leipzig: Weidmanns Erben und Reich, 1778).<\/p>\n

          Johann Caspar [Kaspar] Lavater, A man with a nose indicating reflectiveness, <\/em>according to Lavater, ca. 1794.<\/p>\n

          Thomas O\u2019Conor Sloane, Lavater\u2019s Apparatus for Taking Silhouettes<\/em> (from an ancient engraving of 1783), 1895.<\/p>\n

          Johann Caspar Lavater, Two eyes, expressing a character of genius, according to Lavater, <\/em>ca. 1794.<\/p>\n

          Vincent van Gogh, Self-Portrait as a Painter, <\/em>ca. 1887-88.<\/p>\n

          Vincent van Gogh, Self-Portrait, <\/em>1887.<\/p>\n

          Vincent van Gogh, Self-Portrait with Pipe and Straw Hat, <\/em>1887.<\/p>\n

          Vincent van Gogh, Self-Portrait, Dedicated to Paul Gauguin, <\/em>1888.<\/p>\n

          Cesare Lombroso, L\u2019homme de genie, <\/em>trad. Colonna D\u2019Istria (Paris: F\u00e9lic Alcan, \u00e9diteur, 1889).<\/p>\n

          Cesare Lombroso, L\u2019homme de genie, <\/em>trad. Colonna D\u2019Istria (Paris: F\u00e9lic Alcan, \u00e9diteur, 1889), 122.<\/p>\n

          Vincent van Gogh, Self-Portrait, Dedicated to Paul Gauguin, <\/em>1888.<\/p>\n

          Artist Unknown, Fazang Buddhist Monk, <\/em>13th century.<\/p>\n

          Vincent van Gogh, Self-Portrait with a Bandaged Ear, <\/em>1889.<\/p>\n

          Vincent van Gogh, Self-Portrait, <\/em>1889.<\/p>\n

          Vincent van Gogh, Self-Portrait, <\/em>1889.<\/p>\n

          Vincent van Gogh, Self-Portrait, <\/em>1889.<\/p>\n

          Vincent van Gogh, Self-Portrait<\/em>, late August 1889.<\/p>\n

          Vincent van Gogh, Self-Portrait, <\/em>September 1889.<\/p>\n

          Vincent van Gogh, Wheatfield with Crows, <\/em>1890.<\/p>\n

          Edvard Munch<\/h2>\n
          8.12\u00a0 Death and Life<\/strong><\/h5>\n

          Edvard Munch, Self-Portrait, <\/em>1882.<\/p>\n

          Edvard Munch, Death and Spring, <\/em>1893.<\/p>\n

          Edvard Munch, The Sick Child, <\/em>ca. 1885-1886.<\/p>\n

          Edvard Munch, The Sick Child I, <\/em>1896.<\/p>\n

          Edvard Munch, The Sick Girl I, <\/em>1896.<\/p>\n

          8.13\u00a0 The Frieze of Life<\/strong><\/h5>\n

          Edvard Munch, Death in the Sickroom, <\/em>1893.<\/p>\n

          Edvard Munch, The Scream, <\/em>1893.<\/p>\n

          Edvard Munch, The Vampire, <\/em>1893.<\/p>\n

          Edvard Munch, Madonna, <\/em>1894.<\/p>\n

          Edvard Munch, Anxiety, <\/em>1894.<\/p>\n

          Edvard Munch, Melancholy, <\/em>1894.<\/p>\n

          Edvard Munch, Death in the Sickroom, <\/em>1893.<\/p>\n

          Edvard Munch, The Scream, <\/em>1893.<\/p>\n

          Edvard Munch, The Vampire, <\/em>1893.<\/p>\n

          8.14\u00a0 Female Representations: Halos and Hysteria<\/strong><\/h5>\n

          Edvard Munch, Madonna, <\/em>1894.<\/p>\n

          Franz Anton Mesmer, Mesmerism: The Discovery of Animal Magnetism: English Translation of Mesmer\u2019s historic M\u00e9moire sur la d\u00e9couverte du Magn\u00e9tisme<\/em> (Soul Care Publishing, 2016).<\/p>\n

          Arnold Schopenhauer, The Essential Philosopher <\/em>(Allen and Unwin, 1962).<\/p>\n

          Andr\u00e9 Brouillet, A Clinical Lesson at the Salp\u00eatri\u00e8re, <\/em>1887.<\/p>\n

          Andrea del Sarto, Liberation of the Woman Possessed by the Devil, <\/em>ca. 1509-1510.<\/p>\n

          Detail of Andrea del Sarto, Liberation of the Woman Possessed by the Devil<\/em>, ca. 1509-1510.<\/p>\n

          Jean-Martin Charcot, Iconographie photographique de la Salp\u00eatri\u00e8re<\/em>, 1878.<\/p>\n

