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Index
Bridget Alsdorf
Description: Fellow Men: Fantin-Latour and the Problem of the Group in Nineteenth-Century French...
Fellow Men: Fantin-Latour and the Problem of the Group in Nineteenth-Century French Painting
Index
Author
Bridget Alsdorf
PublisherPrinceton University Press
Copyright© 2013 by Princeton University Press
https://doi.org/10.37862/aaeportal.00049.011
Stable URL: https://aaeportal.com/?id=-18504
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Index
Abélès, Luce, 162, 286n28
About, Edmond, 49, 111
absence, 139–40, 156, 189–93
absorption, 43, 46, 76, 170
Abstract Expressionism, 240
Affry, Adèle d’ (Princess Colonna di Castiglione), 40
Aicard, Jean, plate 4, 170, 171, 178–79, 182, 199
allegory: Courbet’s The Painter’s Studio and, 13, 15, 74, 80, 82
Delacroix’s Liberty Guiding the People and, 83
realism in relation to, 13, 74–75, 80–83, 92, 101, 261n12
The Toast! Homage to Truth and, 71–72, 74–75, 80–83, 86, 88, 90–92
women as, 216
Amann, Peter H., 244n25
Andrée, Ellen, 213
Armstrong, Carol, 301n43, 302n50, 306n18
L’Artiste (magazine), 11
artistic brotherhoods, 9–10
artists: and association, 9, 46, 47
Baudelaire on, 1–3
as bohemians, 4, 21, 28, 31, 38, 47, 103, 107, 118, 166, 211
and the bourgeoisie, 4, 5, 19, 23, 28, 47–48, 59, 103, 107, 111, 118, 142, 190, 200–201
competition among, 8, 10, 57, 67, 86, 91–92, 100, 130
identity of, 21–67, 35, 48–49, 74, 76, 196
legitimation of, 9
painter’s relationship to his painting, 34–35, 100, 138–41, 263n28
place of, in group portraits, 21, 35, 62, 73–74, 76, 89–90, 98–100, 108, 265n50
relationship of, to artists and the art community, 1–5, 8–10, 12–15, 20–21, 27, 33–34, 37–39, 50–51, 60–67, 71–72, 82, 84–86, 92–93, 96–97, 99–104, 118, 130–31, 142–44, 148, 165–66, 190, 204, 229, 238–40 [see also competition, among artists)
role/status of, 4, 12–15, 18, 73, 79, 125–26
and truth, 82, 85–87, 96–97
withdrawal of, from society, 154, 281n115. See also studios
Asselineau, Charles, 291n65
association: artists and, 9, 46, 47
avant-garde and, 11, 111, 126–27
bourgeois, 8, 9, 33, 108
decline of, 1–3
and facingness, 46
in historical context, 6–8
importance of, 4–6
intermediary status of, 6, 9
masculinity and, 9–10
in Paris, 246n39
political dangers of, 8, 184, 245n29
Simmel on, 150
Tocqueville on, 7–8
use of term, 244n23
voluntary nature of, 6, 150
workers’ associations, 184. See also collectivity
Astruc, Zacharie, 59, 69, 127–28, 129, 138, 140, 272n44, 279n91
attention, in group portraiture, 175, 179
audience. See the viewer
avant-garde: characteristics of, 126
and collective withdrawal, 154–55
and collectivity, 10, 19–20, 22, 50–51, 103–4, 127, 160, 227, 235–42
egoism of, 87
Fantin and, 126, 234
group portraiture and, 4–5, 9, 15, 92
and individuality, 160, 227, 235–42
and isolation/exclusion, 107, 126
issues in formation of, 4–5
in literature, 160, 162, 167–68, 180, 182, 189, 199–200
significance of association for, 11, 111, 126–27
twentieth-century, 240. See also modernism
Balleroy, Albert de, plate 1, 36, 57, 59, 253n46
Balzac, Honoré de, 6, 63
Banville, Théodore de, 160, 175–76, 291n65, 291n68
Barnes, Walter: “Apotheosis of Degas (parody of ‘The Apotheosis of Homer’ by Ingres),” 225, 226
“The Halévy Family and Friends in Dieppe,” 225, 226
Bataille, Charles, 73
Batignolles School, 126, 129–30, 142, 144
Baudelaire, Charles, 160
on artists, 1–3
on bain de multitude, 60
on collectivity and individualism, 1–3, 242
Corner of a Table and, 168–70
in Courbet’s The Painter’s Studio, 53, 78, 79, 102, 121
in Courbet’s The Source of Hippocrene, 80
on dandyism, 196
death of, 168
on Delacroix, 2, 30
Duranty and, 38, 253n49
homage to, 168–70, 193, 297n121
in Homage to Delacroix, plate 1, 36–37, 38, 48
on modernity, 1–2
in Music in the Tuileries, plate 13, 57, 59
“The Painter of Modem Life,” 2-3
and politics, 243n5
Rimbaud and, 200
“Salon of 1846,” 1, 3
“Salon of 1859,” 2
Bazille, Frédéric, 4, 9, 299n19
death of, 128, 273n53
Fantin and, 118
Fisherman with a Net, 145
and impressionism, 144
Mauresque, 274n54
Monet and, 145—47, 273n53
possible homosexuality of, 273n54
Renoir and, 145, 147, 273n53
in A Studio in the Batignolles Quarter, plate 3, plate 20 (detail), 128–30
studio of, 139, 144–49
Studio on the rue de Furstenherg, plate 23, 146–47
Studio on the rue la Condamine, plate 22, 144–47, 278n87, 278n90, 279n91
Studio on the rue Visconti, plate 24, 147, 279n94
Summer Scene, 273n54
La Toilette, 145, 274n54
Bell, William, 222
Bénédite, Léonce, 259n5
Benjamin, Walter, 143–44
Benoît, Camille, plate 5
Berlioz, Hector, 63
Bertall: “Caricature of‘The Toast! Homage to Truth,’” 71, 77, 260n11
“Un Coin de table pendant le Siège, par Fantin-Latour,” 165-66, 165
“The Divine School of Manet: Religious Painting by Fantin-Latour,” 141, 141
“The Will of César Girodot, by Fantin Latour,” 54, 54
Bismarck, Otto von, 166, 167
Blanc, Charles, 11, 184, 290n61
L’Œuvre complet de Rembrandt, 173
Blanc, Louis, 5
History of the French Revolution, 6
Blanche, Jacques-Émile, plate 39, 134, 223–25, 252n26
Blanchère, Henri de la, L’Art du photographe, 16
Blémont, Émile, plate 4, 170, 171, 178–80, 182–83, 186, 196, 199, 276n76, 285n19
Bocage (Pierre-Martinien Tousez), 64
Boggs, Jean Sutherland, 301n44
bohemians, artists as, 4, 21, 28, 31, 38, 47, 103, 107, 118, 166, 211
Boilly, Louis Léopold, 13
A Meeting of Artists in Isabey’s Studio, 12–13, 13, 247n53, 248n54, 256n77
Boisseau, Arthur, plate 5
Bonaparte, Louis-Napoléon, 8, 243n5, 294n93
