Art and Society in France c. 1840-1900
ARTH/10 18581
Level 2 Survey Module
40 Credits
This 40-credit module is taught over two terms, and includes a compulsory Study Trip to Paris of
around a week’s duration in the Easter vacation.
Module Tutor: Dr Francesca Berry
Email: f.berry@bham.ac.uk
Office Hours: 2.00-4.00pm Mondays (Room 114 Watson Building)
Lectures:
Mondays 10.00-10.50am in Barber Lecture Theatre
Seminars:
Tuesdays 2.00-4.00pm (Location to be decided)
Aims and Objectives
This course will look at works by leading artists of the period such as Manet, Degas, Cassatt, Whistler
and Gauguin, analysing key aesthetic movements including Academic Idealism, Realism, Orientalism,
Aestheticism, Impressionism and Post-Impressionism. It will also consider the institutional structure of
the French art world, focusing upon the Ecole des Beaux-Arts, the Salon and the development of the
independent art market, and also comparing this context with that in England during the same period.
Finally, by analysing artistic representation in relation to the key themes of class, gender and race,
students will begin to be able to locate artistic practice within the socio-political terrain of the period.
Delivery
The course is taught in two sessions per week. The first, of 50 minutes’ duration is conducted as a
lecture. The second of two hours’ duration is for student presentations and class discussions which will
normally relate to or elaborate on the material of the lecture.
Learning Outcomes
On successful completion of this module, participants should be able to:
(Knowledge and understanding)
1.
Apply the basic skills and knowledge gained in the first year to the art of the nineteenth
century.
2.
Explain and critically evaluate the concepts studied and critical issues regarding them.
3.
See the history of art in a wider context.
(Skills and competence)
4.
Have gained competence in presenting seminar papers and writing essays.
5.
Use appropriate IT resources for research.
6.
Develop and conduct group work.
Module Requirements:
Attendance
Students are required to attend in full all lectures and seminars. Students who miss 3 lectures or
seminars without offering acceptable proof of mitigating circumstance will be given 1 week to write an
additional 2,000-word essay. Failure to do so will result in the Department debarring you from the
module.
Students are required to attend seminars when they are supposed to be giving a presentation. Students
who fail to give their presentation without offering acceptable proof of mitigating circumstances will
be expected to arrange another time when they will give the presentation and write an additional 2,000
word essay. Failure to do so will result in the Department debarring you from the module.
Students are required to attend all gallery visits and the study trip to Paris in March.
Students are required to attend David Pulford’s ‘Information Source Training’ sessions in week six of
the autumn and spring terms (location to be announced). These sessions will extend your knowledge of
the impressive range of electronic and non-electronic resources that are available to undergraduate art
historians.
Students are welcome to attend Richard Clay’s ‘Study Skills’ classes that are held during week 6 in
Term 1 and Term 2. These sessions help to improve note taking, critical reading, presentation skills,
essay writing and, therefore, marks.
Seminar Preparation
All students are required to do reading in preparation for the seminars and should be equipped to
discuss, debate and answer questions on the themes of the seminar. In addition to carrying out the
required reading, use the recommended reading and the bibliography to further your knowledge and
interest. Remember that the University’s on-line catalogue does not include many works in the Barber
collection acquired before 1990. These are listed instead on the card catalogue.
Seminar Presentations
Each student is required to make one seminar presentation (15 minutes) per term either in front of
objects or using slides as appropriate. You may arrange a meeting with me in advance of your
presentation to discuss your topic. Oral presentations will be evaluated but will not count towards the
final mark for the course. Each seminar will include either two or three student presentations. Those
giving presentations will be expected to lead the discussion based upon their wider reading of the topic.
As well as the essential texts, use the recommended texts, the bibliography and the resources of the
slide library or gallery in preparation for your presentation. Do not simply reiterate the readings.
Present a synthetic and cogent analysis of the key themes.
Study Trip
Students are required to attend the study trip to Paris (provisionally Thursday 23 rd March 2006 –
Tuesday 28th March 2006). This trip is compulsory and non-attendance will require you to reimburse
the department with its costs. We will use this opportunity to study at first hand objects relevant to the
course. Visits will be made to collections such as the Musée d’Orsay, the Rodin Museum and others.
Note that you will be expected to prepare for this trip by reading in advance and by purchasing a
guidebook (with good maps) so that you are able to visit both those places on the itinerary and others of
interest to you. Further information about the study trip will be circulated at a later date. By the end of
the study trip, students should:
1.
2.
3.
4.
Know how to carry out research on an artwork examined at first hand and how to incorporate
such research into art historical writing.
Link theory with practice by relating knowledge derived from the survey course itself and
specific reading for the trip.
Have knowledge of a particular city’s culture. This is particularly important for site-specific
works such as architecture and public sculpture.
Develop good working relations amongst the students.
Assessment
2 Assessed Essays of 3,000-4,000 words each
Essay 1 due Friday 13th January 2006
Essay 2 due Friday 28th April 2006
The subject of each essay must be agreed in advance with the module tutor and must not overlap with
the subject of seminar presentations. Essay 2 should be based, at least in part, on work carried out on
the study trip. It must be accompanied by a brief statement (of ca. 200 words), specifying the work that
was undertaken on the trip (in preparation for the essay), including an evaluation of how useful this
work proved to be.
Essays must be handed in by 4.00pm on the designated day together with a declaration of
authorship form and posted in the essay box outside the departmental office.
Essays can ONLY be handed in by depositing them in the post box outside the Departmental Office
Two copies of all essays must be submitted. When essays are due, students should fill in an ‘essay
submission form’ (copies are in the folder on top of the postbox outside the Departmental Office).
They must sign the form and post both the form and the two copies of their essay in the box. The
copies of the essay will then be date stamped by the Secretary.
Assessed essays are marked anonymously. To facilitate this please do not write you names on the
actual essay, but instead always write your student registration number on the front page. The
declaration of authorship forms will be removed from the essays prior to marking.
N.B. All marked coursework will be returned promptly, to give students the opportunity to learn from
comments and feedback. Although this work is returned with a provisional mark, the final mark is not
confirmed until the Examiners’ meeting in June. Therefore, students should think of this mark as an
indicator rather than binding.
Outline of Lectures and Seminars
Term 1
Week 1
10.00am 26th September: Introductory Meeting For All in Barber Lecture Theatre
2.00pm 27th September: Introductory Seminar for Survey Course Students (Barber Lecture
Theatre)
Week 2
Lecture 3rd October:
Art and Society in France – An Introduction
Seminar 4th October:
Towards a Social History of Art
In this first seminar we will consider two case studies – the work of Edgar Degas and James Tissot. We
will analyse their paintings in relation to the issues of class and gender. We will also consider how art
historians relate nineteenth-century French art to nineteenth-century French society.