          Edvard Munch, Madonna, <\/em>ca. 1895-1902.<\/p>\n

          8.15\u00a0 Alienation, Angst and Collective Despair<\/strong><\/h5>\n

          Edvard Munch, Anxiety, <\/em>1894.<\/p>\n

          Edvard Munch, Evening on Karl Johan Street, <\/em>1892.<\/p>\n

          Edvard Munch, The Scream, <\/em>1893.<\/p>\n

          Edvard Munch, Anxiety, <\/em>1894.<\/p>\n

          Edvard Munch, Anxiety, <\/em>1896.<\/p>\n

          Edvard Munch, Melancholy<\/em>, 1894.<\/p>\n

          Edvard Munch, Despair, <\/em>1894.<\/p>\n

          Edvard Munch, Evening. Melancholy, <\/em>1891.<\/p>\n

          Edvard Munch, Melancholy, <\/em>presumably 1892.<\/p>\n

          Edvard Munch, Jealousy, <\/em>1895.<\/p>\n

          Edvard Munch, The Kiss, <\/em>1897.<\/p>\n

          Edvard Munch, Munch in the Open Air Studio, <\/em>ca. 1927.<\/p>\n

          Edvard Munch, The Scream, <\/em>1893.<\/p>\n

          Edvard Munch, Edvard Munch in the open-air studio at Ekely<\/em>, 1933.<\/p>\n

          Edvard Munch, The Sun, <\/em>1911.<\/p>\n

          The Aula at the University in Oslo.<\/p>\n

          Ferdinand Hodler<\/h2>\n
          8.16\u00a0 \u201cAlways a Corpse in the House\u201d: The Search for Constancy<\/strong><\/h5>\n

          Ferdinand Hodler, Self-Portrait, <\/em>1912.<\/p>\n

          Barth\u00e9lemey Menn, Lakeside near Bellerive (Lac L\u00e9man)<\/em>, ca. 1860.<\/p>\n

          Ferdinand Hodler, Landscape Near Madrid<\/em>, 1878.<\/p>\n

          Ferdinand Hodler, Watchmakers\u2019 Workshop in Madrid<\/em>, 1879.<\/p>\n

          Ferdinand Hodler, Self-Portrait with Wing Collar, <\/em>1879.<\/p>\n

          8.17\u00a0 Symbolic Expressionism<\/strong><\/h5>\n

          Ferdinand Hodler, The Night, <\/em>ca. 1889-90.<\/p>\n

          8.18\u00a0 Disillusion and Psychic Despair<\/strong><\/h5>\n

          Ferdinand Hodler, The Disillusioned One, <\/em>1892.<\/p>\n

          Ferdinand Hodler, Eurythmy, <\/em>1895.<\/p>\n

          Ferdinand Hodler, Eurythmie<\/em>, 1895.<\/p>\n

          8.19\u00a0 Hodler\u2019s Parallelism<\/strong><\/h5>\n

          Ferdinand Hodler, The Day, <\/em>ca. 1904-1906.<\/p>\n

          Ferdinand Hodler, The Grand Muveran, <\/em>ca. 1912.<\/p>\n

          Chapter 9
          \nBlack Slavery, Racism and Modernity<\/h1>\n

          Henry Ossawa Tanner, The Thankful Poor, <\/em>1894.<\/p>\n

          9.1\u00a0 \u00a0The Atlantic Slave Trade: Records and Reverberations<\/strong><\/h5>\n

          Th\u00e9odore G\u00e9ricault, The Raft of the Medusa, <\/em>1819.<\/p>\n

          Th\u00e9odore G\u00e9ricault, Boxers, <\/em>1818.<\/p>\n

          J.B. Henry Savigny and Alexander Corr\u00e9ard, 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<\/em> (London: Printed for Henry Colburn, 1818).<\/p>\n

          Th\u00e9odore G\u00e9ricault, A Young Negro Woman, <\/em>ca. 1810.<\/p>\n

          Th\u00e9odore G\u00e9ricault, Head of a Black Man, <\/em>ca. 1818-1819.<\/p>\n

          Th\u00e9odore G\u00e9ricault, The Raft of the Medusa, <\/em>1819.<\/p>\n

          Detail of Th\u00e9odore G\u00e9ricault, The Raft of the Medusa, <\/em>1819.<\/p>\n

          Th\u00e9odore G\u00e9ricault, The Slave Market, <\/em>ca. 1823.<\/p>\n

          Th\u00e9odore G\u00e9ricault, The Slave Trade, <\/em>1823.<\/p>\n

          Th\u00e9odore G\u00e9ricault, The Raft of the Medusa, <\/em>1819.<\/p>\n

          Michelangelo, The Last Judgment, <\/em>ca. 1534-41.<\/p>\n

          Michelangelo, detail from The Last Judgment, <\/em>ca 1534-41.<\/p>\n

          9.2\u00a0 \u00a0The Atlantic Slave Trade: Records and Reverberations<\/strong><\/h5>\n