Bonaparte, Napoléon, empire of, 51
Bonnard, Pierre, plate 41, plate 42, 238
Bonnet, Alain, Artistes en groupe, 9, 245n37, 307n34
Bonnier, Pierre-Elzéar, plate 4, 166, 178–79, 182, 196, 238
Bos (Dutch landscape painter), 208, 210
Bouillon, Jean-Paul, 253n42
Boulanger-Cavé, Albert, plate 39, 224–25
bourgeoisie: artists and, 4, 5, 19, 23, 28, 47–48, 59, 103, 107, 111, 118, 142, 190, 200–201
association and sociability of, 8, 9, 33, 108, 242
characteristics of, 5, 8–10, 59–61
concept of the self for, 142–44
Courbet and, 14, 28
criticisms of, 144, 158, 283n7
Fantin and, 28, 251n26
and individualism, 61, 242
Music in the Tuileries and, 58, 59–61
rural, 14
and the self, 142–44, 200–201
social relations of, 57
Bouvier, Laurent, 139, 277n77
Bracquemond, Félix, plate 1, 36, 39, 50, 69, 102, 103, 128, 253n42
Brasserie Andler, Paris, 34
brotherhoods. See artistic brotherhoods
Brown, Marilyn, 303n54, 304n61
Brüderschaft (brotherhood), 150
Bruyas, Alfred, 78
Buchón, Max, 78
Bullemont, A. de, 73–74, 101
Burty, Philippe, 142, 274n55
Cabanès (Cabaner), Jean de, plate 33, 211—12, 300n30, 300n31
Cachin, Françoise, 257n87, 257n88
Café de Bade, Paris, 34, 104
Café Guerbois, Paris, 34, 126, 130, 139, 189
Café Molière, Paris, 34
Caillebotte, Gustave, 213, 214
Canova, Antonio, 51
Carjat, Étienne, 17, 156–57, 282n4, 282n5
“Paul Verlaine at 26, 1870,” 157
“Portrait of Arthur Rimbaud,” 157
Carjat incident, 157, 282n5, 292n71
Carolus-Duran (Charles Auguste Émile Durand), 252n34
Carrière, Eugène, 235–36
Cassatt, Mary, 232, 233, 298n10
Castagnary, Jules-Antoine, 33, 74, 109–10, 172, 194, 205
Cézanne, Paul, 238
Chabrier, Emmanuel, plate 5, 64, 228–29
Champa, Kermit, 273n54
Champfleury (Jules-François Félix Fleury-Husson), 243n5
in Courbet’s The Painter’s Studio, 53, 78, 79, 128
in Homage to Delacroix, plate 1, 35–36, 38, 47, 48, 53
in Manet’s Music in the Tuileries, 57, 257n88
realism of, 38, 53, 255n69
Charigot, Aline, 213
Chesneau, Ernest, 49, 72–73, 256n78
Chopin, Frédéric, 63–64, 217, 257n92, 258n93
Clark, T. J., 243n5, 248n57, 248n59, 261n12, 296n115
class, 142, 152–53, 213, 270n13, 281n109
Courbet’s A Burial at Ornans as a study of, 14–15
Manets Music in the Tuileries and, 60. See also bourgeoisie
socialism
Claus, Fanny, 194
Clayson, Hollis, 163, 218
Clément, Alex, Réunion d’artistes, 248n53, 256n77
clothing, 1, 59–61, 196–98
collectivity: avant-garde and, 10, 19–20, 22, 50–51, 103–4, 127, 160, 227, 235–42
decline of, 1–3
Degas and, 204–5, 217
Fantin and, 102–3
in group portraiture, 20–21, 25, 38, 46, 52–53, 55–56, 59–62, 64–67, 69, 72–73, 82, 85–86, 94, 102, 130, 142–43, 146–49, 170, 172–75, 179–80, 189, 203, 215, 217–27, 233–40, 246n47, 265n50, 303n59
in historical context, 5–6
impressionism and, 204–5, 213–15, 298n10
individuality in relation to, 150–55, 223
isolation and withdrawal vs., 141
Manet and, 56–61, 193–98, 234
modernism and, 4, 8–9, 56, 170, 236–42
modernity and, 193—98
originality and, 2, 3, 242
Renoir and, 204, 206–8
and the self, 135–36, 200–201
social withdrawal and, 141, 154–55
and truth, 88, 97. See also artists: relationship of, to artists and the art community
association
competition, among artists
Collins, Bradford, 297n121
Commune and Communards. See Paris Commune and Communards
competition, among artists, 8, 10, 57, 67, 86, 91–92, 100, 130. See also artists: relationship of, to artists and the art community
Conspiracy of Equals, 5
Coolus, Romain, 240
Coquerel, Athanase, fils, 247n51
Cordey, Frédéric, plate 33, 210–11
Cordier, Louis, plate 1, 35, 39, 69, 103, 128, 265n47
Cottet, Charles, plate 42
Courbet, Gustave, 4, 9, 28, 37–38, 72
After Dinner at Ornans (Un aprés-dîner à Ornans), plate 25, 178–80, 184, 189, 292n72, 292n78
A Burial at Ornans (Un enterrement à Ornans), plate 7, 14–15, 21, 214, 248n57
The Cellist (Self-Portrait), 32, 62
communal studio (atelier commun) of, 74, 93
Duranty and, 143
Fantin and, 51–54, 57, 74–75, 93–94, 262n24
Man with a Pipe, 32
The Painter’s Studio (L’Atelier du peintre), plate 6, 13—15, plate 16 (detail), plate 17 (detail), 21, 51–55, 74–82, 77 (detail), 84–85, 86, 92–94, 101–2, 118, 121, 126, 128, 216, 225, 234, 245n37, 256n77, 263n28, 263n32, 264n40, 267n73
and Paris Commune, 292n72
and photography, 16
and realism, 14, 76, 79–82, 93, 263n28
self-portraits by, 32, 76
Self-Portrait with Striped Collar, 267n73
The Source of Hippocrene, 80
and truth, 93
Courbet, Régis, plate 25, 178, 179
Crow, Thomas, Emulation, 10
crowds, in nineteenth-century art, 56–61, 82–83, 193, 197–98, 209, 234, 241–42
Cuenot, Urbain, plate 25, 78, 178, 179, 180, 189
Dalou, Jules, Monument to Delacroix, 23, 23
dandyism, 3, 196–97
Daulte, François, 279n91
David, Jacques-Louis, 10, 15, 51
Declaration of the Rights of Man (1789), 6
Degas, Achille, 220, 222
Degas, Edgar, 4, 9
and artistic identity, 21
Bellelli Sisters (Giovanna and Giuliana Bellelli), 219, 220
and collectivity, 204–5, 217
A Cotton Office in New Orleans (see Portraits in an Office (New Orleans), this entry)
Family Portrait (The Bellelli Family) (Portrait de famille [Fa Famille Bellelli]), plate 37, 219, 232
Fantin’s association with, 56, 256n85
and Franco-Prussian war, 163, 218
group portraits by, 61–67, 203–4, 217–27, 234
and impressionism, 217
Jeantaud, Linet, and Lainé, plate 36, 218–19, 232, 237
Louis-Marie Pilet (1815-1877), Cellist in the Orchestra of the Paris Opera, plate 14, 61–64, 63 (detail), 66, 204, 217–18
Musicians in the Orchestra (Portrait of Désiré Dihau), 66, 66
The Orchestra of the Opera (L’orchestre de l’Opéra), plate 15, 62, 64–67, 198, 218, 231, 232, 238