Presentations:
1.
Degas’s Class Consciousness
2.
Tissot’s Sexual Difference
Essential Reading – read both of these:
 Eunice Lipton, ‘The Laundress in Late Nineteenth-Century French Culture: Imagery, Ideology and
Edgar Degas’, in Frascina & Harrison (eds.), Modern Art and Modernism: A Critical Anthology,
1982, pp. 275-83
 Tamar Garb, ‘James Tissot’s Parisienne and the Making of the Modern Woman’, in Bodies of
Modernity: Figure and Flesh in Fin-de-Siecle France, 1998, pp. 81-113
Recommended Reading:
 Timothy J. Clark, ‘On the Social History of Art’, in Frascina & Harrison (eds.), Modern Art and
Modernism: A Critical Anthology, 1982, pp. 249-58
Relevant Images: Edgar Degas – images of laundresses and ironers
James Tissot – images from the Parisienne series, 1883-5
Week 3
Lecture 10th October:
Critical Categories 1: Neo-Classicism, Romanticism & Realism
Seminar 11th October:
The Academic Ideal and Realism in Text and Image
Analysis of contemporary writings on the academic ideal (Blanc) and Realism (Courbet) in painting.
Visual analysis of paintings in relation to these texts.
Presentations:
1.
Summarise Blanc’s Text
2.
Summarise Courbet’s Texts
Essential Reading – read both of these:
 Charles Blanc ‘Painting’, chapter of Grammar of Painting and Engraving, (1867), trans. 1874
(book on order – photocopy of chapter in Barber library)
 Gustave Courbet, ‘The Realist Manifesto’ and ‘Art Cannot Be Taught’, repr. in L. Nochlin,
Realism and Tradition in Art 1848-1900, 1966
Recommended Reading;
 Albert Boime, The Academy and French Painting in the Nineteenth Century, 1971
 Linda Nochlin, ‘The Nature of Realism’, Realism, 1971, pp. 13-56
 Stephen Eisenman, ‘The Rhetoric of Realism: Courbet and the Origins of the Avant-Garde’,
Nineteenth-Century Art: A Critical History, 1994
Relevant Images: Ingres, The Apotheosis of Homer, 1827
Courbet, The Stonebreakers, 1849-50
Week 4
Lecture 17th October:
The French Art World
Seminar 18th October:
Women Artists and the French Art World
The Gendering of art education. The Politics of the life class. The educational provision for women.
The Union of Women Painters and Sculptors. The career and work of Rosa Bonheur.
Presentations:
1.
The Union of Women Painters and the campaign for educational provision
2.
The Professional Artist: Rosa Bonheur
Essential Reading:
 Tamar Garb, ‘The Forbidden Gaze’, in Adler & Pointon, The Body Imaged, pp. 33-42
Recommended Reading:
 Tamar Garb, Sisters of the Brush, 1994, particularly chapter 4.
 Albert Boime, ‘The Case of Rosa Bonheur: Why should a woman want to be more like a man?’,
Art History, vol. 4, no. 4, December 1981, pp. 384-409
Relevant Images: Winslow Homer, Art Students and Copyists at the Louvre, 1868; J. Houssay, Un
Atelier de Peinture, 1891; J. Houssay, Un Atelier de Peinture, c. 1895; J.V. Salgado, Portrait of Mme
Demont-Breton, 1895; works by Demont-Breton; Rosa Bonheur, The Horse Fair, 1853; other works by
Bonheur; Anna Klumpke, Portrait of Rosa Bonheur, 1898; Mme Achille Fould, Portrait of Rosa
Bonheur, 1893;
Week 5
Lecture 24th October:
The Academy and the Male Nude
Seminar 25th October:
Masculinity and Muscularity
Idealism and Realism in the category of the male nude. Eroticism and the male nude. Modern
masculinities.
Presentations:
1.
Eroticism and the academic ideal
2.
Physical culture, photography and the male nude
3.
Caillebotte’s male nudes
Reading – Read at least one of these:
 Tamar Garb, ‘Modelling the Male Body: Physical Culture, Photography and the Classical Ideal’,
Chapter 2 of Bodies of Modernity, Thames & Hudson, 1998, pp. 55-79
 Tamar Garb, ‘Gustave Caillebotte’s Male Figures: Masculinity, Muscularity and Modernity’,
Chapter 1 of Bodies of Modernity, 1998, pp. 25-53
 Carol Ockman, ‘Profiling Homoeroticism: Achilles Receiving the Ambassadors of Agamemnon’, in
Ingres’s Eroticized Bodies: Retracing the Serpentine Line, 1995, pp. 10-31
Relevant Images: Ingres, Achilles Receiving the Ambassadors of Agamemnon; Jules-Elie Delaunay,
Triumphant David, 1874; Luc-Olivier Merson, The Soldier from Marathon, 1869; Photographs from La
Culture physique; Caillebotte, Man at his Bath, 1884; Floor-Scrapers, 1875
Week 6: No Teaching Week – Study Skills Sessions:
Monday 31st October 10.00-11.00am: Level 2 Information Source Training with David Pulford
(compulsory)
Monday 31st October 11.00am-13.00pm in Muirhead LR3: Study Skills Session 1 – Critical Listening
with Richard Clay (optional)
Wednesday 2nd November 11am-13.00pm in Arts LR2: Study Skills Session 2 – Critical Reading
with Richard Clay (optional)
Week 7
Lecture 7th November:
The Female Nude – The Ideal and the Real
Seminar 8th November: The Female Nude – Art and Pornography
Art, eroticism and the female nude. Contemporary debates about the status of the female nude.
Presentations:
1.
Pornography and the Photographic Nude
2.
The 3 Venuses at the Salon of 1863
3.
Manet’s Le Déjeuner sur l’herbe
Reading – read at least one of these:
 Jennifer L. Shaw, ‘The Figure of Venus: Rhetoric of the Ideal and the Salon of 1863’, in Arscott &
Scott (eds.), Manifestations of Venus, 2000, pp. 90-108
 Elizabeth A. McCauley, ‘Braquehais and the Photographic Nude’, in Industrial Madness, Yale
University Press, 1994, pp. 149-94 (book on order – photocopy of chapter in Barber library)
 Anne McCauley, ‘Sex and the Salon: Defining Art and Immorality in 1863’, P. Tucker (ed.),
Manet’s Le déjeuner sur l’herbe, 1998, pp. 38-74
Recommended Reading:
 Linda Nead, ‘Theorizing the Female Nude’, The Female Nude: Art, Obscenity and Sexuality, 1992
Relevant Images: Braquehais’s photographic académies; Cabanel, Birth of Venus, 1863; Baudry, The
Pearl and the Wave, 1863; Amaury-Duval, Birth of Venus; 1863; Manet, Déjeuner sur l’herbe, 1863
Week 8
Lecture 14th November:
Courbet’s Realism
Seminar 15th November: Courbet and the Politics of Class and Gender
Analysis of Courbet’s Realist aesthetic in relation to the representation of rural class relations and the
female body.
