Critics and art historians writing about Jeanne Duval, the subject of Édouard Manet's 186... more Critics and art historians writing about Jeanne Duval, the subject of Édouard Manet's 1862 La Maîtresse de Baudelaire, have provided multiple reactions to her, many of them viciously racist. Contemporary novels and short stories have appeared that counter the negative constructions of Duval, casting her not as la muse malade of Baudelaire's poetry, but using her as a stimulus for their creative inspiration as Baudelaire himself had done. Recent efforts by artists such as Maud Sulter and Lorraine O'Grady have dismantled the scaffolding of contempt that has distorted Duval's reputation by appropriating nineteenth-century images within a twenty-first-century context.
Critics and art historians writing about Jeanne Duval, the subject of Édouard Manet's 1862 La Maî... more Critics and art historians writing about Jeanne Duval, the subject of Édouard Manet's 1862 La Maîtresse de Baudelaire, have provided multiple reactions to her, many of them viciously racist. Contemporary novels and short stories have appeared that counter the negative constructions of Duval, casting her not as la muse malade of Baudelaire's poetry, but using her as a stimulus for their creative inspiration as Baudelaire himself had done. Recent efforts by artists such as Maud Sulter and Lorraine O'Grady have dismantled the scaffolding of contempt that has distorted Duval's reputation by appropriating nineteenth-century images within a twenty-first-century context.
The collection of catch composition data during inspections at sea by EU Member States occurs und... more The collection of catch composition data during inspections at sea by EU Member States occurs under the framework of joint deployment plans (JDP). It is known as "the last haul" (LH) programme and has been a fundamental tool in allowing the estimation of discards and the derivation of indicators of compliance with the landing obligation (LO). During sea inspections, measures of quantities of fish below and above the minimum conservation reference size and grade categories of the legalsize catch are used to derive estimates of discards. The methods to estimate discards assume that the relative catch composition (discard ratios) obtained with the data collected during LH inspections reflects the true catch composition of the fleet segment operating with the same gear and mesh size and in that area. The comparison between these discard ratios and with what is reported in fishers' logbook is then used to estimate the discard component. The background of the LH programme, the methodologies for deriving discard ratios using LH data and the statistical analysis of the data are explained in this chapter.
The controversy over Richard Wagner´s opera Tannhauser may have inspired Manet to infuse certain ... more The controversy over Richard Wagner´s opera Tannhauser may have inspired Manet to infuse certain stylistic elements into Music in the Tuileries, visually allying his work, wich would become a major keynote of Impressionism, with the progressive forecs of modernism. The influence of Wagner´s writings, the impact of his efforts to reform opera, and the critical reception surround-ing his presence in Paris stoked the dialogical interaction of the discourses of music, art and literature, altering the ways in which these art forms not only represented their times but also how they were received. Critics often complained that Wagner´s new sounds ended up being noise and not music. When Paul de Saint Victor invoked a similar comparison to characterize Manet´s painting, saying that his palette was a "charivari" that he made tones howl, and that the work "ecorche les yeux comme la musique des foires fait saigner l´oreille" he tarred Manet´s painting with the same brush th...
I claim that Édouard Manet's painting The Street Singer (1862) has ties to Charles Baudelaire's p... more I claim that Édouard Manet's painting The Street Singer (1862) has ties to Charles Baudelaire's poem "À une mendiante rousse." The poem was included in the 1857 edition of Les Fleurs du mal and became a part of the Tableaux Parisiens in 1861. The young waif who inspired Baudelaire also found herself limned in a poem by Théodore de Banville, celebrated in a song by Pierre Dupont, and painted in oil by Émile Deroy in the mid-1840s at a time when these four men were in close contact with one another in the heady days of their bohemian youth on the cusp of their creative careers. Baudelaire's memories of the formative years of these friendships of the 1840s were resurrected when he took on the commission to write essays on Banville and Dupont for Eugène Crépet's anthology Les Poètes français, conceived in 1859 and published in 1862, the year Manet created his version of a street singer. These texts in all likelihood combined with Manet's own interest in fashion to play a part in his decision to outfit his street singer in attractive attire, but inspiration from Banville's "À une petite Chanteuse des Rues," Dupont's "La Joueuse de guitare," and Baudelaire's "À une mendiante rousse" may also have affected Manet's sartorial designs for his painting. I also demonstrate that the discourse surrounding street songs and their aesthetic import proved even more pertinent to Manet's choice of subject as he forged his modernist painting.