and photography, 16, 225
and physiognomy, 302n50
Portrait of Henri Michel-Lévy, plate 35, 215–17, 301n41
Portrait of Mary Cassatt, 232, 233
Portraits in an Office (New Orleans) (Portraits dans un bureau [Nouvelle-Orléans]), plate 38, 220–23, 232, 238
Projet de portraits en frise, 301n45
Six Friends in Dieppe (Six amis à Dieppe), plate 39, 223–25, 237, 304n63, 304n64, 305n71
sociability/isolation of, 217, 258n93, 301n43
Trois têtes, 302n45
and women, 215–17, 232
working methods of, 258n95
Degas, René, 220, 222
degeneration of art, 206, 236–37, 307n31
Delacroix, Eugène, 2
appearance and character of, 23
Communard destruction of painted ceiling by, 294n97
on Courbet’s The Painter’s Studio, 80
The Death of Sardanapalus, 19, 20, 249n2
in Degas’s Fouis-Marie Pilet, 63
Fantin s Homage to Delacroix and, 19–20, 22–23, 28–30, 35–36, 39–42, 47–49, 51–52
funeral of, 40, 256n82
homage to, 19, 23, 29–30, 36–40, 41, 47–51
Liberty Guiding the People, 83
palettes of, 28–29, 252n31
portraits of, 22, 250n10
Self-Portrait in a Green Vest, 250n12
studio atmosphere of, 15
unfinished self-portrait by, 23, 250n12
Delaroche, Paul, Hémicycle, 256n77
democracy, 7, 184
Denis, Marthe, plate 41, 238
Denis, Maurice, plate 41
Homage to Cézanne (Hommage à Cézanne), plate 41, 238–39, 307n34
Derrida, Jacques, Memoirs of the Blind, 34–35
Des Cars, Laurence, 280n100
Dihau, Désiré, plate 15, 64–65, 65
Dilberoglou, Stavros, 25
Le dîner des Vilains Bonshommes. See Vilains Bonshommes
Directory, 5
Disdéri, A.A.E., L’Art de la photographie, 16–17
double portraits, 65–66
dress. See clothing
Dreyfus Affair, 307n34
Druick, Douglas, 51, 121, 259n5, 253n46, 272n45, 275n64
Dubois, Louis, 251n18
Dubourg, Charlotte, 229–30
Dubourg family, plate 40, 136, 247n50
duels, 130, 156–57
Durand-Ruel, Paul, 206, 213–14
Duranty, Edmond, plate 1
Baudelaire and, 38, 253n49
Fantin and, 103, 130, 132, 142–43, 274n62
financial difficulties of, 275n62
in Homage to Delacroix, 35, 38, 39, 50, 102
on impressionism, 205–6
Manet and, 129–30
on realism, 92
A Studio in the Batignolles Quarter and, 140
in The Toast! Homage to Truth, 69, 102
Durer, Théodore, 19, 139, 257n87, 297n124
Durkheim, Émile, 6
Dutch group portraiture, 11–12, 16, 21, 173–74, 179, 200, 206, 230, 231, 303n59
Duval, Jeanne, 102
École des Beaux-Arts, 239, 308n42
Edwards, Edwin, 68, 69, 70, 81, 88, 97, 100, 101, 104, 111–13, 125, 129, 140, 148, 168, 185, 274n57, 295n103
egoism, 87, 124, 148, 155, 206
1848 Revolution, 7, 8
Elias, Norbert, 223, 304n62
elitism, 105, 107, 126, 149, 155
Enault, Louis, 222
Engels, Friedrich, 7
equality, 5, 7, 10, 142
etching, 34. See also Society of Etchers
L’Evénément (newspaper), 208
van Eyck, Jan, The Arnolfini Portrait, 90, 92 (detail)
facingness, 43, 46, 170. See also theatricality
family, ideological significance of, 166
family portraiture, 17, 18, 219–20, 230
Fantin-Latour, Henri: Antoine Vollon, plate 2
Around the Piano (Autour du piano), plate 5, 184–85, 228–31, 305n2, 305n4
in art-historical scholarship, 12, 22–23, 250n8
and artistic identity, 21, 25–27, 51, 69, 72, 85–86, 102–3
and the avant-garde, 126, 234
character and psychology of, 192
Corner of a Table (Coin de table) [1872], plate 4, plate 26 (detail), 90, 136, 156–202, 171 (details), 777 (detail), 181 (details), 187 (detail), 231, 237, 238, 242, 288n49, 291n65, 292n71
Corner of a Table (Coin de table) [1873], plate 27, 190–92, 193 (detail), 228, 296n111
critical reception of, 23, 28, 47–50, 52–56, 70–73, 101, 105–7, 109, 141–43, 234–35
death of, 234–35
The Dinner (The Meal [Le repas]), 90, 91
Display of Enchantment (La Féerie), 172, 173
“The Dubourg Family (La famille Dubourg), plate 40, 136, 229–30, 251n26, 305n10
“The Duchess Fitz-James, Surrounded by Her Children and Grandchildren” (RF 12649), 109, 111, Edouard Manet, plate 18, 109–11, 196
egotism of, 124
(see also self-promotion by, this entry)
Émile Blémont, 186, 186
familiarity with Dutch group portraiture, 11, 247n50
“Figures around a Table (Study for ‘Le Repas’)” (RF 12414), 90, 93
“Figures in an Interior” (RF 12624), 114, 116
Fragments of “The Toast! Homage to Truth” (Le Toast! Hommage à la vérité), plate 2
and Franco-Prussian war, 163, 286n33
“Group of Figures” (RF 12431, Verso), 109, 110
group portraits by, 4, 9, 25–27, 32–56, 68–75, 79–104, 106–44, 149, 151–203, 227–34, 236–37, 242
Homage to Delacroix (Hommage à Delacroix), plate 1 7, 19–25, 28–30, 28 (detail), 30 (detail), 35–56, 37 (detail), 61, 62, 70, 83, 93, 107, 136, 168, 170, 192–93, 237, 239, 249n64, 250n7, 253n46, 253n51, 288n48
and impressionism, 22, 190, 235
“Interior of a Studio” (RF 12429), 117, 119
isolation of (see sociability/isolation of, this entry)
James McNeill Whistler, plate 2
The Judgment of Paris, 118
literature read by, 297n128
and lithography, 229, 305n8
“Manet’s Studio in the Batignolles,” 121, 126, 130
“Man Painting at an Easel, with Three Women” (RF 12683), 111, 112
marriage of, 148, 279n99
and modernism, 22, 43
in Music in the Tuileries, plate 13, 57, 59–60, 257n87
“Oil sketch for ‘The Toast! Homage to Truth,’” 97, 99
“Painter Surrounded by Ladies; Posing Session” (RF 12451), 112, 114
and photography, 16, 276n69
and politics, 125–26, 184, 294n93
“Portrait of Arthur Rimbaud,” 185, 186
“Posing Session in a Studio” (RF 12437), 114, 116–17, 116
The Reader, 135–36, 137
and realism, 22, 43, 46, 50–54, 69, 74–75, 81–82, 85–86, 103, 118, 144
“Self-Portrait” (RF 12755), 45
Self-Portrait (1858), 27–28, 29, 32
Self-Portrait (1859), plate 8, 28, 32
