1.Read: Denise Murrell, Posing Modernity: The Black Model from Manet and Matisse to Today, 7-16; 23-40; 53-56; 62-83: Read interview with Murrell. (http://blog.yalebooks.com/2019/01/28/qa-with-denise-murrell-author-of-posing-modernity/)
Some questions to consider about Tuesday's readings:
How does Murrell’s research change our understanding of what is “modern” about Manet’s Olympia?
How does she use the precedent of Titian painting to make her argument?
2.Read Modernity and Modernism: French Painting in the 19th century, by Frascina, Blake, Fer, Garb, and Harrison, (New Haven: Yale University, 1993). “Modernity, realism and the history of art: Manet’s Old Musician,” 80-103.
What are some aspects of Manet’s The Old Musician that were so baffling to contemporary audiences?
Why do you think Manet wanted to break the rules of traditional painting?
Why do you think he made it hard for viewers to understand his painting, if they were used to looking at academic paintings?
Do you think he was trying to communicate with a different audience? If so, who? If not, why might he have decided to make a confusing painting?
- Modernity and Modernism: French Painting in the 19th century, by Frascina, Blake, Fer, Garb, and Harrison, (New Haven: Yale University, 1993). “Modern Practices of Art and Modernity,” 103-111.
What are some aspects of Manet’s painting, View of the International Exhibition of 1867, 1867 that suggest he was criticizing the Exhibition?
Sample Solution