          Joseph Mallord William Turner, The Slave Ship, <\/em>1840.<\/p>\n

          Blunt, Meeting of the Society for the Extinction of the Slave Trade & For the Civilization of Africa, <\/em>1840.<\/p>\n

          Triangle Trade.<\/p>\n

          9.3\u00a0 \u00a0Abolition and Aesthetics in Britain: J. M. W. Turner\u2019s Slave Ship<\/em><\/strong><\/h5>\n

          Joseph Mallord William Turner, The Slave Ship, <\/em>1840.<\/p>\n

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

          Joseph Mallord William Turner, The Slave Ship, <\/em>1840.<\/p>\n

          Lieutenant Henri Samuel Hawker, The Portuguese Slaver Diligent\u00e9 captured by H.M. Sloop Pearl with 600 slaves on board, taken in charge to Nassau, <\/em>1838.<\/p>\n

          Detail of Joseph Mallord William Turner, The Slave Ship, <\/em>1840.<\/p>\n

          Detail of Joseph Mallord William Turner, The Slave Ship, <\/em>1840.<\/p>\n

          Francois-Auguste Biard, The Slave Trade (Slaves on the West Coast of Africa), <\/em>ca. 1833.<\/p>\n

          9.4\u00a0 Picturing Enslavement: Genre, Race and Stereotype in Antebellum America<\/strong><\/h5>\n

          William Sidney Mount, Farmers Nooning, <\/em>1836.<\/p>\n

          William Sidney Mount, Farmers Nooning, <\/em>1836.<\/p>\n

          James Goodwyn Clonney, Waking Up, <\/em>1851.<\/p>\n

          Harriet Beecher Stowe, Uncle Tom\u2019s Cabin<\/em> (London: H.G. Bohn, 1852).<\/p>\n

          Robert Seldon Duncanson, Uncle Tom and Little Eva, <\/em>1853.<\/p>\n

          Edwin M. Stanton, \u201cReport 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\u2019s Inquire Commission,\u201d 1864.<\/p>\n

          William Sidney Mount, The Power of Music, <\/em>1847.<\/p>\n

          William Sidney Mount, The Bone Player, <\/em>1856.<\/p>\n

          Dan D. Emmett, Dandy Jim from Caroline<\/em> (London: Delmaine & Co., ca. 1844).<\/p>\n

          Photograph of Dan Emmett in blackface, ca. 1860.<\/p>\n

          J.W. Turner, Songs of the Virginia Serenaders<\/em> (Boston: Keith\u2019s Music Publishing House, 1844).<\/p>\n

          Eastman Johnson, Negro Life at the South, <\/em>1859.<\/p>\n

          Stephen Foster, \u201cMy Old Kentucky Home\u201d (Baltimore: Thomas G. Doyle, 1853).<\/p>\n

          American Anti-Slavery Society, \u201cSlave Market of America\u201d (New York: American Anti-Slavery Society, 1836).<\/p>\n

          9.5\u00a0 Civil War<\/strong><\/h5>\n

          Eastman Johnson, A Ride for Liberty- The Fugitive Slaves, <\/em>ca. 1862.<\/p>\n

          Mary Armstrong, ex-slave, Houston, 1937.<\/p>\n

          Abigail Cooper, Map of contraband camps on a relief map compiled from historical imagery data from 1930, reproduced from \u201cLord, Until I Reach My Home\u201d: Inside the Refugee Camps of the American Civil War,\u201d PhD dissertation, University of Pennsylvania, 2015.<\/p>\n

          James F. Gibson, Cumberland Landing, Va. Group of \u201ccontrabands\u201d at Foller\u2019s house, 1862.<\/p>\n

          David B. Woodbury, Arrival of Negro family in the lines, 1863.<\/p>\n

          \u201cNegroes Leaving their Home,\u201d Harper\u2019s Weekly, <\/em>April 9, 1864.<\/p>\n

          \u201cHeavy Weights- Arrival of a Party at League Island,\u201d 1872.<\/p>\n

          Slabtown, a refugee camp in Hampton, Virginia, now the site of Hampton University.<\/p>\n

          Timothy H. O\u2019Sullivan, Culpeper, Va. \u201cContrabands,\u201d 1863.<\/p>\n

          A contraband school, ca. 1860-65.<\/p>\n

          Eastman Johnson, The Lord is My Shepherd, <\/em>1863.<\/p>\n

          9.6\u00a0 Emancipation, Black Civil Rights and Social Reform<\/strong><\/h5>\n

          Thomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.<\/p>\n

          Detail of Thomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.<\/p>\n

          Detail of Thomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.<\/p>\n

          Detail of Thomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.<\/p>\n

          Detail of Thomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.<\/p>\n

          Detail of Thomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.<\/p>\n

          Detail of Thomas Nast, \u201cThe emancipation of the Negroes, January 1863- The past and the future,\u201d Harper\u2019s Weekly, <\/em>January 24, 1863.<\/p>\n