Self-Portrait (ca. 1860) (RF 12814), 45
Self-Portrait (1861), plate 9, 31, 187
Self-Portrait (1865), plate 2
“Self-Portrait” (19 Jan. 1871) (RF 12827), 187, 188
“Self-Portrait” (20 Jan. 1871) (RF 12828), 187, 188
Self-Portrait (1883), 135, 135, 276n68
Self-Portrait (Portrait), plate 10, 32
Self-Portrait (Study from Life), 31, 31
self-portraits by, 21, 25–33, 28 (detail), 43, 46, 69, 187–89, 259n4, 270n25
self-promotion by, 72–74, 88–89, 100–101, 124, 137–38
“Sketch for ‘Around the Piano’” (RF 12713), 230–31, 231
“Sketch for ‘A Studio in the Batignolles Quarter’” (8 Nov. 1866) (RF 12686), 118, 120, 123
“Sketch for ‘A Studio in the Batignolles Quarter’” (9 Sept. 1869) (RF 12501), 118, 120, 123
“Sketch for A Studio in the Batignolles Quarter’” (15 Oct. 1869) (RF 12551), 118, 120, 124
“Sketch for A Studio in the Batignolles Quarter’” (16 Oct. 1869) (RF 12687), 118, 120, 124
“Sketch for A Studio in the Batignolles Quarter’” (16 Nov. 1869) (RF 12505), 118, 120, 125
“Sketch for A Studio in the Batignolles Quarter’” (n.d.) (RF 12684 and RF 12685), 118, 120, 122
“Sketch for ‘Homage to Truth’” (RF 12647), 82–83, 83
“Sketch for ‘The Toast! Homage to Truth,”’ 97-99, 98
sociability/isolation of, 27, 33–34, 81, 103–7, 118, 121, 124–26, 143, 187–89, 192, 229–30, 268n84
social value of the work of, 105–8
still-lifes by, 30, 116, 118, 139–40, 189–92
“Studies for ‘Homage to Truth’” (3 May 1864) (RF 12485), 82–83, 84
in the studio, 106–7, 139, 143
“The Studio (‘chez Manet’)” (RF 12422, Verso), 117–18, 119
A Studio in the Batignolles Quarter (Un atelier aux Batignolles), plate 3, plate 20 (detail), plate 21 (detail), 107–44, 121 (detail), 132 (detail), 149, 155, 189, 193, 216, 236, 237, 238, 275n63
“The Studio; Manuscript Notes” (RF 12424, Verso), 117–18, 120
studio of, 134, 276n76
“Studio Scene” (RF 12522), 114, 116, 117
“Study for a Composition” (RF 12444), 113, 115
Study for ‘‘A Studio in the Batignolles Quarter,” plate 19, 121
“Study for ‘Homage to Delacroix’” (11 Sept. 1863) (RF 12696), 39, 39
“Study for ‘Homage to Delacroix’” (13 Sept. 1863) (RF 3413), 40, 41
“Study for ‘Homage to Delacroix’” (2 Oct. 1863) (RF 12470), 40, 42
“Study for ‘Homage to Delacroix’” (6 Jan. 1864) (RF 12652), 41, 44
“Study for ‘Homage to Delacroix’” (27 Jan. 1864) (RF 12639), 47, 48
“Study for ‘Homage to Delacroix’” (1864) (RF 12653), 41–42, 44
“Study for ‘Homage to Delacroix’” (n.d., black chalk and gray wash) (RF 12467), 40, 43
“Study for ‘Homage to Delacroix’” (n.d., graphite) (RF 12640), 40, 42
“Study for ‘Homage to Delacroix’” (n.d., gray wash, graphite, and white gouache) (RF 12469), 41, 44
“Study for ‘Homage to Truth’” (30 May 1864) (RF 12486), 82–83, 84
“Study for ‘Homage to Truth’” (23 Nov. 1864) (RF 12393), 84, 86
“Study for ‘Homage to Truth’” (3 Dec. 1864) (RF 12395), 86, 89
“Study for ‘Homage to Truth’” (7 Dec. 1864) (RF 12398), 84–85, 88, 137, 265n50
“Study for ‘Homage to Truth’” (12-13 Dec. 1864) (RF 12399), 87, 89, 137
“Study for ‘Homage to Truth’” (8 Jan. 1865) (RF 12416), 94–96, 95, 137
“Study for ‘Homage to Truth’” (16 Jan. 1865) (RF 12419), 96, 96
“Study for ‘Homage to Truth’” (1864) (RF 12397), 84, 87, 137
“Study for ‘Un Anniversaire’” (11 Dec. 1871) (RF 12491), 169, 169
Tannhäuser, 118
Tannhäuser: Venus-berg, 140, 277n78
“Three Studies for a Composition (‘chez Edwards’)” (RF 12453), 111, 113
The Toast! Homage to Truth, 68–75, 79–104, 108, 113, 188, 193, 234, 237, 256n78, 259n5
and truth, 70, 93, 100
The Two Sisters, 135–36, 136
“Two Studies for a Composition in a Studio” (RF 12452), 112–13, 115
“Two Studies for ‘Homage to Truth’” (RF 12413), 90, 91, 137–38
and the Vilains Bonshommes, 167
The Wedding Feast at Cana, after Veronese, 24, 25–27, 109, 172
and women, 27, 148–49, 230–33
working methods of, 142, 184–85
Fantin-Latour, Marie, 25, 27, 135
Fantin-Latour, Nathalie, 25, 27, 135
Fantin-Latour, Victoria (née Dubourg), 40, 229–30, 232–33, 279n99
Faustin, “Entre Diplomates (‘Embrassonsnous et tout ça finisse!’),” 166, 167
Fitz-James family, 109, 110, 111
Flaubert, Gustave, 283n7, 292n72
Focillon, Henri, 234, 306n20
Forty-Three Portraits of Painters from Gleyre’s Studio, plate 31, 208, 209 (detail)
Foucault, Michel, 139, 276n74
Fourier, Charles, 5, 7
Fourierism, 6
fragmentation, and nineteenth-century group portraiture, 9, 179, 217, 223–24, 237
Franco-Prussian war (1870-71), 162–63, 218, 286n32
fraternity, 5, 10, 13, 142
French Revolution, 6
Fried, Michael, 22, 43, 46, 76, 100, 170, 178–79, 248n57, 259n5, 263n28, 290n54, 292n75, 292n78
Gard (stage director), 64
Gauguin, Paul, 234–35, 238, 308n37
Gautier, Amand, 69, 265n47
Gautier, Théophile, plate 13, 48, 57, 59, 63, 80, 160, 257n87, 283n7, 292n72
La Gazette des Beaux-Arts (magazine), 11
Georgel, Pierre, 249n5
Geronte (art critic), 261n12
Gervex, Henri, plate 39, 224–25
Gesellschaft (society), 150, 280n101
Gigoux, Jean, The Painter’s Studio, 256n77
Gill, André, “Me and Delacroix, Surrounded by My Friends, by Fantin,” 55, 55
Girard, René, 266n55
Girodet, Anne-Louis, 51
Gleyre, Charles, 207
Goncourt, Edmond de, 156–59, 159, 164, 187, 255n69, 282n3, 283n7, 284n16
Goncourt, Jules de, 157–59, 159, 283n7, 284n16
Greenberg, Clement, 22
Gros, Jean-Antoine, 51
group portraiture: of artists, in Paris Salon, 51–52
artists place in, 21, 35, 62, 73–74, 76, 89–90, 98–100, 108, 135, 141, 147–48, 265n50
attention and interiority in, 175, 179
and the avant-garde, 4–5, 9, 15, 92
defined, 18
Degas and, 61–67, 203–4, 217–27, 234
family portraiture vs., 18, 219
Fantin and, 4, 9, 25–27, 32–56, 68–75, 79–104, 106–44, 149, 151–203, 227–34, 236–37, 242