Presentations:
1.
Courbet at the Salon of 1851
2.
Courbet and the Realist Nude
Reading – read at least one of these:
 Timothy J. Clark, ‘Courbet in Dijon and Paris 1850-51’ chapter 6 of The Image of the People:
Gustave Courbet and the 1848 Revolution, 1973
 Beatrice Farwell, ‘Courbet’s Baigneuses and the rhetorical feminine image’, in Hess & Nochlin
(eds.), Woman as Sex Object, 1972
Recommended Reading:
 Champfleury, ‘A Letter to Madame Sand about M. Courbet’, in L. Nochlin, Realism and Tradition
in Art 1848-1900 or in Harrison & Wood (eds.), Art in Theory 1815-1900, IIIB, pp. 2-9
 Max Buchon, ‘On Courbet’s Stonebreakers and Burial at Ornans’ repr. in Harrison, C. & Wood,
P., Art in Theory 1815-1900, 1998, pp. 364-6
Relevant Images: Courbet: Burial at Ornans, 1849-50; Peasants of Flagey Returning from the Fair,
1849-50; After Dinner at Ornans, 1849-50; Stonebreakers, 1849-50; Bathers, 1853; Sleep, 1866;
Origin of the World, 1866; Woman with White Stockings, 1861
Week 9
Lecture 21st November:
Realism and Images of Rural Life
Seminar 22nd November: Representing Peasants
The image of the peasant in the nineteenth century. Millet’s Sower and the Parisian audience. The
image of the peasant woman.
Presentations
1.
Gallery Presentation: Comparison of Millet’s Milkmaid and
Van Gogh’s Old Woman Digging
2.
Millet’s The Sower: savagery or sentimentality?
3.
The Female Peasant: Millet’s and Breton’s Gleaners
Essential Reading:
 Robert L. Herbert, ‘City vs Country: The Rural Image in French Painting from Millet to Gauguin’,
From Millet to Léger: Essays in Social Art History, 2002, pp. 23-48
Recommended Reading:
 Timothy J. Clark, ‘Millet’ Chapter 3 of The Absolute Bourgeois: Art and Politics in France 18481851, 1973, pp. 72-98
 C. Parsons, C. & N. McWilliam, ‘Le Paysan de Paris: Alfred Sensier and the Myth of Rural
France’, Oxford Art Journal, vol. 6, no. 2, 1983, pp. 38-58
 Linda Nochlin, ‘The Image of the Working Woman’, in Representing Women, 1999, pp. 80-105
Relevant Images: Millet, The Sower, c. 1849-50; Millet, The Sower, 1850; Millet, The Gleaners, 1857;
Jules Breton, The Recall of the Gleaners, 1859
Week 10
Lecture 28th November:
Orientalism and Realism
Seminar 29th November: Exoticism and Eroticism in Orientalist Imagery
Questions of race and gender in the construction of the exotic. Sexuality and the colonialist gaze.
Presentations:
1.
Painted Fantasies of the ‘Other’
2.
Orientalist Photography
Essential Reading:
 Linda Nochlin, ‘The Imaginary Orient’, in The Politics of Vision, Thames & Hudson, 1989
Recommended Reading:
 Graham-Brown, S., Chapter 1 of Images of Women in Photography of the Middle East, 1860-1950,
Columbia University Press, pp. 36-69
 Malek Alloula, The Colonial Harem, 1986 (book on order – either my copy of book or photocopy
of some chapters available in library)
 Edward Said, Introduction to Orientalism, 1978
Relevant Images: Photographs and postcards of Middle-Eastern and North African people (see
Graham-Brown & Alloula); Ingres, The Turkish Bath, 1862; Eugene Delacroix, The Death of
Sardanapalus, 1827; Women of Algiers, 1834; Jeon-Leon Gérôme, Slave Market, 1866; Dance of the
Almah, 1863; The Snake Charmer, late 1860s; A Moorish Bath, 1872
Week 11
Lecture 5th December:
Realism in Britain
Seminar 6th December:
The Pre-Raphaelites
VISIT TO THE BIRMINGHAM CITY MUSEUM & ART GALLERY
Pre-Raphaelite aesthetics in relation to French Realist aesthetics. Photography and Pre-Raphaelite
realism. National identity in Pre-Raphaelite painting. The sexual politics of the Pre-Raphaelites. The
Pre-Raphaelite landscape.
Presentations:
1.
Ford Madox-Brown, The Last of England, 1852-55
2.
John Everett Millais, The Blind Girl, 1856
3.
Ford Madox Brown, Walton-on-the-Naze, 1859-60
Reading – read at least one of the following:
 L. Smith, ‘The Elusive Depth of Field: Stereoscopy and the Pre-Raphaelites’ in M. Pointon (ed.),
Pre-Raphaelites Re-viewed, 1989, pp. 83-99
 Elizabeth Prettejohn, ‘Pre-Raphaelite Realism: Landscape and the Human Model’ chapter 5 of The
Art of the Pre-Raphaelites, 2000m pp. 165-205
 Griselda Pollock, ‘Woman as Sign: Psychoanalytic Readings’, Vision and Difference: Femininity,
Feminism and the Histories of Art, 1988, pp. 120-54
Term 2
Week 1
Lecture 9th January:
Critical Categories 2: Naturalism, Impressionism, Post-Impressionism
Seminar 10th January:
Impressionism and Symbolism in Text and Image
Analysis of contemporary writings on Impressionism and Symbolism in painting. Visual analysis of
paintings in relation to these texts.
Presentations:
1.
Gallery Presentation: Impressionism – possibly including works by Manet,
Monet, Degas & Renoir
2.