          Thomas Nast, Emancipation, <\/em>ca. 1865.<\/p>\n

          \u201cGordon under medical inspection,\u201d Harper\u2019s Weekly, <\/em>July 4, 1863.<\/p>\n

          Martin Benjamin Brady, Gordon, Scourged Back, <\/em>1863.<\/p>\n

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

          Thomas Nast, \u201cSlavery is Dead(?),\u201d Harper\u2019s Weekly, <\/em>January 12, 1867.<\/p>\n

          Frank Vizetelly, \u201cThe riots in New York: The mob lynching a negro in Clarkson Street,\u201d Illustrated London News, <\/em>August 8, 1863.<\/p>\n

          Thomas Nast, \u201cWorse than Slavery,\u201d Harper\u2019s Weekly, <\/em>October 24, 1874.<\/p>\n

          Thomas Nast, \u201cMove on! Has the Native American no rights that the naturalized American is bound to respect?\u201d Harper\u2019s Weekly, <\/em>April 22, 1871.<\/p>\n

          Thomas Nast, \u201c\u2018Every Dog\u2019 (No distinction of color) \u2018Has his day\u2019,\u201d Harper\u2019s Weekly, <\/em>February 8, 1879.<\/p>\n

          9.7\u00a0 Winslow Homer: Bearing Witness<\/strong><\/h5>\n

          Winslow Homer, \u201cA Bivouac Fire on the Potomac,\u201d Harper\u2019s Weekly, <\/em>December 21, 1861.<\/p>\n

          Winslow Homer, Campaign sketches: Our jolly cook,<\/em> 1863.<\/p>\n

          Winslow Homer, Defiance: Inviting a Shot Before Petersburg, <\/em>1864.<\/p>\n

          Winslow Homer, Army Boots, <\/em>1865.<\/p>\n

          Winslow Homer, The Bright Side, <\/em>1865.<\/p>\n

          Winslow Homer, Near Andersonville, <\/em>ca. 1866.<\/p>\n

          9.8\u00a0 Reconstruction and the Remaking of Identity<\/strong><\/h5>\n

          Winslow Homer, Weaning the Calf, <\/em>1875.<\/p>\n

          Winslow Homer, Uncle Ned at Home, <\/em>1875.<\/p>\n

          Winslow Homer, A Visit from the Old Mistress, <\/em>1876.<\/p>\n

          Winslow Homer, The Busy Bee, <\/em>1875.<\/p>\n

          Winslow Homer, Taking Sunflower to Teacher, <\/em>1875.<\/p>\n

          Winslow Homer, The Watermelon Boys, <\/em>1876.<\/p>\n

          \u201cThe South.- The Watermelon Season- A Scene on the Savannah Docks,\u201d Frank Leslie\u2019s Illustrated Newspaper, <\/em>July 5, 1873.<\/p>\n

          Richard Felton Outcault, Postcard depicting a caricatured boy eating a slice of watermelon, 1909.<\/p>\n

          Ashtray in the form of a \u201cpicaninny\u201d boy eating a watermelon slice, ca. 1920-29.<\/p>\n

          Sculpture in the form of a caricatured man standing on a watermelon slice, 20th century.<\/p>\n

          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<\/em> (Philadelphia: Lippincott, Grambo & Co., 1855), 459.<\/p>\n

          9.9\u00a0 The Tools of Freedom<\/strong><\/h5>\n

          John Roger, Uncle Ned\u2019s School<\/em>, 1866.<\/p>\n

          Winslow Homer, Sunday Morning in Virginia, <\/em>1877.<\/p>\n

          Winslow Homer 1860-1870, <\/em>1870.<\/p>\n

          Winslow Homer, Upland Cotton, <\/em>ca. 1879-95.<\/p>\n

          Winslow Homer, The Cotton Pickers, <\/em>1876.<\/p>\n

          Winslow Homer, Dressing for the Carnival, <\/em>1877.<\/p>\n

          9.10\u00a0 Nature as Metaphor<\/strong><\/h5>\n

          Winslow Homer, West India Divers, <\/em>1899.<\/p>\n

          Winslow Homer, The Gulf Stream, <\/em>1899.<\/p>\n

          Winslow Homer, Shark Fishing, <\/em>1885.<\/p>\n

          Winslow Homer, Sharks; <\/em>also, The Derelict, <\/em>1885.<\/p>\n

          Winslow Homer, The Gulf Stream, <\/em>ca. 1899.<\/p>\n

          Winslow Homer, The Gulf Stream, <\/em>ca. 1898-1899.<\/p>\n

          Winslow Homer, The Gulf Stream, <\/em>1899.<\/p>\n

          Frederick Douglass, The Speeches of Frederick Douglass: A Critical Edition <\/em>(New Haven: Yale University Press, 2018).<\/p>\n