homage and self-promotion in, 19, 25, 30–31, 53–55, 170, 246n47
impressionist, 303n59
individuality and collectivity in, 5, 10–11, 13, 15–17, 20–21, 25, 38, 46, 47, 52–53, 55–56, 59–62, 64–67, 69, 72–73, 82, 85–86, 94, 102, 130, 142–43, 146–49, 170, 172–75, 179–80, 189, 203, 215, 217–27, 233–40, 246n47, 265n50, 303n59
individual vs„ 65
Manet and, 56–61, 194
masculine nature of, 231
meanings of, 10, 14, 15, 233
and modernism, 12, 69, 125, 170, 174–75, 223
nineteenth-century, 4, 9, 11, 12, 15, 17–18, 47, 58–61, 71–72, 150–55, 203, 214, 218, 233–34, 237–38, 241–42
photography and, 16–17, 248n63
purpose of, 66–67
and realism, 92
relationships in, 11, 49, 61, 86, 88, 90–91, 127, 130–31, 142, 146–48, 170, 172–75, 178–79, 194, 230
Renoir and, 203–4, 208–15, 234
self-portraiture in relation to, 69, 78
self-promotion vs. self-effacement in, 138
sociability and interiority in, 64, 107, 130–31, 143–44, 146–47, 211–12, 246n47
and social structure, 18, 247n47
tensions in, 4–5, 9, 12, 17, 20–21, 47, 53–55, 61, 71–72, 82, 100, 104
women in, 225, 230–31, 233–34
Guillemet, Antoine, 194
Halévy, Daniel, plate 39, 224–25
Halévy, Jacques, 63
Halévy, Ludovic, plate 39, 224–25
Hals, Frans, 11, 57
Banquet of the Officers of the Civic Guard of St. Adrian, 26, 27, 47, 174, 251n18
Regentesses of the Old Men’s Almshouse, 231
Harkett, Daniel, 248n55
Harrison, Carol, 8, 9, 246n39, 28In 109
Heine, Heinrich, 63
Herding, Klaus, 263n32
Hervilly, Ernest d’, plate 4, 170, 171, 172, 176–79, 177, 182, 196, 199
Le Manuel du Gêneur (The Troublemaker’s Manual), 176
Hiller, Ferdinand, 63
history painting, 14–15
homage: to Baudelaire, 168–70, 193, 297n121
to Cézanne, 238
to Delacroix, 19, 23–25, 29–31, 36–40, 41, 47–51
in group portraiture, 19, 25, 30–31, 53–55
to Manet, 141–42
to truth, 74
to Wagner, 228
homosexuality, 156–60, 166, 176, 282n6, 283n11, 284n18
homosociality: in Bazille’s Studio on the rue la Condamine, 145
in Courbet’s studio, 15
in David’s studio, 10, 15
in Fantin’s studio, 10
fragility of, 130
masculinity and, 166
of nineteenth-century art, 81, 234
and sexuality, 145
in A Studio in the Batignolles Quarter, 148
The Toast! Homage to Truth and, 90–92, 101
women excluded from, 231. See also masculinity
Hôtel de Ville, Paris, 160, 294n97
Hôtel Merciol, Paris, 38
Houssaye, Arsène, 11
Huysmans, J. K., 203
impressionism: Bazille and, 144
and collectivity, 204–5, 213–15, 298n10
Degas and, 217
establishment of, 204, 212
exposure of, 215–16
Fantin and, 22, 190, 235
and group portraiture, 303n59
and individualism, 204–6
Manet and, 190, 205
Renoir and, 207, 213
and sociability, 215
impressionists: critical reception of, 205–6
exhibitions of, 204–5, 213–14
as republicans, 5
Independents, 207
individualism: and absorption, 46
Baudelaire on, 1–3
democracy and, 7
in historical context, 6
impressionism and, 204–6
and modernism, 4, 8, 170, 236–42
scholarly emphasis on, 8, 217, 227, 240
sociability vs., 150–53
use of term, 6
individuality: avant-garde and, 160, 227, 235–42
collectivity in relation to, 150–55, 223
in group portraiture, 20–21, 25, 38, 46, 47, 52–53, 55–56, 59–62, 64–67, 69, 72–73, 82, 85–86, 94, 102, 130, 142–43, 146–49, 170, 172–75, 179–80, 203, 215, 217–27, 233–40, 246n47, 265n50, 303n59
individualism vs., 6
and originality, 158
realism and, 92, 102, 137
truth and, 93, 137. See also the self
Indy, Vincent d’, plate 5
Ingres, Jean-Auguste-Dominique, 51, 93, 294n97
The Apotheosis of Homer, 93, 94, 225, 256n77
Louis-François Bertin, Publisher, 221, 221
interiority: aloofness and, 107
bourgeois, 143–44
collectivity/sociability vs., 108, 121, 154, 246n47
Edouard Manet and, 110
in group portraiture, 175, 179, 211–12
meanings of, 108
modernity and, 10
The Reader and, 135–36
the studio and, 21
A Studio in the Batignolles Quarter and, 140–41. See also isolation and solitude
Intransigents, 207
isolation and solitude: art and, 64
avant-garde and, 107, 126
collectivity vs., 141
dangers of, 155
Degas and, 217, 301n43
Fantin and, 27, 81, 105–7, 121, 124–26, 143, 187–88, 192, 229, 268n84
in Franco-Prussian war, 164
in group portraiture, 130–31, 143–44, 246n47
and modernity, 198
Siege of Paris and, 187–88
sociability vs., 150–53
and social commentary, 153–55
in the studio, 21, 106–7, 121, 127, 138–39, 143, 153. See also interiority; self-effacement
japonisme, 34, 88, 99, 139
Jing-Lar Society (Société du Jing-Lar), 34, 253n42
Journal (Goncourt brothers), 157–58
Jullien, Adolphe, plate 5, 130, 184–85, 229, 251n18, 291n64, 305n2, 305n4
La Justice (newspaper), 183–84
Kuenzli, Katherine Marie, 307n34, 308n37
Laisné, Victor, “Portrait of Eugène Delacroix,” 22, 23, 36, 250n10
Lamartine, Alphonse, 80
Laporte, Émile-Henri, 208, 209
Lascoux, Antoine, plate 5, 228
Laverdant, Gabrielle-Désiré, 278n85
Le Coeur, Jules, 208, 210
Leconte de Lisle, Charles, 160
Leen, Nina, “Portrait of ‘The Irascibles,’”240, 241
Leenhoff, Léon, 196, 197, 296n120
Legros, Alphonse, plate 1, 33–34, 35, 39, 50, 128, 190, 270n24, 275n62
Lejosne, Mme, 59
Lemerre, Alphonse, 160
Leonard, Anne, 290n57, 305n1
Lestringuez, Eugène Pierre, plate 33, 211
liberty, 5, 10, 142
Life Magazine, 240
Lisle, Leconte de, 291n65
listening, in group portraits, 172–75, 178, 187, 228, 290n57, 305n1
Liszt, Franz, 63, 257n92, 258n93
literary Salons, 162, 212
Locke, Nancy, 246n45, 296n120
Lucie-Smith, Edward, 172, 248n63
Le Magasin pittoresque, 11
Maistre, Joseph de, 6
Maître, Edmond, plate 3, plate 5, plate 20 (detail), 118, 128–30, 146, 148, 228, 273n54, 287n44
