Bradford Collins has assembled here a collection of twelve
essays that demonstrates, through the interpretation of a single
work of art, the abundance and complexity of methodological
approaches now ...available to art historians. Focusing on Manet's
A Bar at the Folies-Berg??re, each contributor applies to
it a different methodology, ranging from the more traditional to
the newer, including feminism, Marxism, Lacanian psychoanalysis,
and semiotics. By demonstrating the ways that individual
practitioners actually apply the various methodological insights
that inform their research, Twelve Views of Manet's "Bar"
serves as an excellent introduction to critical methodology as well
as a provocative overview for those already familiar with the
current discourse of art history. In the process of gaining new
insight into Manet's work, and into the discourse of methodology,
one discovers that it is not only the individual painting but art
history itself that is under investigation. An introduction by
Richard Shiff sets the background with a brief history of Manet
scholarship and suggestions as to why today's accounts have taken
certain distinct directions. The contributors, selected to provide
a broad and balanced range of methodological approaches, include:
Carol Armstrong, Albert Boime, David Carrier, Kermit Champa,
Bradford R. Collins, Michael Paul Driskel, Jack Flam, Tag Gronberg,
James D. Herbert, John House, Steven Z. Levine, and Griselda
Pollock.
En este artículo pretendo mostrar que la pintura de Manet combina las características de pintura pura, moderna y desidealizada. La pintura pura significa que Manet intentó eliminar de la pintura ...rasgos que no eran propiamente pictóricos. Con ello pretendía pintar pintura. Por tanto, era una pintura autorreflexiva, formalista, bidimensional, con luz real y que conciliaba el tema y la forma. Además, es moderna porque procuró ser una pintura de su tiempo. Pintaba lo que veía, su circunstancia temporal. También adoptó una actitud desidealizadora de la pintura y del arte, en general. En este trabajo mostramos que todas estas notas, que pueden pensarse como contradictorias, no sólo son perfectamente compatibles, sino consecuencias unas de otras.
Genderism and Realism. A Reading of Émile Zola’s The MasterpieceDoes sexual morality play a role in our perception of reality? This contribution explores the rise of modernity as a radical change of ...perception. This is done by reading an 1886 novel on painting, Émile Zola’s L’Oeuvre (The Masterpiece). The Masterpiece is a novel that meticulously explores the relationship between reality and representation in which the genderism implications become clear. Zola comments implicitly on the paintings of Éduoard Manet, on which naked women are depicted without any symbolism, which makes them ‘scandalous’. Contrary to Zola’s essayistic work on naturalism, the novel makes clear that the revolution of ‘naturalism’ in painting takes place within a gendered framework. The nakedness of the female model, which represented in the first half of the nineteenth century the highest ideal of beauty in a predominantly male culture, becomes the nakedness of reality, understood as a transgression of a gendered moral order. In The Masterpiece, painting comes to nothing, depicted by the suicide of the painter who fails to create his masterpiece. In doing so, Zola bids farewell to his initial enthusiasm for Manet’s work, and in the form of a novel he describes the ultimate consequence of naturalism, namely that ever-changing life cannot be depicted at all. In this article, The Masterpiece is interpreted as an ‘iconoclastic’ novel, in which the real protagonist is Christine, who resists Claude’s gaze fixed on her as a model. In doing so, Zola creates a triumph of literary naturalism over painting, but does not get beyond an essentialist genderism; the difference between man (representation of reality) and woman (presence of real life).
Édouard Manet a jeho Olympia Michalovič, Peter
Ars (Bratislava),
6/2023, Letnik:
56, Številka:
1
Journal Article
Recenzirano
Odprti dostop
The paper entitled Édouard Manet and his Olympia attempts to justify why this painting can be considered one of the founding paintings of modernism in painting. On the one hand, Manet adheres to some ...of the basic conventions applicable to the genre of the "nude," as evidenced by the inter-iconic reference to Titian's painting Venus of Urbino. On the other hand, he partly departs from these conventions and partly enters into open conflict. The image of Olympia does not represent a divine, ideal beauty but a woman's body, even the body of a prostitute. Manet attempts to represent with the painting what is symptomatic of the present and what is indexical of this present. The painting of Olympia has sparked controversy, sparked by its subject matter and artistic articulation. The paper attempts to interpret this controversy's thematic and formal causes.
Manet und Astruc. Künstlerfreunde Schulz, Martin
Nineteenth-Century Art Worldwide,
04/2022, Letnik:
21, Številka:
1
Journal Article, Book Review
Recenzirano
Odprti dostop
Schulz reviews Manet und Astruc. Kunstlerfreunde (Manet and Astruc: Friendship and Inspiration), an exhibition of the works of Edouard Manet and Zacharie Astruc at Kunsthalle Bremen in Bremen Germany.
En este ejemplar, editado por Abada, Luis Puelles Romero, Profesor de Estética y Teoría de las Artes de la Universidad de Málaga, se pregunta por aquellos valores estéticos capaces de propiciar la ...consagración de Manet como mito fundacional de la pintura moderna o «inventor de lo moderno». A través de tres secuencias, que abarcan un lapso temporal comprendido entre 1869 y 1884, el autor recusará la procedencia del mito que se ha gestado en torno a la figura de Manet, y lo hará de la mano de Baudelaire, Zola y Mallarmé.
Addressed to art historians as both teachers and researchers, this essay reconsiders the well‐trodden case of Édouard Manet's Olympia (1863) to challenge the conventional assumptions about the nude ...as a sign for gender. Aligning itself with the interdisciplinary field of transgender studies, the essay models one version of how art historians might teach a sceptical history of the nude in which we leave open the multiple and transformable genders that can be proposed by it. This essay argues that even a canonical episode about a non‐trans artist such as Manet (and his scandalous display of Olympia in 1865) contains ample opportunities (in both the contemporary criticism and art‐historical literature) to address transgender, non‐binary, and intersex themes. To question the equation of seeing and knowing when confronted with a naked body is both an ethical and a methodological imperative for art history – a field that traffics in nudes as central to its defining narratives.
This essay performs a close reading of Morimura’s Portrait (Futago) to establish how the artist’s multi-media approach echoes 1980s declarations about the end of painting while also proposing ...alternatives for its historical and material afterlife. In many ways, the artist’s performances make the crises brought on by the emerging global economy visual, and as such pointed to a number of slow deaths: of painting, of capitalism, of Japanese tradition. But the images do not merely document the demise. Instead, they present a scenario in which multiplicities define contemporary being. By considering how the work engages with photography, performance, and painting, I argue that Morimura’s approach to modality pointed out inherently Western assumptions about painting as well as its incompatibility with a holistic global identity in the 1980s and 90s. Exploiting the stereotypes of his media, Morimura makes tangible painting’s complicity with Western hegemony and destabilizes it in ways that propose a new global subject.
Among the most‐cited jibes directed at Manet’s Olympia in 1865 was a comment by the little𠄉known critic, Amédée Cantaloube, in a short‐lived periodical, Le Grand Journal, that dubbed the reclining ...nude ‘a kind of gorilla’. Through a close reading of the layered associations with this primate, only named in 1847, this essay locates the painting’s subject within contemporary excitement over the possible capture of a living specimen by adventurer Paul Du Chaillu, and scientific as well as popular debates over the links between humans and higher mammals. Using a piecemeal way of reading the body consistent with the methods of comparative anatomists, critics saw the disjointed body of Olympia as not only that of a prostitute but also sub’human. Cantaloube’s extreme language also reflected repressed fears of interspecies coupling and the linked possibility of miscegenation, particularly topical in light of the end of the Civil War in April 1865.
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