Gallery Presentation: Symbolism – possibly including works by Puvis de
Chavannes, Gauguin & Vuillard
Essential Reading – read all of these:
 J. A. Castagnary, ‘1863: The Triumph of Naturalism’, repr. in L. Nochlin, Realism and Tradition
in Art, 1848-1900
 Stephan Mallarmé, ‘The Impressionists and Edouard Manet’, repr. in F. Frascina & C. Harrison
(eds.), Modern Art and Modernism: A Critical Anthology, 1982
 G. Albert Aurier, ‘Symbolism in Painting: Paul Gauguin’, (1891), repr. in H. Dorra, Symbolist Art
Theories, 1994
Recommended Reading:
 Stephen Eisenman, ‘Manet and the Impressionists’ and ‘Symbolism and the Dialectics of Retreat’,
chapters 11 and 15 of Nineteenth-Century Art: A Critical History, 1994
Week 2
Lecture 16th January:
From Idealism to Symbolism: Landscape Painting
Seminar 17th January:
Naturalism, Impressionism and Landscape Painting
The status of landscape painting in France. Competing approaches to landscape painting – the Realist,
Naturalist and Impressionist landscape. Impressionism and the suburban landscape. Tensions between
modernity and traditional notions of landscape painting.
Presentations:
1.
Gallery Presentation: A Comparison of Corot, Daubigny & Courbet
2.
Impressionism and the Suburban Landscape
Essential Reading:
 Timothy J. Clark, ‘The Environs of Paris’, chapter 3 of The Painting of Modern Life. Paris in the
Art of Manet and his Followers, 1984
Recommended Reading
 John House, ‘The Position of French Landscape in the 1870s’, in R. Thomson (ed.), Framing
France. The Representation of Landscape in France, 1874-1914, 1998
 John House, Landscapes of France: Impressionism and its Rivals, exh. cat., Hayward Gallery
 Paul-Hayes Tucker, ‘Monet and the Bourgeois Dream: Argenteuil and Modern Landscape’, in
Modernism and Modernity: The Vancouver Conference Papers, 1983
 Robert Herbert, ‘Suburban Leisure’, Chapter 6 of Impressionism: Art, Leisure and Parisian
Society, pp. 195-254
Relevant Images:
Monet, The Railroad Bridge Viewed from the Port, 1873; Sunday at Argenteuil, 1872; Railroad Bridge,
Argenteuil, 1873; Railroad Bridge at Argenteuil, 1874; La Grenouillère, 1869; Bathing at La
Grenouillère, 1869
Renoir, La Grenouillère, 1869
Manet, Argenteuil, 1874
Week 3
Lecture 23rd January:
Impressionism and the Painting of Modern Life
Seminar 24th January:
Baudelaire’s and Manet’s Modernity
Analysis of Baudelaire’s text and his concept of modernity. How did his central themes relate to the
development of painting in the 1860s and 1870s? Manet’s modernity.
Presentations:
1:
Manet, Masked Ball at the Opera, 1873
2:
Manet, Bar at the Folies-Bergère, 1882
Essential Reading:
 Charles Baudelaire, ‘The Painter of Modern Life’ in The Painter of Modern Life and Other Essays,
1964 (essay originally published 1863), pp. 1-41
Recommended Reading:
 Linda Nochlin, ‘Manet’s Masked Ball at the Opera’, in The Politics of Vision. Essays in
Nineteenth-Century Art and Society, 1991, pp. 75-94
 Timothy J. Clark, ‘The Bar at the Folies-Bergère’, chapter 4 of The Painting of Modern Life. Paris
in the Art of Manet and his Followers, 1984
 Robert Herbert, Impressionism: Art, Leisure and Parisian Society, 1988
 Bradford Collins (ed.), Twelve Views of Manet’s Bar, 1996
 Emile Zola, ‘Edouard Manet’, (1867), repr. in F. Frascina & C. Harrison (eds.), Modern Art and
Modernism: A Critical Anthology, 1982
Relevant Images: Manet, Masked Ball at Opera, 1873; Bar at the Folies-Bergère, 1882
Week 4
Lecture 30th January:
Impressionism and the Female Body
Seminar 31st January:
Presentations:
1.
2.
3.
The Body of the Prostitute
Edouard Manet, Olympia, 1863
Degas’s Bathers
Degas’s Brothel monotypes
Reading - Read at least one of the following:
 Hollis Clayson, ‘Avant-Garde and Pompier Images of Nineteenth-Century French Prostitution:
The Matter of Modernism, Modernity and Social Ideology’ in Buchloh, Guilbaut & Solkin (eds.),
Modernism and Modernity: The Vancouver Conference Papers, 1983, pp. 43-6
 Charles Bernheimer, ‘Manet’s Olympia: The Figuration of Scandal’, in Figures of Ill-Repute,
Representing Prostitution in Nineteenth-Century France, Harvard University Press, 1989
Recommended Reading:
 Timothy J. Clark, ‘Olympia’s Choice’, Chapter 2 of The Painting of Modern Life. Paris in the Art
of Manet and his Followers, 1984
 Hollis Clayson, Painted Love: Prostitution in French Art of the Impressionist Era, Yale University
Press, pp. 27-55
 Anthea Callen, ‘Voyeurism and the Narratives of Sexual Conquest’, The Spectacular Body, 1995,
pp. 158-86
 Eunice Lipton, ‘The Bathers: Modernity and Prostitution’, Looking into Degas, 1986, pp. 151-86
 Carol Armstrong, ‘Edgar Degas and the Representation of the Female Body’, in S. Suleiman (ed.),
The Female Body in Western Culture, 1986, pp. 223-42
 Charles Bernheimer, ‘Degas’ Brothels: Voyeurism and Ideology’, Representations, 20, Fall 1987,
pp. 158-86
 Sander Gilman, ‘Black Bodies, White Bodies: Toward an Iconography of Female Sexuality in Late
Nineteenth-Century Art, Medicine and Literature’, Critical Inquiry, vol. 12, no. 1 (Autumn 1985),
pp. 204-42
Relevant Images:
Manet: Olympia, 1863; Nana, 1877
Degas brothel monotypes: Name Day of the Madam; Waiting for the Client; The Reluctant Client;
Admiration; On the Bed; Repose, all c. 1876-80
Degas bathers: Woman Drying Herself, 1880; After the Bath, Woman Drying Herself, 1896; The
Morning Bath, 1890; The Tub, 1886
Week 5
Lecture 6th February:
Women Impressionists and The Painting of Modern Life
Seminar 7th February:
Women and Impressionism
The gendering of Impressionism: style and subject matter. Women Impressionists and the body. The
toilette scene. Motherhood as a site of female expression.
Presentations:
1.
Art Criticism and the Gendering of Impressionism
2.