Mallarmé, Stéphane, 160, 205
Manet, Edouard, 4, 9
and artistic identity, 21
The Balcony (Le balcon), plate 30, 194, 232
A Bar at the Folies-Bergère, 193
and Bazille s Studio on the rue la Condamine, 145, 147–48
On the Beach, Boulogne-sur Mer, 193–94, 194
The Café-concert, 193
and collectivity, 56–61, 193–98, 234, 242
copy after Rembrandt’s Anatomy Lesson of Dr. Tulp, 173
Corner of a Café-concert, 193
Duranty and, 129–30
Fantin’s friendship with, 56, 102–4, 109, 190, 256n85
Fantin’s portrait of, plate 18, 109–11, 196
followers of, 109, 126, 129–30, 142, 144, 270n24
and Franco-Prussian war, 163–64, 287n36
funeral of, 229
and group portraits, 56–61, 194
Guitarero, 256n85
in Homage to Delacroix, plate 1, 36, 38, 39, 40, 50
and impressionism, 190, 205
The Little Cavaliers, 59, 61
Luncheon (in the Studio) (Le déjeuner), plate 29, 194–97, 296n117, 296n120, 297n121
Luncheon on the Grass, 21–22, 71, 111, 194
Masked Ball at the Opera (Bal masqué à T Opéra), plate 28, 193, 197–98, 197 (detail), 234, 238, 297n124
Music in the Fuileries (Musiqueaux Fuileries), plate 11, plate 12 (detail), plate 13 (detail), 56–61, 57 (detail), 98, 193, 197, 234, 237
Olympia, 70, 71, 72, 261n12
and photography, 16
Plum Brandy, 193
Portrait of Zacharie Astruc, 128, 129
reputation of, 109, 126, 141
self-portraits by, 197
Spanish Studio Scene, 133, 275n66
in A Studio in the Batignolles Quarter, 116–18, 121, 126–28, 131, 139–41, 272n44
studio of, 139
in The Toast! Homage to Truth, 68, 71, 102, 265n47
The Universal Exhibition of 1867, 193, 195
and Velázquez, 58–59, 132–33, 275n65, 275n66
and the Vilains Bonshommes, 167
and women, 197–98, 232
Zola and, 208
Manet, Eugène, plate 12, 57, 59
Mantz, Paul, 80
Marlet, Auguste, plate 25, 179
Martinez del Mazo, Juan Bautista. See Workshop of Velázquez Marx, Karl, 7
masculinity: association as province of, 9–10
in Bazille’s studio paintings, 145, 149
codes of honor required by, 130
Corner of a Table and, 175–76
dandyism and, 196–97
and the family, 166
Franco-Prussian war and, 163–64, 166
Goncourts on, 157–59
homosexuality and, 157–58
meanings of, 10
of the studio, 216
transgressions of codes of, 176. See also homosociality
Masson, Alphonse, “Portrait of Eugène Delacroix,” 22, 23, 36
McQueen, Alison, 247n51, 290n61
melancholy, and group portraiture, 28, 54–55, 108–9, 131–32, 136, 140, 153, 155, 200, 212, 236
Melius, Jeremy, 266n55
Mellerio, André, plate 41, 238
Ménard, René, 142
Mérat, Albert, 160, 166, 177, 191, 193, 200, 285n19, 292n71
Les chimères, 160
Michel-Lévy, Henri, plate 35, 215–17, 301n41
The Regattas, 215
Minerva, 131, 139–40
mirrors, 82–92, 95–97, 99, 134–35, 137–38, 276n70
Miura, Atsushi, 259n5
modernism: absorption and facingness in, 43, 170
collectivity and, 4, 8–9, 56, 170, 236–42
Fantin and, 22, 43
group portraiture and, 12, 69, 125, 170, 174–75, 223
individualism and, 4, 8, 170, 236–42
Riegl and, 299n13. See also avant-garde
modernity: Baudelaire on, 1
belonging and withdrawal in, 138, 141, 143, 149–55, 170, 197–98
and collectivity, 193–98
Riegl and, 11, 174, 206, 291n63
Monet, Claude, 196
Bazille and, 145–47, 273n53
in Bazille’s Studio on the rue
la Condamine, 145, 147–48, 279n90, 279n91
Fantin and, 118
and Franco-Prussian war, 163
and impressionism, 216
and Paris Salon, 274n55
Rue de Village en Normandie, 279n94
in A Studio in the Batignolles Quarter, plate 3, plate 20 (detail), 128–29
Monginot, Charles, 57, 57
Moreau-Nélaton, Étienne, 279n91
Morice, Charles, 4, 105–7, 126, 143–44, 149, 155, 234–37, 270n14, 307n34
“Survey of current trends in the visual arts,” 234-35, 306n21
Morisot, Berthe, 194, 232–33
Morowitz, Laura, 9
mourning, 20, 35, 131, 229–30, 276n70
Müller, Charles-Louis, Triumph of French Art-Modern Times, 51–52, 52
Municipal Museum (now Frans Hals Museum), Haarlem, 11, 27, 247n50, 251n18
Murger, Henri, 38, 208
Murillo, Bartolomé Esteban, 59
Musée d’Orsay, Paris, 21–22
Musée du Luxembourg, Paris, 236
Musset, Alfred de, 63
Musson, Michel, 220–22
mutualism, 5
Myionnet, Florestan, 36, 39
Les Nabis (The Prophets), 238–40, 307n34
Nadar, Félix, 17, 250n10
“Edmond and Jules de Goncourt,” 159
Napoleonic Code (1804), 6, 166
Napoléon III. See Bonaparte, Louis-Napoléon
National Defense, provisional government of, 183
Nochlin, Linda, 263n32, 302n52, 303n59
nonpicture motif, 132, 135–36, 138, 140
Nordau, Max, 206, 236–37, 299n12, 307n31
Nye, Robert, 166, 274n60
O’Brien, Maureen, 304n63
Offenbach, Jacques, 59
Olin, Margaret, 299n13
originality: association and, 51
collective originality, 2, 3, 242
dandyism and, 242
impressionism and, 206, 207
individuality and, 158, 237
Ott, Auguste, 6
Oulevay, Henri, 252n34
“Apotheosis of Delacroix, by Fantin,” 52-54, 53
“Caricature of Fantin-Latour, ‘Self-Portrait,’” 31-32, 33
Pagans, Lorenzo, 64
painter-beholder, 100, 263n28
painter’s relationship to his painting, 34–35, 100, 138–41, 263n28
pairs of artists, scholarship on, 8–9, 245n36
Pakenham, Michael, 286n28
Paris Commune and Communards, 5, 164–65, 178, 180, 182–84, 292n72, 293n86, 294n90, 294n97
Paris Salon: Corner of a Table in, 182
decline of, 237
and Fantin’s group portraits, 4
and Fantin’s individual portraits, 109–11
and Fantin’s other works, 118, 140, 190–92
and Fantin’s self-portraits, 28, 31–32, 109
group portraits of artists in, 51–52
Homage to Delacroix in, 47
Manet and, 71, 130, 194
Michel-Lévy and, 215
Monet and, 274n55
realism and impressionism in, 12
Renoir and, 208, 213–14
The Toast! Homage to Truth in, 68–69, 101
Vernet’s rejection by, 13 Le Parnasse contemporain (journal), 4, 160, 161, 180, 199, 285n24
