Volume 4, Issue 1 | Spring 2005
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Painting seascapes in Boulogne in the summer of 1864, Manet discovered a new kind of compositional space that would have a profound impact on his art. This essay examines some psychological writing from the 1860s that can be seen to prefigure Freud's idea of the "oceanic feeling," and argues that a new conception of human freedom in Manet's art ultimately emerges from the radical mobility of the subject that was first constructed in the seascapes.
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In 1891, Signac painted a series of five seascapes picturing boats afloat on the water off the coast of Brittany. The artist assigned each canvas an opus number and a musical title, creating a pictorial symphony in five "movements." This article explores the artistic and political significance of Signac's use of music in the construction of his seascapes.
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This article traces the life, work, and artistic vision of the turn-of-the-century Minneapolis interior designer John Scott Bradstreet, from his beginnings as a furniture merchant through his development into a self-fashioned American Aesthete. It looks especially at his trademark method of Jin-di-sugi woodworking.
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Alexandre Cabanel was one of the most fashionable portraitists of the late nineteenth-century, both in Europe and the United States. This essay investigates the reasons why wealthy women of the early Gilded Age chose Cabanel to paint their likenesses.