Women Impressionists and the Body
Reading - read at least one of the following:
 Garb, T., ‘Berthe Morisot and the Feminizing of Impressionism’, in T. J. Edelstein (ed.),
Perspectives on Morisot, 1990, pp. 57-66
 Higonnet, A. ‘Mirrored Bodies’, in Berthe Morisot’s Images of Women, Harvard University Press,
1992, pp. 159-94
 Pollock, G., Chapters 5 & 6 of Mary Cassatt: Painter of Modern Women, Thames & Hudson,
1998, pp. 157-183 and pp. 185-217
Recommended Reading:
 Tamar Garb, ‘L’Art Féminin: The Formation of a Critical Category in Late Nineteenth-Century
France’, Art History, vol. 12, no. 1, March 1989, pp. 39-65
 Pollock, G., ‘Modernity and the Spaces of Femininity’, in Vision and Difference, Routledge, 2003,
pp. 70-127
 Adler, K., ‘The Suburban, the Modern and ‘Une Dame de Passy’, Oxford Art Journal, vol. 12, no.
1 (1989), pp. 3-13
Relevant Images:
Berthe Morisot: Lady at her Toilette, c. 1875; Young Woman Powdering Her Face, 1877; Wet Nurse
and Julie, 1880; The Psyché, 1876
Mary Cassatt: Women at the Toilette series, 1890s; Baby’s First Caress, 1891; other mother and child
images
Week 6: No Teaching Week – Study Skills Sessions:
Monday 13th February 10.00-11.00am: Level 2 Information Source Training with David Pulford
(compulsory)
Monday 13th February 11.00am-13.00pm in Muirhead LR4: Study Skills Session 3 – Critical Writing
with Richard Clay (optional)
Wednesday 15th February 11.00am-13.00pm in Arts LR4: Study Skills Session 4 – Critical
Presentation with Richard Clay (optional)
Thursday 16th February 10.00am-12.00pm: Level 2 Dissertation and Special Subject Meeting
(compulsory)
Week 7
Lecture 20th February:
Aestheticism in Britain – A Comparative Analysis
Seminar 21st February:
Art for Art’s Sake and the Sexual Politics of Aestheticism
Visual analysis of British Aestheticism. The concept of ‘Art for Art’s Sake’. Aestheticism and the
representation of femininity and masculinity.
Presentations:
1.
Gallery presentation: Whistler’s Symphony in White and ‘art for art’s sake’
2.
The Sexual Politics of Aestheticism
Reading - read at least one of the following:
 Robin Spencer, ‘Whistler, Swinburne and art for art’s sake’, in E. Prettejohn (ed.), After the PreRaphaelites, 1999, pp. 59-89
 Alison Smith, Chapter 5 of The Victorian Nude: Sexuality, Morality and Art, 1996
 Caroline Arscott, ‘Venus as dominatrix: nineteenth-century artists and their creations’, in Arscott
& Scott (eds.), Manifestations of Venus, 2000, pp. 109-25
Recommended Reading:
 I. Small, Part One of The Aesthetes: A Sourcebook, 1979
Relevant Images:
James McNeil Whistler, Nocturne in Black and Gold: The Falling Rocket, c. 1874
Works by Watts, Alma-Tadema, Leighton
Edward Burne-Jones, Pygmalion series, 1868-78; Tree of Forgiveness, 1882; Wheel of Fortune, 187583
Aubrey Beardsley, Enter Herodias from Salome, 1893; Cinesias Entreating Myrrhina to Coition from
Lysistrata, 1896
Week 8
Lecture 27th February:
The Crisis of Impressionism
Seminar 28th February:
Seurat and Pissarro: The Politics of Painting in the 1880s
Painting and modernity in the 1880s. The advent of Neo-Impressionism. The politics of style and
subject matter.
Presentations:
1.
Seurat, Pointillism and the Modern: The Bathers at Asnières & The Grande
Jatte
2.
Pissarro, Anarchism and the Image of the Peasant
Reading - read at least one of these:
 Linda Nochlin, ‘Seurat’s La Grande Jatte: An Anti-Utopian Allegory’ in The Politics of Vision
(1989), pp. 170-93
 J. Hutton, ‘Camille Pissarro’s Turpitudes Sociales and Late Nineteenth-Century French Anarchist
Anti-Feminism’, History Workshop Journal, 24, Winter 1987
Recommended Reading:
 Charles Moffett, The New Painting 1874-1886, pp. 61-92, 420-73
 Robert L. Herbert, ‘Seurat’s Theories’, in J. Sutter (ed.), The Neo-Impressionists, 1970
 John House, ‘Meaning in Seurat’s Figure Paintings’, Art History, vol. 3, no. 3 (September 1980)
 M. Melot, ‘Camille Pissarro in 1880: An Anarchist Artist in Bourgeois Society’, Marxist
Perspectives, Winter 1979-80
 Leila Kinney, ‘Fashion and Figuration in Modern Life Painting’, in Fausch et. al. (eds.),
Architecture: In Fashion, Princeton Architectural Press, 1994
Relevant Images:
Seurat: Bathers at Asnières, 1883-4; Sunday Afternoon on the Island of La Grande Jatte, 1884-6
Pissarro: The Pork Butcher, 1883; The Gleaners, 1887-9; Les Turpitudes Sociales, 1889-90
Week 9
Lecture 6th March:
Symbolisms
Seminar 7th March:
Symbolism and Primitivism
Regionalism and the politics of Symbolist retreat. Gauguin and the erotics of Primitivism. Feminising
the ‘primitive’, emasculating the ‘Other’.
Presentations:
1.
Representing Brittany
2.
Gauguin’s Tahitian Fantasy
Reading - read at least one of these:



Fred Orton & Griselda Pollock, ‘Les Données Bretonnantes: La Prairie de la Representation’, Art
History, vol. 3, no. 3, 1980
Abigail Solomon-Godeau, ‘Going Native’, in Broude & Garrard (eds.), The Expanding Discourse:
Feminism and Art History, Icon Editions, 1992
Peter Brooks, ‘Gauguin’s Tahitian Body’ in Broude & Garrard (eds.), The Expanding Discourse@
Feminism and Art History, Icon Editions, 1992
Relevant Images:
Dagnan Bouveret, The Pardon in Brittany, 1887
Emile Bernard, Breton Women in a Meadow, 1888
Paul Gauguin: Four Breton Women, 1886; Naked Breton Boy, 1889, Vision After the Sermon, 1888;
Man with an Axe, 1891; Spirit of the Dead Watching, 1892; The Noble Woman, 1896; Delightful Land,
1892; What, Are You Jealous?, 1892
Week 10
Lecture 13th March:
Nineteenth-Century Sculpture: Classicism to Symbolism
Seminar 14th March:
Rodin and the Body
Sexuality and modern femininity in Rodin’s sculptures. Surface and touch. The body as a
manifestation of psychic forces.
Presentations:
1.
Rodin and Sexuality
2.