Parnassian movement, 160, 162, 180, 199—200, 291n68
Pays, A.-J. du, 76
pederasty: French government’s campaign against, 166
nineteenth-century French usage of term, 157–59, 282n6, 283n8, 284n14
Pelletan, Camille, plate 4, plate 26, 170, 171, 177–80, 182–84, 186–89, 187 (detail), 196, 198, 200, 242, 293n87, 293n89, 294n90
Poèmes secrets, 293n87
Workers Associations in History, 184
Pelletan, Eugène, 293n89
Perrier, Charles, 76
phalanstères, 5, 7
photography, 16–17, 49, 142, 225, 239–40, 248n63, 249n64, 276n69, 304n69, 308n42
Pigeon, Amédée, plate 5
Pilet, Louis-Marie, 14, 61–66, 217–18, 258n94
Pillot, Adolphe-Jean-Désiré, 64
Piot, René, 235, 236
Piot-Normand, Alexandre, 64
Pissarro, Camille, plate 33, 163, 204–5, 211–13
plein-air painting, 111–12
portraits: group vs. individual, 65–67
purpose of, 66. See also group portraiture
self-portraiture
Poulain, Gaston, 279n91
Poussin, Nicolas, 93
Prins, Pierre, 194
Promayet, Alphonse, plate 25, 78, 178, 179
Proudhon, Pierre-Joseph, 5, 6, 7, 78, 243n5, 244n26, 290n61
Proust, Antonin, 74
Prunier, Gaston, 235 Punch (magazine), 231
Ranson, Paul, plate 41
Raphael, The School of Athens, 191–92
Le Rappel (newspaper), 182
realism: allegory in relation to, 13, 74–75, 80–83, 92, 101, 261n12
corporeal vs. ocular, 43, 46, 263n28
Courbet and, 14, 76, 79–82, 93, 263n28
Duranty on, 92
Fantin and, 22, 43, 46, 50–54, 69, 74–75, 81–82, 85–86, 103, 118, 144
Fantins associates and, 37–38
group portraiture and, 92
Homage to Delacroix and, 37, 54
individuality and, 92, 102, 137
republicanism and, 5
role of the studio in, 78, 80–81
romanticism vs., 19
and the self, 85–86, 92
Zola and, 85. also truth
Redon, Odilon, plate 41, 238
Reff, Theodore, 63–64, 258n94, 301n41
Régamey, Félix, “Invitations to ‘Le dîner des Vilains Bonshommes,’” 163
Régamey, Guillaume, 36
relationality: art-historical scholarship on, 8–9
artists and, 4
Bourriaud on, 245n35
in Degas’s work, 61–67, 217–27, 301n45, 302n50
Fantins contemporaries and, 203, 233
in Fantin’s work, 12, 131, 174, 200–201, 227, 230, 237, 241
gender and, 233–234
modern group portraiture and, 237
in photography, 16
in Renoir’s work, 212–14
Rimbaud and, 200–201
of the self, 223, 241
Rembrandt van Rijn, 11, 12, 57, 173, 247n51, 290n58, 304n61
The Anatomy Lesson of Dr Tulp, 173–75, 174, 290n61, 291n64
Syndics of the Clothmakers Guild, 174, 223, 224
La Renaissance littéraire et artistique (journal), 180, 182–83, 183
politics of, 182–84
Renoir, Pierre-Auguste, 4, 9, 238, 299n19, 308n37
At Renoirs Home, rue St.-Georges (The Artist’s Studio, rue St. – Georges), plate 33, 209–12, 214, 299n19
At the Inn of Mother Anthony (Le cabaret de la Mère Antony), plate 32, 204, 208, 210, 214
Ball at the Moulin de la Galette, 209, 210
Bazille and, 145, 147, 273n53
in Bazille’s Studio on the rue la Condamine, 145, 278n90, 279n91
and collectivity, 204, 206–8; Figures in a Landscape, 208
group portraits by, 203–4, 208–15, 234
and impressionism, 207, 213
Luncheon of the Boating Party [Le déjeuner des canotiers), plate 34, 213–14, 216–17
Paysage avec deux figures, 278n90
Pissarro and, 212
portrait of, 209
in A Studio in the Batignolles Quarter, plate 3, plate 21, 127–32, 137–38, 140–41, 143
women in the work of, 217
republicanism, 5, 142, 182–84
Rewald, John, 279n91
Ribot, Théodore, 36, 253n46
Riegl, Alois, 11, 18, 173–74, 206, 219, 246n47, 291n63, 299n13, 304n61
Riesener, Léon, 252n31
Rimbaud, Arthur, A, plate 4, 28, 156–57, 157, 160, 167–69, 172, 177–80, 182, 184, 185, 189, 198–202, 242, 282n4, 282n5, 291n68, 293n86
“L’idole, Sonnet du Trou de Cul” (“Asshole Sonnet”) [with Verlaine], 160, 161
lettre du voyant, 200
“Qu est-ce pour nous, mon coeur” (“What does it matter for us, my heart”), 201
Rivière, Georges, plate 33, 211–12, 298n11, 301n35
Rivière, Jacques, 206
romanticism: and collectivity, 64
Homage to Delacroix and, 37, 54
realism vs., 19
Rossetti, Dante Gabriel, 36, 253n46
Rouart, Denis, 257n87, 257n88
Rousseau, Jean, 49–51, 255n73
Roussel, Ker-Xavier, plate 41, plate 42, 238, 240
Rousselin, Auguste, 196
Rubin, James Henry, 263n32
Rudd, Peter, 275n66
Sabatier, Dame Apollonie, 78, 79, 216
Sainte-Beuve, Charles Augustin, 283n7
Saint-Simon, Henri de, 5
Saint-Simonians, 6
Salons. See literary Salons; Paris Salon
Salon des Refusés, 22, 32–33, 103
Samary, Jeanne, 213
Sand, George, 63
Sandblad, Nils Gosta, 257n87
Sault, Charles de, 49
Scharf, Aaron, 248n63
Scholderer, Otto, 265n47
on Corner of a Table, 189
and Courbet, 28, 75, 262n22, 262n24
Fantin’s friendship with, 69, 94, 104, 128, 190, 266n52, 295n103
in A Studio in the Batignolles Quarter, plate 3, 127–29
and The Toast! Homage to Truth, 266n52
Schulman, Michel, 279n91
Schumacher, Ulrich, 248n63
Second Empire, 164, 182–83
secret societies, 281n108, 281n115
Sedgwick, Eve Kosofsky, 266n55, 283n11, 284n18
Seigel, Jerrold, 252n27, 283n9
the self: the bourgeoisie and, 142–44, 200–201
collectivity and, 135–36, 200–201
dandyism and, 196
in modernity, 138, 141, 143
realism and, 85–86, 92
social nature of, 223, 227, 304n62
truth and, 87–88, 92. See also individuality
self-effacement: in Degas’s works, 225–26
in Fantin’s works, 108, 121, 124–26, 135–41, 154, 189, 192–93, 229
self-portraiture: and artistic identity, 35
Courbet and, 32, 76
Derrida on, 34–35
Fantin and, 21, 25–33, 43, 46, 69
group portraiture in relation to, 69, 78
limitations of, 32
self-promotion: by Fantin, 72–74, 88–89, 100–101, 137–38
in group portraiture, 19, 30–31, 53–55, 137–38
in self-portraiture, 35
Sérusier, Paul, plate 41
