front cover of Edouard Manet
Edouard Manet
Rebel in a Frock Coat
Beth Archer Brombert
University of Chicago Press, 1997
"Manet comes alive in [Brombert's] pages. . . . At times her biography reads like a substantial and detailed 19th-century novel. . . . Brombert's Edouard Manet gives us not only a portrait of a complex artist but, in its authority and its range, a portrait of an age as well."—James R. Mellow, New York Times Book Review

"One of the pleasures of reading her is to follow the way she weaves life, art and history into a smooth tapestry. The art emerges from the life, and in the broadest possible context: in terms of its creator's life and concerns and in terns of its historical and cultural setting."—Eric Gibson, The Washington Times Books

"Richly detailed and informative . . . [this biography] exposes the character of an artist who maintained a sharply defined duality between his public and private personas."—Edward J. Sozanski, Philadelphia Inquirer

"Brombert's reading of important canvasses . . . shine, as do her accounts of the changing social and political environment in which Manet worked. . . . Well researched, complexly conceived, and clearly written."—Kirkus Reviews

"Brilliant . . . [this book] grants us a far deeper understanding of why [Manet's] paintings outraged so many of his peers, and why these same masterpieces resonate so richly in our psyches a century later."—Booklist, starred review
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front cover of Value in Art
Value in Art
Manet and the Slave Trade
Henry M. Sayre
University of Chicago Press, 2022
Art historian Henry M. Sayre traces the origins of the term “value” in art criticism, revealing the politics that define Manet’s art.

How did art critics come to speak of light and dark as, respectively, “high in value” and “low in value”? Henry M. Sayre traces the origin of this usage to one of art history’s most famous and racially charged paintings, Édouard Manet’s Olympia.

Art critics once described light and dark in painting in terms of musical metaphor—higher and lower tones, notes, and scales. Sayre shows that it was Émile Zola who introduced the new “law of values” in an 1867 essay on Manet. Unpacking the intricate contexts of Zola’s essay and of several related paintings by Manet, Sayre argues that Zola’s usage of value was intentionally double coded—an economic metaphor for the political economy of slavery. In Manet’s painting, Olympia and her maid represent objects of exchange, a commentary on the French Empire’s complicity in the ongoing slave trade in the Americas.
 
Expertly researched and argued, this bold study reveals the extraordinary weight of history and politics that Manet’s painting bears. Locating the presence of slavery at modernism’s roots, Value in Art is a surprising and necessary intervention in our understanding of art history.
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