          Winslow Homer, \u201cExpulsion of negroes and abolitionists from Tremont Temple, Boston, Massachusetts, on December 3, 1860,\u201d Harper\u2019s Weekly, <\/em>December 15, 1860.<\/p>\n

          9.11\u00a0 Frederick Douglass\u2019s \u201cPictures and Progress\u201d: Reclaiming Race<\/strong><\/h5>\n

          Frederick Douglass, ca. 1855.<\/p>\n

          Mathew B. Brady, Frederick Douglass, <\/em>ca. 1880.<\/p>\n

          Frederick Douglass, Narrative of the Life of Frederick Douglass, and American Slave<\/em> (Boston: Anti-Slavery Office, 1845).<\/p>\n

          Photographic portraits of Frederick Douglass.<\/p>\n

          The Liberator, <\/em>April 20, 1849, 2.<\/p>\n

          9.12\u00a0 Edmonia Lewis and Henry Ossawa Tanner: Breaking Free<\/strong><\/h5>\n

          Henry Rocher, restored by Adam Cuerden, \u201cEdmonia Lewis,\u201d ca. 1870.<\/p>\n

          Edmonia Lewis, Forever Free, <\/em>1867.<\/p>\n

          Edmonia Lewis, The Death of Cleopatra, <\/em>1876.<\/p>\n

          Frederick Gutekunst, Henry Ossawa Tanner, <\/em>1907.<\/p>\n

          Henry Ossawa Tanner, The Banjo Lesson, <\/em>1893.<\/p>\n

          Henry Ossawa Tanner, The Thankful Poor, <\/em>1894.<\/p>\n

          Henry Ossawa Tanner, The Raising of Lazarus, <\/em>1896.<\/p>\n

          Chapter 10
          \nReligious and Racial Antisemitism and the Jewish Artist<\/h1>\n

          Moritz Daniel Oppenheim, Lavater and Lessing visit Moses Mendelssohn, <\/em>1856.<\/p>\n

          Moritz Daniel Oppenheim, The Return of the Jewish Volunteer from the Wars of Liberation to his Family Still Living in Accordance with Old Customs, <\/em>1833-34.<\/p>\n

          10.1\u00a0 A Narrative of Exclusion and Emancipation<\/strong><\/h5>\n

          Matthias Gr\u00fcnewald, The Mocking of Christ, <\/em>ca. 1503-05.<\/p>\n

          Hartmann Schedel, \u201cMartyrdom of Simon von Trent,\u201d Nuremberg World Chronicle, <\/em>1493. Woodcuts by Michael Wolgemut and Wilhelm Pleydenwurff.<\/p>\n

          Portrait of a Jewish Man Smiling at a Denture with a Gold Tooth, <\/em>ca. 1870.<\/p>\n

          Louis-Fran\u00e7ois Couch\u00e9, Napoleon Grants the Jews Freedom to Worship, <\/em>1806.<\/p>\n

          Jean-Baptiste Mauzaisse, Napoleon I, Crowned by the Allegory of Time, Writes the Code Civil, <\/em>1833.<\/p>\n

          10.2\u00a0 England: Expressions of Myth and Faith<\/strong><\/h5>\n

          William Blake, Job and His Family, <\/em>ca. 1805-20.<\/p>\n

          William Blake, Satan Smiting Job with Boils, <\/em>1805.<\/p>\n

          William Blake, Job and His Family Restored to Prosperity, <\/em>1805.<\/p>\n

          Julia Margaret Cameron, William Holman Hunt in His Eastern Dress, <\/em>1864.<\/p>\n

          William Holman Hunt, The Finding of the Saviour in the Temple, <\/em>ca. 1854-55.<\/p>\n

          William Holman Hunt, Christ Amongst the Doctors, <\/em>1886-87, 1890.<\/p>\n

          Simeon Solomon, Self-Portrait, <\/em>1859.<\/p>\n

          Simeon Solomon, Dante\u2019s First Meeting with Beatrice, <\/em>1859-63.<\/p>\n

          Simeon Solomon, The Mother of Moses, <\/em>1860.<\/p>\n

          10.3\u00a0 Imaging the Jewess: La belle juive \/ L\u2019affreuse juive<\/em><\/strong><\/h5>\n

          \u00a0<\/em>Charles Steuben, La Esm\u00e9ralda, <\/em>1839.<\/p>\n

          Paul Delaroche, L\u2019H\u00e9micycle des Beaux-Arts<\/em> (central section), ca. 1841-42.<\/p>\n

          Gustave Moreau, Salome, <\/em>1876.<\/p>\n

          Gustave Moreau, The Apparition, <\/em>ca. 1876.<\/p>\n

          Aubrey Beardsley, The Climax, <\/em>1894.<\/p>\n

          Aubrey Beardsley, The Dancer\u2019s Reward, <\/em>1894.<\/p>\n

          Gustav Klimt, Judith and the Head of Holofernes, <\/em>1901.<\/p>\n

          Gustav Klimt, Salom\u00e9 II, <\/em>1909.<\/p>\n

          Bram Dijkstra, Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Si\u00e8cle Culture<\/em> (Oxford University Press, 1998).<\/p>\n