In his depiction of a shawl in "Olympia", Edouard Manet portrayed a fashion accesory th... more In his depiction of a shawl in "Olympia", Edouard Manet portrayed a fashion accesory that transacted a token of exchange whose significance had been animated by a lively and politically nuanced discourse involving class, gender, and economics. It was a commodity whose mute surface had been invested with desire and demand; its implication as a gift was mediated by a logic of consumption that sent a message about socially regulated mobility and class distinction. Olympia's shawl announces to the viewer its commodity value, signifying her elevated price as an article of merchandise to be purchased.
Focusing on satirical prints from illustrated newspapers, this thesis examines nineteenth-century... more Focusing on satirical prints from illustrated newspapers, this thesis examines nineteenth-century French notions of masculinity in a culture that linked its reputation for success to the productivity of its male citizens. I will focus on man's connection to marriage and family life, as these institutions were so closely connected to perceptions of masculinity. Specifically, I look at portrayals of the cuckold and the bachelor—tropes of male identity that deviated from the ideal notions of the French man—and how printed images reflected, commented on, and shaped the ways in which conventional French masculinity was imagined. Examining these lithographs in light of specific social and political shifts, including changing marriage and divorce laws, the rising feminist movement, and the loss of the Franco-Prussian war, will ground my project historically. Popular lithographic prints, from the 1840s to the early 1900s, remarked not only on masculinity itself—the ways in which men sho...
Making Waves: Crosscurrents in the Study of Nineteenth-Century Art, 2020
A brief analysis of two images of Manet's street singers completed in 1862 can provide insight in... more A brief analysis of two images of Manet's street singers completed in 1862 can provide insight into how music enabled the conceptualization and execution of his modernist agenda. Manet’s painting of a female Street Singer and his etching of a performing male street musician display visual characteristics that align with the acoustical style of street songs.These figures functioned in a vexed auditory environment, where their subaltern voices were culturally, economically, and pictorially distinct from singers at salons and the divas on the musical stages of Paris during the Second Empire.
Music, Art and Performance from Liszt to Riot Grrrl, 2018
Manet’s 1862 Spanish Hat and Guitar remains the only painted example of his still lives that incl... more Manet’s 1862 Spanish Hat and Guitar remains the only painted example of his still lives that included clothing and a musical instrument.Touching and stroking are most intrinsic to the sounding of the guitar, and it is the touche and touchettes – the fingerboard and frets of the neck– that Manet extends outward from the basket of clothes. It is also by means of touch – the unique style of the application of paint by his hand – that Manet would announce his modernism.
Music, Art and Performance from Liszt to Riot Grrl: The Musicalisation of Art edited by Diane Silverthorne (London: Bloomsbury Academic 2018), pp. 49-66.
Manet would paint many still lifes throughout his career, producing images of fish and fowl, flo... more Manet would paint many still lifes throughout his career, producing images of fish and fowl, flowers and fruit. His 1862 Spanish Hat and Guitar, however, remains the only painted example in this genre that included clothing and a musical instrument and, despite the fact that its still-life contents were not of the traditional edible or olfactory kind, it still offers much in the way of food for thought. The carefully calculated visual relationships and dramatic lighting confer an aspect of monumentality on the unpretentious objects that Manet has chosen and consequently counter the lowly status of the still-life genre, giving it an invigorated sense of optical cogency. Touching and stroking are most intrinsic to the sounding of the guitar, and it is the touche and touchettes – the fingerboard and frets of the neck– that Manet extends outward from the basket of clothes. It is also by means of touch – the unique style of the application of paint by his hand – that Manet would announce his modernism. Scanning the painting from left to right causes the viewer to test the difference between likeness and difference, between the denotative legible pattern on the left and its connotative abstract analogue on the right, a movement of scansion from visual consonance to dissonance. Music’s freedom from the referential aspects of nature could have spurred Manet to begin considering what was most unique about his own medium of paint.
