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Garb, Tamar

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Index

Tamar Garb

The Painted Face: Portraits of Women in France, 1814–1914

Index

Author

Tamar Garb

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-22352

Index

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cosmetics and perfumes 8, 8, 12, 243–4, 244

and Mona Lisa 216, 217

allegory, and Realism 97–9, 101–2

Amaury-Duval, Eugène

Isaure Chassériau 56, 57

Madame de Loynes 155, 155

androgyny

and Cézanne 170–6, 179, 202

and Picasso 201–2

Anzieu, Didier 148, 165

Apollinaire, Guillaume 230, 235, 244

Aragon, Louis 34–8, 211, 224

Aretino, Pietro 2

Armstrong, Carol 259 n.89

artifice

and make-up 1–3, 10, 12–17, 116, 153, 233, 250

and staging 78–9, 99

see also illusion

artist and sitter

and Cézanne 158–9, 167, 177–8

and domestic portraiture 107–37, 170

and Ingres 46, 50–1, 53–4

and Matisse 246

and Picasso 203

and Raphael 43–51

and Realism 64–8, 72, 76–9

trust between 73

Astruc, Zacharie 90, 94

Auclert, Hubertine 124

Babin, G. 253 n.14

Balzac, Honoré 43, 264 n.9

Baron, Jacques 34–5

Barr, Alfred 266 n.3

Bashkirtseff, Marie, In the Studio 124, 125

Baudelaire, Charles 3, 21, 27, 30, 145, 233, 253 n.26

beauty

and individuality 69

and Ingres 19, 21, 56

and make-up 3, 9–10

Belon, José 221–2, 231

Béraud, Léon 220

Bernard, Emile 158, 165

Berrichon, Paterne 149

Bertall (Albert Arnoux)

‘La Princesse éblouissante’ 1, 1

‘Promenade au Salon de 1870’ 63–4, 63, 65, 75, 76, 90, 90

Bertin, Louis-François 32, 33, 68, 154, 195

biography, portraiture as 27–8

Blanc, Charles

and Ingres 27, 52, 56, 253 n.35, 254 n.44, 258 n.55

and Manet 68, 92

body

doubling 1–3, 4–6, 8–9, 46, 47

fragmentation 181–7, 189, 200, 206–9, 220, 223

reproductive 109–12

Louis-Léopold Boilly, Study for ‘The Liberal’ 241

Boisard, A. 245

Bonnat, Léon, Ernest Renan 195

Boucher, François 8

Jeanne-Antoinette Poisson, Marquise de Pompadour 6, 7, 9

Bouguereau, William-Adolphe 220, 266 n.23

Braque, Georges 250

Man with a Guitar 186, 186

Breslau, Louise, Chez Soi (Intimité) 107, 107

Breton, André 34, 36, 211

Bryson, Norman 153, 255 n.80, 262 n.41

Cabanel, Alexandre 72

Madame la duchesse de V. 257 n.25

calling card

and Ingres 22, 22, 24, 25, 54, 96, 192, 192

and Picasso 191–3

canvas

skin as 1, 6, 9–10, 12, 20, 88

unframed 224

caricature, and portraiture 73–4, 76

Carolus-Duran 72

Lady with a Glove 62, 62

Madame Ernest Feydeau 61–2, 61

Carpeaux, Jean-Baptiste 150

Cassatt, Alexander 113, 115

Cassatt, Katherine 101–2, 105, 113–16, 120, 124–31

Cassatt, Lydia 102, 105, 106, 107–9, 108, 114

Cassatt, Mary

and femininity 101–2, 106, 109, 128, 134

and mirror 125–8, 136

and Morisot 109

photographed 130, 130

and Realism 101, 106

works:

The Garden 106, 107

Katherine Cassatt Reading to her Grandchildren 114, 114, 130–2, 131

Katherine Kelso Cassatt 115, 115

The Loge 127

Lydia Seated at an Embroidery Frame 108–9, 108

Mrs Duffee Seated on a Striped Sofa, Reading 118–19, 118

Mrs R. S. Cassatt 100, 101–2, 132–7, 133, 135

and absence and loss 101–2, 132–7

as incomplete 101, 132–4

and individuality 102

and maternal death 132–7

pose 101–2

use of black 101–2, 136

On a Balcony 119–20, 120

Portrait of a Lady (1877) 123, 128

Portrait of a Lady (1878) 102, 113, 120–8, 121, 122, 123, 129, 133

brushwork 128–9

and costume 125

as family gift 113, 115

and individuality 124–5, 128–9

and pince-nez 122, 125

signature 129, 129

and women reading 115–16, 120–5

Woman with a Pearl Necklace in a Loge 10

Woman Reading 119–20, 119

Cassatt, Robert 102, 105

Castagnari, Jule-Antoine 257 n.40

castration anxiety 166, 177

censorship 220–1

Cerrini, Giovanni Domenico, Allegory of Painting 4, 4, 97

Cézanne, Hortense (née Fiquet) 139, 169–71, 179

Cézanne, Paul

early works 262 n.22

and femininity 142, 164, 167–73, 177–8, 202

and painting Nature 142, 145, 150, 152, 157–8, 161–2

and space 162, 164, 167

and still-life painting 160, 161, 171

and touch 139–44, 145–53, 161–6, 173, 177–9

works:

Ambroise Vollard 158, 159

Apples and Oranges 178, 179

The Artist’s Father, Reading ‘l’Evenement’ 125, 125

The Battle of Love 166, 167

Grandes Baigneuses 176

Hortensia with a Portrait of Hortense Cézanne 170, 171

Madame Cézanne (1885–73) 174

Madame Cézanne (1885–7b) 175

Madame Cézanne (1888–90) 169, 169

Madame Cézanne with a Fan 196, 196

Madame Cézanne in a Red Armchair 172, 173

Madame Cézanne in a Red Dress 139, 141, 143

Madame Cézanne in a Red Dress (1893–5) vi, 138, 139, 143, 147, 153, 168, 170, 173, 203, 228

and colour 146

exhibition 150, 157–8, 202

face 167–70, 168

and femininity 167–9, 170–3, 177–8, 202

hair 169–70

hands 142, 143, 145–6, 163, 173, 173

and Matisse 228

and painting of apple 146, 153, 157, 161, 178–9

reactions to 157–8, 162

and subject and object 158–61, 167

and touch 167, 177–9

Madame Cézanne in a Yellow Chair 140, 143

Nudes in a Landscape 176, 176

The Rape 166, 166

Still Life with Plaster Cupid 160, 161

Cham (Amédée de Noe)

‘La Déesse de la malpropreté’ 258 n.46

‘Le leçon de musique’ 75

Le Mois comique 89, 89

Chaplin, Charles 62, 63–4, 63, 75

Chaumelin, Marius 66, 90, 256 n.5, 257 n.19

Clouet, François 152

Coburn, Alvin Langdon, Matisse and Madame

Matisse in the Studio at Issy-les-Moulineaux 229

colour

in Cassatt 119–20

in Cézanne 145–6, 150, 157

and Cubism 17

in Fauvism 16, 223–4, 235–6

in Ingres 19, 25–7, 32, 154, 253 n.26

in male portraiture 32

in Matisse 226–7, 229–30, 233–8, 243, 250

commodity, women as 9, 57

Coraboeuf, Jean 30

Corot, Camille 186

Italian Woman Playing the Mandolin 187

A Woman Reading 116, 116

Correggio, Antonio da, Jupiter and Antiope 220

cosmetics, advertising 8, 8, 12

Courbet, Gustave 63

and Realism 63–5, 72, 76, 257 n.26

works:

Juliette Courbet 71, 72, 76

La Beigneuse 76, 258 n.47

The Painter’s Studio 98–9, 98

Woman with a Parrot 65–6, 66

Young Ladies on the Banks of the Seine (Summer) 64, 65

Cozic, Charles 252 n.2

Crucy, François 220

Cubism 17, 181–209

and Fauvism 223, 231

and female nude 181–4, 202

and fragmentation of the body 224

and language 183–4, 188, 193, 201, 208–9

and Matisse 225

and Salon d’Automne (1913) 219–20, 223, 226

David, Jacques-Louis 152

Madame Récamier 28, 52–3, 53

daylight, and painting of women 10–11

De la Sizeranne, Robert 10, 215

decoration

and Matisse 225, 230–7, 241–2, 250

and Picasso 248

Degas, Edgar 109

Duchessa di Montejasi with her Daughters, Elena and Camilla 243, 243

Portraits in an Office 124, 124

Degas, René 124

Delaborde, Henri 253 n.14

Deleuze, Gilles 151–2, 164, 260 n.37, 263 n.72

Denis, Maurice 34, 35, 225, 263 n.57

Derain, André 245

Derrida, Jacques 164

desire 19–21, 43, 56–7, 145, 178–9, 202, 230–1

and Ingres 32–8

and Mona Lisa 38, 213

Diderot, Denis 144–5

Divisionism 235, 248

doubling

of body and painting 1–3, 4–6, 8–9, 46, 47

in mirrors 21–2, 26–7, 56, 125–9, 153

Dreyfus, Moyse 114

Dubufe, Louis-Edouard, Madame Edouard Dubufe 155, 155

Duchamp, Marcel, L.H.O.O.Q. 219, 219

Duez, Ernest-Ange, Splendour 3, 3

Duparc, A. 257 n.25

Duranty, Edmond 119

Dürer, Albrecht

Draughtsman Making a Perspective Drawing of a Woman 191, 191

Melancholia 1 101, 202

Self-Portrait 264 n.6

Duret, Théodore 82, 94, 95, 255–6 n.2, 257 n.25

eroticism 2, 35–8, 86, 202–3, 230, 237

exoticism 25–6, 59, 79–84, 236–7, 242

Expressionism 12, 17, 221, 224, 233–6

family portraits 106–37

Fantin-Latour, Henri 90, 251 n.11

L’Atelier aux Batignolles 259 n.77

farde see make-up

Fargues, Léon-Paul 220, 231

Fauvism 16, 220, 223–4, 231, 233, 235–6

femininity

and Carolus-Duran 62

and Cassatt 101–2, 106, 109, 128, 134

and Cézanne 142, 164, 167–9, 170–3, 177–8, 202

and flower painting 91–2

and Ingres 21, 28, 30, 36, 51, 128

and Leonardo 212, 213–14, 217

and make-up 2–3, 8–9, 12, 116

and Manet 60, 76, 81, 92, 99, 116

and Matisse 211, 213, 229–30, 245–6

mature 28, 101–2, 243

and Morisot 109–12, 150

and passivity 30, 37–8

and Picasso 183, 195–6, 201, 203, 209

portrayal 2, 17, 32–4

public vs. domestic 3, 107–12, 170, 202, 248

and reading 115–30

and self-portraiture 12

feminism, and touch 163–7

femme à sa toilette theme 12, 12, 13

Flam, Jack 264 n.2

Flandrin, Jean Hippolyte 56, 72, 254 n.45

Madame Louis Antione de Cambourg 69–72, 70

flattery 63, 154, 158, 161, 164, 257 n.27

flesh

and paint 3, 10, 169

and touch 148

Fourcaud, L. de 27, 253 n.29

Fournel, Victor 73

Fragonard, Jean-Honoré, A Young Girl Reading 116, 116

frame, absence 224

Freud, Sigmund 148, 165–6, 176–7, 268 n.87

Fry, Roger 158, 176, 262 n.35

Futurism, and Salon d’Automne (1913) 219–20

Gasquet, Joachim 142, 145, 152, 165, 264 n.92

Gauthier, Maximilian 226–7 n.26

Gautier, Théophile 3, 251 n.9

Gazette de France 73

Gazette des beaux-arts 25, 30

Geffroy, Gustave 148–9, 150

gender

identity 8, 92, 107, 116, 128, 171, 173–9