          10.4\u00a0 Moritz Daniel Oppenheim: \u201cThe Rothschild of Painters\u201d<\/strong><\/h5>\n

          Ettore Roesler Franz, Vicolo Capocciuto in Ghetto (rione Sant\u2019Angelo), <\/em>ca. 1880.<\/p>\n

          Moritz Daniel Oppenheim, Self-Portrait, <\/em>ca. 1814-16.<\/p>\n

          Moritz Daniel Oppenheim, Lionel Nathan de Rothschild, <\/em>1835.<\/p>\n

          Richard Whately, A Speech in the House of Lords, August 1, 1833, On a Bill for the Removal of Certain Disabilities from His Majesty\u2019s Subjects of the Jewish Persuasion<\/em> (London: B. Fellowes, 1848).<\/p>\n

          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, <\/em>1872.<\/p>\n

          Moritz Daniel Oppenheim, The Elector of Hesse Entrusting Mayor Armschel Rothschild (1743-1812) with his Treasure, <\/em>ca. 1820-82.<\/p>\n

          Moritz Daniel Oppenheim, Marriage Portrait of Charlotte von Rothschild, <\/em>1836.<\/p>\n

          Rothschild Palace, as seen from north, main site of the Jewish Museum Frankfurt, Frankfurt am Main, date unknown.<\/p>\n

          Charlotte von Rothschild, Self-Portrait of Charlotte von Rothschild Painting Her Husband Anselm von Rothchild, Two of Their Children, and Their Nanny, <\/em>1838.<\/p>\n

          Charlotte Von Rothschild, Haggadah Frankfurt, <\/em>1842.<\/p>\n

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

          Johann Peter Krafft, The Militiaman\u2019s Return, <\/em>1820.<\/p>\n

          10.5\u00a0 The Politics of Genre<\/strong><\/h5>\n

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

          Moritz Daniel Oppenheim, Lavater and Lessing Visit Moses Mendelssohn, <\/em>1856.<\/p>\n

          Gotthold Ephraim Lessing, Nathan the Wise, <\/em>2nd Edition (1779).<\/p>\n

          Charles Bonnet, La paling\u00e9n\u00e9sie philosophique, ou Id\u00e9es sur l\u2019etat passe et sur l’\u00e9tat futur des \u00eatres vivants, <\/em>Vol. 1 (Geneva: Claude Philibert & Barthelemi, 1770).<\/p>\n

          Hans Holbein, Judas Iscariot, <\/em>ca. 1789.<\/p>\n

          Hans Holbein the Younger, The Last Supper, <\/em>ca. 1524-25.<\/p>\n

          Daniel Niklaus Chodowiecki, Moses Mendelssohn, <\/em>1774.<\/p>\n

          Moritz Daniel Oppenheim, The Wedding, <\/em>1866.<\/p>\n

          Gillis van Tilborgh, Elegant Company, <\/em>ca. 1655-75.<\/p>\n

          Carl Joseph Begas, Portrait of the Begas Family, <\/em>1821.<\/p>\n

          Die Generalpumpe<\/em>, ca. 19th century.<\/p>\n

          Moritz Daniel Oppenheim, Sabbath Rest, <\/em>1886.<\/p>\n

          10.6\u00a0 Maurycy Gottlieb: Strife and Synthesis<\/strong><\/h5>\n

          Maurycy Gottlieb, ca 1880.<\/p>\n

          Jan Matejko, The Fall of Poland, <\/em>1866.<\/p>\n

          Karl von Piloty, Seni at the Dead Body of Wallenstein, <\/em>1855.<\/p>\n

          Heinrich Graetz, Geschichte der Juden,<\/em> 1891.<\/p>\n

          Style of Rembrandt, Head of Christ, <\/em>ca. 1650.<\/p>\n

          Maurycy Gottlieb, Christ Preaching at Capernaum, <\/em>ca. 1878-79.<\/p>\n

          Maurycy Gottlieb, Ahasuerus, Wandering Jew, <\/em>1876.<\/p>\n

          Maurycy Gottlieb, Shylock and Jessica, <\/em>1876.<\/p>\n

          Maurycy Gottlieb, Jews Praying in the Synagogue on Yom Kippur, <\/em>1878.<\/p>\n

          Maurycy Gottlieb, Christ Before His Judges, <\/em>1877-79.<\/p>\n

          Rembrandt van Rijn, Christ Preaching, <\/em>called La Petite Tombe, <\/em>ca. 1657.\u00a0<\/strong><\/p>\n