I claim that Édouard Manet’s painting The Street Singer (1862) has ties to Charles Baudelaire’s p... more I claim that Édouard Manet’s painting The Street Singer (1862) has ties to Charles Baudelaire’s poem “À une mendiante rousse.” The poem was included in the 1857 edition of Les Fleurs du mal and became a part of the Tableaux Parisiens in 1861. The young waif who inspired Baudelaire also found herself limned in a poem by Théodore de Banville, celebrated in a song by Pierre Dupont, and painted in oil by Émile Deroy in the mid- 1840s at a time when these four men were in close contact with one another in the heady days of their bohemian youth on the cusp of their creative careers. Baudelaire’s memories of the formative years of these friendships of the 1840s were resurrected when he took on the commission to write essays on Banville and Dupont for Eugène Crépet’s anthology Les Poètes français, conceived in 1859 and published in 1862, the year Manet created his version of a street singer. These texts in all likelihood combined with Manet’s own interest in fashion to play a part in his decision to outfit his street singer in attractive attire, but inspiration from Banville’s “À une petite Chanteuse des Rues,” Dupont’s “La Joueuse de guitare,” and Baudelaire’s “À une mendiante rousse” may also have affected Manet’s sartorial designs for his painting. I also demonstrate that the discourse surrounding street songs and their aesthetic import proved even more pertinent to Manet’s choice of subject as he forged his modernist painting.
Critics and art historians writing about Jeanne Duval, the subject of Édouard Manet's 186... more Critics and art historians writing about Jeanne Duval, the subject of Édouard Manet's 1862 La Maîtresse de Baudelaire, have provided multiple reactions to her, many of them viciously racist. Contemporary novels and short stories have appeared that counter the negative constructions of Duval, casting her not as la muse malade of Baudelaire's poetry, but using her as a stimulus for their creative inspiration as Baudelaire himself had done. Recent efforts by artists such as Maud Sulter and Lorraine O'Grady have dismantled the scaffolding of contempt that has distorted Duval's reputation by appropriating nineteenth-century images within a twenty-first-century context.
Critics and art historians writing about Jeanne Duval, the subject of Édouard Manet's 1862 La Maî... more Critics and art historians writing about Jeanne Duval, the subject of Édouard Manet's 1862 La Maîtresse de Baudelaire, have provided multiple reactions to her, many of them viciously racist. Contemporary novels and short stories have appeared that counter the negative constructions of Duval, casting her not as la muse malade of Baudelaire's poetry, but using her as a stimulus for their creative inspiration as Baudelaire himself had done. Recent efforts by artists such as Maud Sulter and Lorraine O'Grady have dismantled the scaffolding of contempt that has distorted Duval's reputation by appropriating nineteenth-century images within a twenty-first-century context.
The collection of catch composition data during inspections at sea by EU Member States occurs und... more The collection of catch composition data during inspections at sea by EU Member States occurs under the framework of joint deployment plans (JDP). It is known as "the last haul" (LH) programme and has been a fundamental tool in allowing the estimation of discards and the derivation of indicators of compliance with the landing obligation (LO). During sea inspections, measures of quantities of fish below and above the minimum conservation reference size and grade categories of the legalsize catch are used to derive estimates of discards. The methods to estimate discards assume that the relative catch composition (discard ratios) obtained with the data collected during LH inspections reflects the true catch composition of the fleet segment operating with the same gear and mesh size and in that area. The comparison between these discard ratios and with what is reported in fishers' logbook is then used to estimate the discard component. The background of the LH programme, the methodologies for deriving discard ratios using LH data and the statistical analysis of the data are explained in this chapter.