sexuality: Bazille’s studio and, 145
Manet’s Olympia and, 71
sociability and, 152
The Toast! Homage to Truth and, 71, 81, 91. See also homosexuality
Sickert, Walter, plate 39, 223–25
Siege of Paris (1870-71), 163–66, 187–88
Silvestre, Théophile, 264n36
Histoire des artistes vivants, 23
Simmel, Georg, 150–55, 232
Sinet, Louis, 33
Sisley, Alfred, 205, 208, 210, 279n91, 299n19
sociability: art and, 64
bourgeois, 33, 108
Degas and, 217
Fantin and, 27, 33–34, 103–4, 118, 125
Franco-Prussian war and, 163–64
in group portraiture, 64, 107, 143–44, 146–47, 211–12, 216–17, 246n47
impressionism and, 215
individualism/isolation vs., 150–53
in modernity, 138, 141, 143, 149–55, 198
sexuality and, 152
Simmel on, 150–53
in the studio, 117–18, 144–45
women and, 232. See also homosociality
socialism, 5–6 Société anonyme, 204, 207
society, defined, 6, 150, 280n101
Society of Etchers (Société des Aquafortistes), 33–34, 288n49, 294n93
Society of French Artists, London, 19
Society of Irregularists (Société des Irrégularistes), 206–7
Society of the Truly Good (Société des Vrais Bons), 33
Society of Three (Société des Trois), 33, 34, 35
solitude. See isolation and solitude Souquet (friend of Degas), 64
space: in Corner of a Table, 177–78
in Courbet’s The Painter’s Studio, 21, 102
in Homage to Delacroix, 21, 38–39, 48
in Velázquez’s Las Meninas, 138–39
in nineteenth-century group portraits, 15
in A Studio in the Batignolles Quarter, 138
in Bazille’s Studio on the rue la Condamine, 145
in The Toast! Homage to Truth, 68, 81
Speidel, Ludwig, 76
Sterne, Hedda, 240
Stirner, Max, 7, 244n26
studios: of Bazille, 144–49
Degas’s Portrait of Henri Michel-Lévy and, 215–16
Fantin’s work in, 106–7, 139
group portraits in, 12–15
masculinity of, 216
public/private character of, 12–15, 21, 64, 78, 81, 102, 106–7, 121, 127, 138–39, 143, 153, 265n43
role of, in realism, 78, 80–81
sociability in, 117–18, 144–45
women in, 114, 116–18. See also Courbet, Gustave: The Painter’s Studio
Fantin-Latour, Henri: A Studio in the Batignolles Quarter
Swinburne, Algernon Charles, 159, 284n15
Tabarant, Adolphe, 130
Taylor, Baron, plate 13, 57, 59
theatricality, 46, 263n28. See also facingness
Thiers, Adolphe, 166
Thoré, Théophile (pseud. William Bürger), 11, 32–33, 48–49
Tissot, James, 205
Titian, Le Concert champêtre, 71
Tocqueville, Alexis de, Democracy in America, 7, 246n39
Toubin, Charles, 243n5
Toussaint, Hélène, 77, 263n32, 264n40
truth: artists relationship to, 82, 85–87, 96–97
collective basis of, 88, 97
Courbet and, 93, 264n36
Degas’s Portrait of Henri Michel-Lévy and, 216
Fantin and, 70, 93, 100
individuality and, 93, 137
and the public, 96–97
and the self, 87–88, 92
The Toast! Homage to Truth and, 68–75, 79–104, 264n37, 265n50. See also realism
unions, 5, 8
United States, 7–8
Universal Exhibition (1855), 14, 93
Valade, Léon, plate 4, 160, 167, 170, 178–79, 182, 187, 196
Vallotton, Félix, plate 42, 240, 308n37
Group of Portraits (The Five Painters)
(Groupe de portraits [Les cinq peintres]), plate 42, 238–39, 308n40, 308n41
van der Heist, Bartholomeus, 11
Vaughan, William, 9
Velázquez, Diego, 58, 59, 141
Las Meninas, 132–33, 133, 138–39, 275n65. See also Workshop of Velázquez
Vereinigung (incorporation or union), 150
Vergesellschafiung (association), 150, 280n102
Verlaine, Paul, plate 4, 156, 157, 160, 162, 167, 172, 177–80, 182–84, 189, 199, 200, 242, 293n86
“L’idole, Sonnet du Trou de Cul” (“Asshole Sonnet”) [with Rimbaud], 160, 161
Vernet, Carle, 248n54
Vernet, Horace, 13
The Studio, 12–13, 14, 248n54, 248n55, 256n77
Vernet, Joseph, 248n54
Veronese, Paolo, The Wedding Feast at Cana, 24, 26 (detail)
Fantin’s copies of, 24, 25–27, 109, 172
the viewer: absorption/theatricality and, 43, 46
Courbet’s The Painter’s Studio and, 76–79
Manet’s Music in the Tuileries and, 58
self-portraiture and, 34–35
The Toast! Homage to Truth and, 97, 99–100
and truth, 97
Velázquez’s Las Meninas and, 139
Vilains Bonshommes (Nasty Fellows), 162—63, 163, 165–67, 180, 183, 286n29, 287n44
Vollard, Ambroise, plate 41, 239
Vollon, Antoine, plate 2, 68, 69, 104, 259n4, 265n47, 268n85
Vuillard, Edouard, plate 41, plate 42, 238, 240
Wagner, Richard, 228, 229, 305n2
Waller, Susan, 271n37, 272n44, 278n89
Weisberg, Gabriel, 271n37
Whistler, James McNeill, 140
death of, 234–35
Fantin’s friendship with, 25–27, 33–34, 69, 88–89, 97, 104, 105, 148, 190, 270n25
in Homage to Delacroix, plate 1, plate 2, 34, 35–36, 38, 39, 41–42, 47, 50, 54, 56, 253n46, 255n72
and A Studio in the Batignolles Quarter, 129
in The Toast! Homage to Truth, 68, 69, 88–89, 98–100, 102, 104, 259n4, 265n47, 266n52
Wildenstein, Daniel, 257n87, 257n88
Wittmann, Barbara, 251n22
women: in Bazille’s Studio on the rue la Condamine, 145
Courbet and, 76, 80, 81–82
Degas and, 215–17, 232
in Denis’s Homage to Cézanne, 238
Fantin and, 27, 148–49, 230–33
in group portraiture, 225, 230–31, 233–34
Homage to Delacroix and, 39–40
Manet and, 197–98, 232
in nineteenth-century painting, 216
in Renoir’s work, 217
and sociability, 232
sociability and, 153
in the studio, 113–14, 116–18
Studio in the Batignolles Quarter and, 131, 160 271n37, 272n44
The Toast! Homage to Truth and, 68, 70–71, 73–75, 79–80, 90–91, 149, 152, 234
in twentieth-century art, 240
workers’ associations, 184
Workshop of Velázquez (attributed to Juan Bautista Martinez del Mazo), Gathering of Portraits (The Little Cavaliers), 58–59, 60
Wrigley, Richard, 265n43
Zaleski, Józef Bohdan, 63
Zola, Émile, plate 3, plate 20 (detail), 85, 128–30, 145, 159, 208, 279n91, 292n72, 300n30