          10.7\u00a0 \u00a0Meijer Isaac de Haan: Controversy and Escape<\/strong><\/h5>\n

          Meijer Isaac de Haan. Petrus Franciscus Greive, <\/em>ca. 1870-1875.<\/p>\n

          Meijer de Haan Old Jewish Woman, <\/em>1880.<\/p>\n

          Meijer de Haan, Talmudic Anatomy, <\/em>ca. 1880.<\/p>\n

          Uriel da Costa, Examination of Phraisaic Traditions. <\/em>Supplemented by Semuel da Silva\u2019s Treatise on the Immortality of the Soul,<\/em> 1993.<\/p>\n

          Meijer de Haan, Breton Women Scrutching Flax: Labour<\/em>, 1889.<\/p>\n

          Meiijer de Haan, Motherhood: Mary Henry Breastfeeding her Daughter, <\/em>1889.<\/p>\n

          Meijer Isaac de Haan, Self-Portrait, <\/em>1889-1890.<\/p>\n

          Paul Gauguin, Portrait of Meijer de Haan, <\/em>1889-1890.<\/p>\n

          Paul Gauguin, Portrait of Jacob Meyer de Haan,<\/em> 1889.<\/p>\n

          Paul Gauguin, Nirvana, Portrait of Meijer de Haan, <\/em>ca. 1889.<\/p>\n

          10.8\u00a0 Max Liebermann: Pioneering Change<\/strong><\/h5>\n

          Max Liebermann, Self-Portrait, <\/em>1906.<\/p>\n

          Max Liebermann, Women Plucking Geese, <\/em>ca. 1871-72.<\/p>\n

          Ludwig Knaus, Dance Under the Linden Tree, <\/em>1881.<\/p>\n

          Max Liebermann, Potato Gatherers, <\/em>1875.<\/p>\n

          Jean-Fran\u00e7ois Millet, The Gleaners, <\/em>1857.<\/p>\n

          Max Liebermann, Children\u2019s Playground in Tiergarten Park in Berlin, <\/em>ca. 1885.<\/p>\n

          Max Liebermann, Terrasse of the Restaurant Jacob in Nienstedten Upon Elbe, <\/em>1902.<\/p>\n

          Max Liebermann, Two Riders on the Beach to the Left, <\/em>1901.<\/p>\n

          Max Liebermann, Boys Bathing, <\/em>1898.<\/p>\n

          Max Liebermann, B\u00fcrgermeister Carl Friedrich Petersen, <\/em>1891.<\/p>\n

          Rudolf D\u00fchrkoop, Carl Friedrich Petersen, Hamburger B\u00fcrgermeister<\/em>, before 1892.<\/p>\n

          Frans Hals, Paulus Verschuur, <\/em>1643.<\/p>\n

          Max Liebermann, The Hamburg Convention of Professors, <\/em>1906.<\/p>\n

          Max Liebermann, Self-Portrait, <\/em>ca. 1922.<\/p>\n

          Wilhelm Schulz, Berliner Secession, <\/em>1902.<\/p>\n

          Charlotte Berend-Corinth, Max Pallenberg, <\/em>ca. 1877-1934.<\/p>\n

          Josef Block, The Wayward Son, <\/em>1890.<\/p>\n

          Ernst Oppler, Three Girls in the Access Balcony, <\/em>ca. 1910.<\/p>\n

          Emil Orlik, The Weavers by G. Hauptmann, <\/em>1897.<\/p>\n

          Eugene Spiro, Portrait of Dr. Meier-Graefe<\/em>, 1913.<\/p>\n

          Hermann Struck, Jerusalem X, <\/em>ca. 1924.<\/p>\n

          Lesser Ury, Reproduction of a Landscape Painting, <\/em>1892.<\/p>\n

          Julie Wolfthorn, Witch of the Woods, <\/em>ca. 1899.<\/p>\n

          10.9\u00a0 \u00a0Liebermann: Subculture and Identity<\/strong><\/h5>\n

          Max Liebermann, Self-Portrait with Kitchen Still Life, <\/em>1873.<\/p>\n

          Abraham van Beyeren, Still Life with Lobster and Fruit, <\/em>ca. 1650.<\/p>\n

          Max Liebermann, Self-Portrait with Kitchen Still Life, <\/em>1873.<\/p>\n

          Max Liebermann, Jesus among the Doctors, <\/em>or The 12-Year-Old Jesus in the Temple with the Scholars, <\/em>1879.<\/p>\n

          Max Liebermann, Study for The Twelve-Year-Old Jesus in the Temple, <\/em>1879.<\/p>\n

          Adolph Menzel, Infant Christ Surrounded by the Doctors; Joseph and the Virgin Approaching, <\/em>1852.<\/p>\n