Rodin and Psyche
Reading - Read at least one of these:
 Silverman, D.,‘Art Nouveau in the Salon: Psychologie Nouvelle in the Works of Emile Gallé and
Auguste Rodin’, chapter 13 of Art Nouveau in fin-de-siécle France: Politics, Psychology and Style,
1989, pp. 75-106 & 229-69
 Wagner, A. ‘Rodin’s Reputation’ in Hunt (ed.), Eroticism and the Body Politic, Johns Hopkins
University Press, 1991
Relevant Sculptures: Rodin, The Kiss, 1888; The Eternal Idol, 1889; The Walking Man, c. 1900; Iris,
1880-91; Balzac, 1897; Monument to Claude Lorrain, 1892; The Thinker, c. 1904
Week 11
Lecture 20th March:
From Cézannism to Fauvism
Seminar 21st March:
Van Gogh, Cézanne and Modernism
Two key figures of Modernist painting. Cézanne’s critique of standard Naturalism. Naturalism,
modernity and the body in Cézanne’s bather paintings. De-bunking the Van Gogh mythology.
Presentation:
1.
Cézanne Naturalist/Modernist: Still-Life
2.
Cézanne, Modernism and the Bathers
3.
Van Gogh: Constructing the Modern Artist
Reading - read at least one of these:
 Tamar Garb, ‘Cézanne’s Late Bathers: Modernism and Sexual Difference’, Bodies of Modernity,
1998, pp. 197-219
 Meyer Schapiro, ‘The Apples of Cézanne: An Essay on the Meaning of Still Life’, Modern Art:
Selected Papers II, 1978, pp. 1-38
 Griselda Pollock, ‘Artists, Mythologies and Media: Genius, Madness and Art History’, Screen,
vol. 21, no. 3 (1980), pp. 57-96
Relevant Images:
Cézanne: Still Life with Plate and Fruit Bowl, c. 1880; Still Life with a Plaster Cupid, 1895; The Large
Bathers, 1906; Bathers, 1892-4
Van Gogh: Self-Portraits; Crows Over The Wheatfields, 1890
Dr. Francesca Berry
September 2005
Art and Society in France c. 1840-1900
Bibliography
Please note – this bibliography does not represent all the resources available to you. It should
be used as a starting point that contains many of the titles likely to be of greatest use for the
purposes of this course. Consult other bibliographic sources such as bibliographies in the
books cited here, university library catalogues and internet bibliographic sources such as the
Bibliography of the History of Art. You should in general steer clear of using websites as
sources of information as this information can be uncorroborated. Consult monographs for the
works and biographies of individual artists, but remember this is a course about French art and
society, not the history of individual artists.
Titles in bold are particularly useful for familiarising yourself with the period and
subject.
French History
Agulhon, M. The Republican Experiment 1848-1852, 1983
Barrows, S. Distorting Mirrors: Visions of the Crowd in Late Nineteenth-Century
France, 1981
Cobban, A. A History of Modern France, 1965
Hause, S.C., & Kenny, Women’s Suffrage and Social Politics in the French Third Republic,
A. R. 1984
Hemmings, F. W. J. Culture and Society in France 1848-1898, 1971
Lough, J. An Introduction to Nineteenth-Century France, 1978
Magraw, R. France 1815-1914: The Bourgeois Century, 1983
McMillan, J. Housewife or Harlot: The Place of Women in French Society, 18701940, 1981
Nord, P. The Republican Moment: Struggles for Democracy in NineteenthCentury France, 1995
Pinkney, D. Decisive Years in France 1840-1847, 1986
Plessis, Alain The Rise and Fall of the Second Empire 1851-1870, 1987
Smith, B. G., Ladies of the Leisure Class: The Bourgeoises of Northern France in
the Nineteenth Century, 1981
Weber, Eugen. Peasants into Frenchmen: The Modernization of Rural France,
1870-1914, 1976
Website The Gallica section of the Bibliothèqie nationale de France website at
http://www.bnf.fr/ - contains many images of nineteenth-century
French visual and textual material
Zeldin, T. France 1848-1945, 1973
Contemporary Fiction (all available in translation) – try to read at least one of these- they really
are a very good read and will give you are real sense of the era
Flaubert, G.
Flaubert, G.
Huysmans, J.-K.
Maupassant, G. de
Zola, E.
Zola, E.
Madame Bovary, 1857
Sentimental Education, 1869
A Rebours, in translation as ‘Against Nature’, 1184
Bel-Ami, 1885
L’Assommoir, 1880
L’Oeuvre, in translation as ‘The Masterpiece’, 1886
Zola, E. La Terre, in translation as ‘The Earth’, 1887
Zola, E. Nana, 1880
Introductions to French Art c. 1840-1900
Clark, T. J. The Painting of Modern Life: Paris in the Art of Manet and his
Followers, 1985
Eisenman, S. Nineteenth-Century Art: A Critical History, 1994
Frascina, Blake, Fer, Modernity and Modernism: French Painting in the Nineteenth
Garb & Harrison Century, 1993
Hemingway, A. & Art in Bourgeois Society 1790-1850, 1998
Vaughan, W.
Hobbs, R. (ed.) Impressions of French Modernity: Art and Literature in France 18501900, 1998
Moffett, C.S. (ed.) The New Painting: Impressionism 1874-1886, 1986
National Gallery, Tradition and Revolution in French Art 1700-1880, 1993
London
Rosenblum, R. & Art in the Nineteenth Century, 1983
Janson, H.
Website http://19thc-artworldwide.org/
Online academic journal featuring some articles on nineteenth-century
France
Weisberg, G. (ed.) The Realist Tradition: French Painting and Drawing 1830-1900,
1981
Wood, P. & Harrison, Art in Theory, 1815-1900: An Anthology of Changing Ideas, 1998
C.
Critical Categories 1: The Academic Ideal and Realism
Baudelaire, Charles ‘The Salon of 1846’, in Art in Paris, 1845-1862, 1965
Blanc, C. Grammar of Painting and Engraving, (1867), trans. 1874 (library has
1870 French edition)
Boime, A. The Academy and French Painting in the Nineteenth Century, 1971
Brooks, P. Realist Vision, 2005
Buchon, M. ‘On Courbet’s Stonebreakers and Burial at Ornans’ repr. in Harrison,
C. & Wood, P., Art in Theory 1815-1900, 1998, pp. 364-6
Champfleury ‘A Letter to Madame Sand about M. Courbet’, in L. Nochlin, Realism
and Tradition in Art 1848-1900 or in Harrison & Wood (eds.), Art in
Theory 1815-1900, IIIB, pp. 2-9
Champfleury Le Realisme, (1857), 1974
Champfleury, G. ‘The Burial at Ornans’, repr. in Harrison, C. & Wood, P, Art in Theory
1815-1900, 1998, pp. 366-70
Cohen, M. & C. Spectacles of Realism, 1995
Prendergast (eds.)