The controversy over Richard Wagner´s opera Tannhauser may have inspired Manet to infuse certain ... more The controversy over Richard Wagner´s opera Tannhauser may have inspired Manet to infuse certain stylistic elements into Music in the Tuileries, visually allying his work, wich would become a major keynote of Impressionism, with the progressive forecs of modernism. The influence of Wagner´s writings, the impact of his efforts to reform opera, and the critical reception surround-ing his presence in Paris stoked the dialogical interaction of the discourses of music, art and literature, altering the ways in which these art forms not only represented their times but also how they were received. Critics often complained that Wagner´s new sounds ended up being noise and not music. When Paul de Saint Victor invoked a similar comparison to characterize Manet´s painting, saying that his palette was a "charivari" that he made tones howl, and that the work "ecorche les yeux comme la musique des foires fait saigner l´oreille" he tarred Manet´s painting with the same brush th...
I claim that Édouard Manet's painting The Street Singer (1862) has ties to Charles Baudelaire's p... more I claim that Édouard Manet's painting The Street Singer (1862) has ties to Charles Baudelaire's poem "À une mendiante rousse." The poem was included in the 1857 edition of Les Fleurs du mal and became a part of the Tableaux Parisiens in 1861. The young waif who inspired Baudelaire also found herself limned in a poem by Théodore de Banville, celebrated in a song by Pierre Dupont, and painted in oil by Émile Deroy in the mid-1840s at a time when these four men were in close contact with one another in the heady days of their bohemian youth on the cusp of their creative careers. Baudelaire's memories of the formative years of these friendships of the 1840s were resurrected when he took on the commission to write essays on Banville and Dupont for Eugène Crépet's anthology Les Poètes français, conceived in 1859 and published in 1862, the year Manet created his version of a street singer. These texts in all likelihood combined with Manet's own interest in fashion to play a part in his decision to outfit his street singer in attractive attire, but inspiration from Banville's "À une petite Chanteuse des Rues," Dupont's "La Joueuse de guitare," and Baudelaire's "À une mendiante rousse" may also have affected Manet's sartorial designs for his painting. I also demonstrate that the discourse surrounding street songs and their aesthetic import proved even more pertinent to Manet's choice of subject as he forged his modernist painting.
In his depiction of a shawl in "Olympia", Edouard Manet portrayed a fashion accesory th... more In his depiction of a shawl in "Olympia", Edouard Manet portrayed a fashion accesory that transacted a token of exchange whose significance had been animated by a lively and politically nuanced discourse involving class, gender, and economics. It was a commodity whose mute surface had been invested with desire and demand; its implication as a gift was mediated by a logic of consumption that sent a message about socially regulated mobility and class distinction. Olympia's shawl announces to the viewer its commodity value, signifying her elevated price as an article of merchandise to be purchased.
Focusing on satirical prints from illustrated newspapers, this thesis examines nineteenth-century... more Focusing on satirical prints from illustrated newspapers, this thesis examines nineteenth-century French notions of masculinity in a culture that linked its reputation for success to the productivity of its male citizens. I will focus on man's connection to marriage and family life, as these institutions were so closely connected to perceptions of masculinity. Specifically, I look at portrayals of the cuckold and the bachelor—tropes of male identity that deviated from the ideal notions of the French man—and how printed images reflected, commented on, and shaped the ways in which conventional French masculinity was imagined. Examining these lithographs in light of specific social and political shifts, including changing marriage and divorce laws, the rising feminist movement, and the loss of the Franco-Prussian war, will ground my project historically. Popular lithographic prints, from the 1840s to the early 1900s, remarked not only on masculinity itself—the ways in which men sho...
