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 Ocular
Anxiety and the Pink Tea Cup: Edgar Degas's Woman with Bandageby Marni Reva Kessler This essay examines Degas's little-studied Woman with Bandage as it manifests several critical issues: the artist's own failing eyesight, his relationship with his beloved blind sister-in-law Estelle, his mother's early death, and contemporary social constructions of ophthalmologic disease. Through subject matter and experimentation with the formal limits of pigment on canvas, Degas visualizes the intersection between medical anxieties and painting practice. |
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by Laura Morowitz
In late nineteenth-century France, the interest in medieval manuscripts had filtered down into the bourgeois home. Journals such as L'Enlumineur (1889-1900) and Le Coloriste Enlumineur (1893-1898) encouraged young women to decorate their homes with reproductions of medieval manuscripts, and to create their own "aristocratic" heirlooms for family consumption.
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| French
Art in Nineteenth-Century Britain by Edward Morris Reviewed by Julie L'Enfant |
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| Symbolism by Rodolphe Rapetti Reviewed by Janet Whitmore |
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| Sarah
Bernhardt: The Art of High Drama Reviewed by Willa Z. Silverman |
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| Edvard
Munch: The Modern Life of the Soul and Edvard Munch: Symbolism in Print Reviewed by Karen Kurczynski |
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| Rodin.
La main révèle l'homme Reviewed by Natasha Ruiz-Gómez |
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| Portraits
of a People: Picturing African Americans in the Nineteenth Century Reviewed by Adrienne Childs |
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| Meunier
and Bing Reviewed by Gabriel P. Weisberg |
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| Géricault.
La Folie d'un Monde Reviewed by Marc Fehlmann |
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 Fumeuse
de Haschisch: Emile Bernard in Egyptby Paige A. Conley Art historians have largely overlooked Emile Bernard’s output during his decade-long stay in Egypt between 1893 and 1904. This essay explores how Bernard came to employ a manner of realism influenced by photography to produce Fumeuse de Haschisch, one of the most compelling projects to emerge from the artist’s "Oriental" period. |
 Louis
Eilshemius's "Svengali-Like Stare": Mesmerism and the Artist's Figurative
Paintingsby Catherine McNickle Chastain Louis Eilshemius often bragged that he had perfected a "method of attracting women involving a pendulum-like motion of the head and a fixed-stare," wrote the artist's obituarist in 1941. This essay explores Eilshemius's interest in mesmerism, or hypnotism, as the method behind the enigmatic paintings for which he had become famous: images of zombie-like, female nudes. |
 The
Image on the Wall: Prints as Decoration in Nineteenth-Century Interiors
by Pierre-Lin Renié As art publishers such as Goupil became a powerful force in the nineteenth-century art market, reproductive prints and photographs began to adorn ordinary middle-class homes in Europe and North America. The author explores this phenomenon, using contemporary literature and paintings depicting domestic interiors as key sources. |
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