Courbet, G. ‘The Realist Manifesto’ and ‘Art Cannot Be Taught’, repr. in L.
Nochlin, Realism and Tradition in Art 1848-1900, 1966
Grunchec, P. The Grand Prix de Peinture: Paintings from the Ecole des BeauxArts 1797-1863, exh. cat., 1983
Harding, J. Artistes Pompiers: French Academic Art in the Nineteenth Century,
1979
Nochlin, L.
Nochlin, L.
Orwicz, M. (ed.)
Weisberg, G. (ed.)
Realism and Tradition in Art 1848-1900, 1966
Realism, 1971
Art Criticism and its Institutions in Nineteenth-Century France, 1994
The Realist Tradition: French Painting and Drawing 1830-1900, 1981
The French Art World c. 1840-1900
Boime, A. The Academy and French Painting in the Nineteenth Century, 1971
Boime, Albert ‘Entrepreneurial Patronage in Nineteenth-Century France’ in E. C.
Carter (ed.), Enterprise and Entrepreneurs in Nineteenth and
Twentieth-Century France, 1976
Boime, A. ‘The Case of Rosa Bonheur: Why should a woman want to be more
like a man?’, Art History, vol. 4, no. 4, December 1981, pp. 384-409
Bouillon, J. P. ‘Sociétés d’artistes et institutions officielles dans la seconde moitié du
XIXe siècle’, Romantisme, no. 54 (1986), pp. 89-113
Callen, A. ‘The Body and Difference: Anatomy Training at the École des BeauxArts in Paris in the later Nineteenth Century’, Art History, vol. 20, no.
1 (March 1997), pp. 23-60
Easton, Malcolm Artists and Writers in Paris, The Bohemian Idea 1805-1867, 1964
Ecole nationale Website on the Prix de Rome (part in English):
supérieure des beaux- http://www.culture.fr/ENSBA/VF.html
arts
Garb, T. ‘The Forbidden Gaze: Women Artists and the Male Nude in late
Nineteenth Century France’, Adler & Pointon, The Body Imaged,
1993
Garb, T. ‘Revising the Revisionists: The Formation of the Union des Femmes
Peintres et Sculpteurs’, Art Journal, vol. 48, no. 1, Spring 1989, pp.
63-70
Garb, Tamar Sisters of the Brush: Women’s Artistic Culture in Late NineteenthCentury Paris, 1994
Genet-Delacroix, M. ‘Esthétique officielle et art nationale sous la Troisième République’,
Le Mouvement social, no. 131 (April-June 1985), pp. 105-20
Green, N. ‘All the Flowers of the Field: The State, Liberalism and Art under the
Early French Republic’, Oxford Art Journal, vol. 10, no. 1, 1987, pp.
71-85
Green, Nicholas ‘Circuits of Production, Circuits of Consumption: The Case of midnineteenth-century Art Dealing’, Art Journal, vol. 48, no. 1 (Spring
1989), pp. 29-34
Green, Nicholas ‘Dealing in Temperaments: Economic Transformation of the Artistic
Field in France during the Second Half of the Nineteenth Century’,
Art History, vol. 10, no. 1 (March 1987), pp. 59-78
Jensen, Robert Marketing Modernism in Fin-de-Siècle Europe, 1994
Lethève, Jacques Daily Life of French Artists in the Nineteenth Century, 1968
Levin, Miriam Republican Art and Ideology in Late Nineteenth-Century France,
1986
Mainardi, Patricia Art and Politics of the Second Empire: The Universal Expositions of
1855 and 1867, 1987
Mainardi, Patricia The End of the Salon: Art and the State in the Early Third Republic,
1993
Marlais, Michael Conservative Echoes in Fin-de-Siécle Parisian Art Criticism, 1992
McWilliam, N. Dreams of Happiness: Social Art and the French Left 1830-1850,
1993
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Roos, James M. Early Impressionism and the French State (1866-1874), 1996
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and Art History: The Expanding Discourse, pp. 187-206
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Life, 1986
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1989
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Grunchec, P. The Grand Prix de Rome, Paintings from the Ecole des Beaux-Arts,
1797-1863, 1984
Nye, R. ‘Honor, Impotence and Male Sexuality in Nineteenth-Century French
Medicine’, French Historical Studies, vol. 16, no. 1, Spring 1989, pp.
48-71
Nye, R. Masculinity and Male Codes of Honor in Modern France, 1993
Ockman, C. ‘Profiling Homoeroticism: Achilles Receiving the Ambassadors of
Agamemnon’, in Ingres’s Eroticized Bodies: Retracing the Serpentine
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Solomon-Godeau, A. Male Trouble: A Crisis in Representation, 1997
Thomson, R. Chapter 1, Degas: The Nudes, Thames & Hudson, 1988
Varnedoe, K. Gustave Caillebotte, 1987
The Female Nude
Bernheimer, C. ‘Manet’s Olympia: The Figuration of Scandal’, Figures of Ill-Repute,
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Borzello, F. The Artist’s Model, 1982
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Clark, T. J. ‘Olympia’s Choice’, The Painting of Modern Life, 1984
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Tucker, P. Manet’s Le déjeuner sur l’herbe, 1998
Courbet and Realism
Buchon, M. ‘On Courbet’s Stonebreakers and Burial at Ornans’ repr. in Harrison,
C. & Wood, P., Art in Theory 1815-1900, 1998, pp. 364-6
Champfleury ‘A Letter to Madame Sand about M. Courbet’, in L. Nochlin, Realism
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Champfleury Le Realisme, (1857), 1974
Champfleury, G. ‘The Burial at Ornans’, repr. in Harrison, C. & Wood, P, Art in Theory
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Clark, T. J. ‘A bourgeois dance of death: Max Buchon on Courbet’, pts. 1 and 2,
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Clark, T. J., The Image of the People: Gustave Courbet and the 1848 Revolution,
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Courbet, G. ‘The Realist Manifesto’, repr. in L. Nochlin, Realism and Tradition in
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Farwell, B. ‘Courbet’s Baigneuses and the rhetorical feminine image’, Hess &
Nochlin, Woman as Sex Object, 1972
Hemmings, F. W. J. The Age of Realism, parts 2 & 4, 1974
Herding, K. Courbet: To Venture Independence, Yale University Press, 1991
Jacobson, R. ‘On Realism in Art’, in L. Matejka & K. Pomorska (eds.), Readings in
Russian Poetics, 1978
McWilliam, N. ‘Look at Life’, Art History, December 1981
Nochlin, L. ‘Courbet’s L’Origine du monde: The Origin without an Original’ in M.