Making Waves: Crosscurrents in the Study of Nineteenth-Century Art, 2020
A brief analysis of two images of Manet's street singers completed in 1862 can provide insight in... more A brief analysis of two images of Manet's street singers completed in 1862 can provide insight into how music enabled the conceptualization and execution of his modernist agenda. Manet’s painting of a female Street Singer and his etching of a performing male street musician display visual characteristics that align with the acoustical style of street songs.These figures functioned in a vexed auditory environment, where their subaltern voices were culturally, economically, and pictorially distinct from singers at salons and the divas on the musical stages of Paris during the Second Empire.
Music, Art and Performance from Liszt to Riot Grrrl, 2018
Manet’s 1862 Spanish Hat and Guitar remains the only painted example of his still lives that incl... more Manet’s 1862 Spanish Hat and Guitar remains the only painted example of his still lives that included clothing and a musical instrument.Touching and stroking are most intrinsic to the sounding of the guitar, and it is the touche and touchettes – the fingerboard and frets of the neck– that Manet extends outward from the basket of clothes. It is also by means of touch – the unique style of the application of paint by his hand – that Manet would announce his modernism.
Music, Art and Performance from Liszt to Riot Grrl: The Musicalisation of Art edited by Diane Silverthorne (London: Bloomsbury Academic 2018), pp. 49-66.
Manet would paint many still lifes throughout his career, producing images of fish and fowl, flo... more Manet would paint many still lifes throughout his career, producing images of fish and fowl, flowers and fruit. His 1862 Spanish Hat and Guitar, however, remains the only painted example in this genre that included clothing and a musical instrument and, despite the fact that its still-life contents were not of the traditional edible or olfactory kind, it still offers much in the way of food for thought. The carefully calculated visual relationships and dramatic lighting confer an aspect of monumentality on the unpretentious objects that Manet has chosen and consequently counter the lowly status of the still-life genre, giving it an invigorated sense of optical cogency. Touching and stroking are most intrinsic to the sounding of the guitar, and it is the touche and touchettes – the fingerboard and frets of the neck– that Manet extends outward from the basket of clothes. It is also by means of touch – the unique style of the application of paint by his hand – that Manet would announce his modernism. Scanning the painting from left to right causes the viewer to test the difference between likeness and difference, between the denotative legible pattern on the left and its connotative abstract analogue on the right, a movement of scansion from visual consonance to dissonance. Music’s freedom from the referential aspects of nature could have spurred Manet to begin considering what was most unique about his own medium of paint.
I claim that Édouard Manet’s painting The Street Singer (1862) has ties to Charles Baudelaire’s p... more I claim that Édouard Manet’s painting The Street Singer (1862) has ties to Charles Baudelaire’s poem “À une mendiante rousse.” The poem was included in the 1857 edition of Les Fleurs du mal and became a part of the Tableaux Parisiens in 1861. The young waif who inspired Baudelaire also found herself limned in a poem by Théodore de Banville, celebrated in a song by Pierre Dupont, and painted in oil by Émile Deroy in the mid- 1840s at a time when these four men were in close contact with one another in the heady days of their bohemian youth on the cusp of their creative careers. Baudelaire’s memories of the formative years of these friendships of the 1840s were resurrected when he took on the commission to write essays on Banville and Dupont for Eugène Crépet’s anthology Les Poètes français, conceived in 1859 and published in 1862, the year Manet created his version of a street singer. These texts in all likelihood combined with Manet’s own interest in fashion to play a part in his decision to outfit his street singer in attractive attire, but inspiration from Banville’s “À une petite Chanteuse des Rues,” Dupont’s “La Joueuse de guitare,” and Baudelaire’s “À une mendiante rousse” may also have affected Manet’s sartorial designs for his painting. I also demonstrate that the discourse surrounding street songs and their aesthetic import proved even more pertinent to Manet’s choice of subject as he forged his modernist painting.
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