          Fritz von Uhde, Last Supper, <\/em>1886.<\/p>\n

          Max Liebermann, The Synagogue in Amsterdam, <\/em>1876.<\/p>\n

          Max Liebermann, The Jewish Street in Amsterdam, <\/em>1906.<\/p>\n

          Max Liebermann, Amsterdam Jewish Quarter, <\/em>ca. 1900-10.<\/p>\n

          Max Liebermann, Jewish Quarter in Amsterdam, <\/em>1905.<\/p>\n

          Max Liebermann, after E. Hancke, Judengasse in Amsterdam, <\/em>1907.<\/p>\n

          Camille Pissarro, The Boulevard Montmartre on a Winter Morning, <\/em>1897.<\/p>\n

          Max Liebermann, Judengasse in Amsterdam, <\/em>1909.<\/p>\n

          Max Liebermann, The Artist\u2019s Studio, <\/em>1902.<\/p>\n

          Max Liebermann, Flower Perennials on Gardener\u2019s House, <\/em>1928.<\/p>\n

          Max Liebermann, Wanseegarten, <\/em>1926.<\/p>\n

          10.10\u00a0 \u00a0The Dreyfus Affair<\/strong><\/h5>\n

          Aron Gerschel, Alfred Dreyfus, <\/em>ca. 1894.<\/p>\n

          Henri Meyer, \u201cLe capitaine Dreyfus devant le conseil de guerre,\u201d Le Petit Journal, <\/em>December 23, 1894.<\/p>\n

          \u201cLe tra\u00eetre, D\u00e9gradation d\u2019Alfred Dreyfus,\u201d Le Petit Journal, <\/em>January 13, 1895.<\/p>\n

          Dreyfus on the Devil\u2019s Island, <\/em>1898.<\/p>\n

          Fortun\u00e9 M\u00e9aulle, After Lionel Royer, \u201cAlfred Dreyfus dans sa prison,\u201d Le Petit Journal, <\/em>January 20, 1895.<\/p>\n

          Lionel Royer, engraving by Fortun\u00e9 M\u00e9aulle, \u201cLa d\u00e9gradation,\u201d Le Journal Illustr\u00e9, <\/em>1895.<\/p>\n

          Emile Zola, \u201cJ\u2019accuse\u2026! Lettre au Pr\u00e9sident de la R\u00e9publique,\u201d L\u2019Aurore, <\/em>January 12, 1898.<\/p>\n

          Jean Baptiste Guth, Caricature of Major Ferdinand Walsin Esterhazy, <\/em>1898.<\/p>\n

          Captain Alfred Dreyfus, full-length portrait, standing, facing front, with wife and two children, ca. 1910-1935.<\/p>\n

          10.11\u00a0 Edgar Degas: Other Impressions<\/strong><\/h5>\n

          Edgar Degas, At the Stock Exchange, <\/em>1878.<\/p>\n

          Edgar Degas, Ludovic Hal\u00e9vy et Albert Boulanger-Cav\u00e9 dans les coulisses de l\u2019Op\u00e9ra, <\/em>1878.<\/p>\n

          Edgar Degas, Six Friends at Dieppe, <\/em>1885.<\/p>\n

          \u201cLe tra\u00eetre condamn\u00e9. Dix ans de d\u00e9tention et la d\u00e9gradation. \u00c0 bas les Juifs!\u201d La Libre Parole, <\/em>September 10, 1899.<\/p>\n

          Jules Ch\u00e9ret, La France juive, <\/em>1886.<\/p>\n

          \u00c9mile Courtet, Les qualit\u00e9s du Juif d’apr\u00e8s la m\u00e9thode de Gall (Jewish Virtues According to Gall\u2019s Method), La libre parole illustr\u00e9e, <\/em>December 23, 1893.<\/p>\n

          Chanteclair, Fruitless Soaping, <\/em>1894.<\/p>\n

          Cham (Am\u00e9d\u00e9e de No\u00e9), La peinture impressionniste, <\/em>1894.<\/p>\n

          10.12\u00a0 Camille Pissarro; Outsider Impressionist?<\/strong><\/h5>\n

          Camille Pissarro, Self-Portrait, <\/em>1873.<\/p>\n

          Camile Pissarro, Two Women Chatting by the Sea, St. Thomas, <\/em>1856.<\/p>\n

          Camille Pissarro, Landscape with Farm Buildings and Palm Trees, <\/em>1856.<\/p>\n

          Camille Pissarro, Poultry Market at Gisors, <\/em>1885.<\/p>\n

          Camille Pissarro, C\u2019est la guerre des d\u00e9poss\u00e9d\u00e9s contres les d\u00e9possesseurs. <\/em>Turpitudes sociales,<\/em> 1889-1890.<\/p>\n

          Camille Pissarro, The New Idolators, <\/em>1889.<\/p>\n

          Edgar Degas, Ren\u00e9-Hilaire Degas, Grandfather of the Artist, <\/em>ca. 1856-57.<\/p>\n

          Toulouse Lautrec, La revue blanche, <\/em>1896.<\/p>\n

          Camille Pissarro, The Cabbage Field, Pontoise, <\/em>1873.<\/p>\n

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