Cohen & C. Prendergast (eds.), Spectacles of Realism, 1995
Nochlin, L. ‘Courbet’s Real Allegory: Rereading the Painter’s Studio’, parts 1 and
2, Representing Women, 1999
Nochlin, L. Realism and Tradition in Art 1848-1900, 1966
Nochlin, L. Realism, 1971
Nochlin, l. (ed.) Courbet Reconsidered, Brooklyn Museum exh. cat., 1988
Rubin, J. H. Courbet, 1980
Rubin, J. H. Realism and Social Vision in Courbet and Proudhon, 1980
Schapiro, M. ‘Courbet and Popular Imagery: An Essay on Realism and Naivete’,
Journal of the Warburg and Courtauld Institutes, April-June 1941
Wagner, A. M. ‘Courbet’s Landscapes and Their Markets’, Art History, 4, 1981
Weisberg, G. The Realist Tradition: French Painting and Drawing 1830-1900, 1980
Williams, R. Keywords: A Vocabulary of Culture and Society, 1976
Images of Rural Life
Arts Council
Clark, T. J.
Douglas Hyde
Gallery, Dublin
Herbert, R. L.
Herbert, R. L.
Juneja, M.
Juneja, M.
McConkey, K.
McWilliam, N.
Nochlin, L.
Parsons, C. &
McWilliam,. N.
Pollock, G.
Sturges, H. (ed.)
Weber, Eugen.
Jean-François Millet, exh. cat., 1976
‘Millet’, chapter 3 of The Absolute Bourgeois, 1973, pp. 72-98
The Peasant in French Nineteenth-Century Art, exh. cat., 1980
‘City vs Country: The Rural Image in French Painting from Millet
to Gauguin’, From Millet to Léger: Essays in Social Art History,
2002, pp. 23-48
‘Peasants and Primitivism’, From Millet to Léger: Essays in Social Art
History, 2002, pp. 49-65
‘The Peasant Image and Agrarian Change: Representations of Rural
Society in Nineteenth-Century French Painting from Millet to Van
Gogh’, Journal of Peasant Studies, vol. 1, no. 4, 1988, pp. 445-71
Peindre le paysaon: l’image rurale dans la peinture française de Millet
à Van Gogh, 1998
‘The Bouguereau of the Naturalists: Bastien-Lepage and British Art’,
Art History, vol. 1, no. 3, 1978, pp. 371-82
‘Country Life’, Oxford Art Journal, vol. 9, no. 1, 1986, pp. 76-81
‘The Image of the Working Woman’, in Representing Women, 1999,
pp. 80-105
‘Le Paysan de Paris: Alfred Sensier and the Myth of Rural France’,
Oxford Art Journal, vol. 6, no. 2, 1983, pp. 38-58
Millet, 1977
Jules Breton and the French Rural Tradition, Joslyn Art Museum exh.
cat., 1982
Peasants into Frenchmen: The Modernization of Rural France,
1870-1914, 1976
Orientalism
Ackerman, G. The Life and Work of Jean-Léon Gêrome, 2000
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Art Gallery of New Orientalism: Delacroix to Klee, exh. cat., 1997
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Mitchell, T. ‘Egypt at the Exhibition’, in Colonising Egypt, 1988, pp. 1-33
National Gallery, The Orientalists: Delacroix to Matisse: The Allure of North Africa and
Washington the Near East, 1984
Nochlin, L. ‘The Imaginary Orient’, The Politics of Vision, 1989
Pollock, G. ‘A Tale of Three Women: Seeing in the Dark, seeing double, at least,
with Manet’, in Differencing the Canon: Feminist Desire and the
Writing of Art’s Histories, 1999, pp. 246-315
Said, E. Orientalism, 1978
Realism in Britain and the Pre-Raphaelites
Arscott, C. ‘Employer, husband, spectator: Tomas Fairbairn’s Commission of The
Awakening Conscience’, in J. Wolff & J. Seed (eds.), The Culture of
Capital, 1987
Barringer, T. The Pre-Raphaelites: Reading the Image, 1998
Best, G. Mid-Victorian Britain 1851-1875, 1971
Bryden, I. The Pre-Raphaelites: Writings and Sources, vols. 1-4, 1998
Bullen, J. B. The Pre-Raphaelite Body, 1998
Casteras, S. P. & A. C. Pre-Raphaelite Art in its European Context, 1995
Faxon (eds.)
Harding, E. (ed.) Re-framing the Pre-Raphaelites, London, 1985
Kriz, K. D. ‘An English Arcadia Reassessed: Homan Hunt’s The Hireling
Shepherd and the Rural Tradition’, Art History, vol. 10, no. 4,
December 1987
Marsh, J. Pre-Raphaelite Sisterhood, 1985
Marsh, J. Pre-Raphaelite Women, 1987
Marsh, J. & P. Gerrish Pre-Raphaelite Women Artists, 1997
Nunn
Mayhew, H. London Labour and the London Poor, vols. 1-4 (1851-62), 1985
Nead, L. Myths of Sexuality: Representations of Women in Victorian Britain,
1988
Nead, L. Victorian Babylon, 2000
Pointon, M. (ed.) The Pre-Raphaelites Re-viewed, 1989
Prettejohn, E. The Art of the Pre-Raphaelites, 2000
Pollock, G. ‘Woman as Sign: Psychoanalytic Readings’, Vision and Difference:
Femininity, Feminism and the Histories of Art, 1988, pp. 120-54
Ruskin, J. ‘Homan Hunt’s Awakening Conscience’, repr. in L. Nochlin, Realism,
1971
Smith, L. ‘The Elusive Depth of Field: Stereoscopy and the Pre-Raphaelites’ in
M. Pointon (ed.), Pre-Raphaelites Re-viewed, 1989, pp. 83-99
Staley, Allen
Tate Gallery London
Thomson, D.
Walkowitz, J.
Weeks, J.
Williams, R.
The Pre-Raphaelite Landscape, (1973), 2001
The Pre-Raphaelites, exh. cat., 1984
England in the Nineteenth Century, 1815-1914, 1950
Prostitution and Victorian Society: Women, Class and the State, 1980
Sex, Politics and Society: The Regulation of Sexuality since 1800, 1981
Culture and Society 1780-1950, 1958
Naturalism, Impressionism and Post-Impressionism
Aurier, G. A. ‘Symbolism in Painting: Paul Gauguin’, (1891), repr. in H. Dorra,
Symbolist Art Theories, 1994
Baudelaire, Charles
‘The Painter of Modern Life’ in The Painter of Modern Life and Other
Essays, 1964 (essay originally published 1863)
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