and realism 201

role reversal 81

and touch 163–5

Gentileschi, Artemisia, Self-Portrait as La Pittura 97, 97

Gernoux, Alfred 28

Gleizes, Albert 223

Monsieur Eugène Figuière 226, 226

Gonse, Louis 32, 54

Gonzalès, Eva 59, 74–90, 256 n.11

as painter 78, 79, 80–1, 86, 91–2, 96, 98–9, 142

photograph 77

The Young Soldier 91, 91

Gonzalès, Jeanne, Portrait of Eva Gonzalès 75, 77

Gonzalès, Louis-Jean Emmanuel 82–4, 258 n.59

Gonzalès, Mme Emmanuel 78

Gouel, Eva (Marcelle Humbert) 181–3, 185, 201, 248

Goya, Francisco de 96

Duchess of Alba 82, 82

Majas on a Balcony 82

Maria Tomasa Palafox, Marquesa de Villafranca 84, 85

Grangedor, J. 256 n.6

Green, André 136, 260 n.12

Greenberg, Clement 262 n.39

grid

in Cubism 181, 186, 188, 191, 208

and Ingres 200

Gripp, Carlo, ‘La Vaccination’ 90

Grosz, Elizabeth 148

Guattari, Felix 152, 263 n.72

Guérard, Henri

Guérard, Nicolas 251 n.2

hair dye, advertising 8, 8

Hale, Ellen Day, Self-portrait 252 n.22

hands

and Cézanne 139–42, 143, 146, 163, 173

and Ingres 50, 51, 55–6, 153

maternal 165

and Matisse 224

haptic

and Deleuze 152, 162

and Stein 201

Hastings, Beatrice 17

Haudebourt-Lescot, Hortense, Self-Portrait 215, 215

Havemeyer, Louisine 115

Head of a Man 197, 197

Herder, Johann Gottfried von 144

Holbein, Hans, Portrait of Henry VIII 266 n.11

Houssaye, Arsène 253 n.6

hyperthyroidism, and erotic appeal 36–8

idealism 2, 3, 17, 65, 68, 72, 90

and Ingres 56–7, 62, 64, 152

identity

authorial 2, 4

and Cassatt 129

and Cézanne 148–9, 151

and Ingres 154

and Manet 91–9

and Morisot 11–12

and Picasso 188, 202, 209

and hands 139

of sitters 21, 22–9, 61, 68–9, 86, 91, 181–7, 201, 206–7, 220, 225

illusion 1–2, 6, 9, 12, 39, 146, 152

and Cassatt 128

and Cézanne 146, 150–1, 161–2, 178

and Ingres 22, 36, 54, 56, 128, 153–5

and Manet 95–6

and Matisse 236

and Picasso 186, 187–8, 193, 195, 206, 208, 248–50

and touch 144

impasto, in painting women 10

Impressionism

and Cassatt 109, 115, 119, 129

and Cézanne 149, 151, 161

and Matisse 233, 236

and Morisot 149–50

and portraiture 107–8

and touch 149

individuality

and female portraiture

and Cassatt 102, 124–5, 128–9

and Cézanne 171

and Courbet 72

and Manet 73, 76–9, 122

and Matisse 220, 240, 243

and Picasso 185–7, 202–3

and hands 139

and masculinity 68–9, 185, 187

Ingres, Jean-Auguste-Dominique

and Cézanne 152–3

as colourist 27, 253 n.26

and femininity 21, 28, 30, 36, 51, 128

and illusion 22, 36, 54, 56, 128, 153–5

and make-up 3, 153

and women as ciphers 21, 57

works:

Baronne James de Rothschild, née Betty von Rothschild 26, 26

Jacques Marquet, Baron de Montbreton de Norvins 23–4, 24

La Belle Zélie (Madame Aymon) x, 3, 6

La Grade Odalisque 51–3, 52, 56

Louis-François Bertin 32, 33, 68, 154, 154, 195

Madame de Senonnes 18, 19–57, 22, 35, 55, 153, 248

dress 51, 153

engravings 30

face 56

hands 55–6, 153

identity of sitter 21, 22–9

influence 32–6

and influence of Raphael 39–41, 43–54

and Matisse 34–8, 211

mirror reflection 21–2, 26, 52, 54, 56–7, 153

reproductions 31, 34

richness of colours 19, 25–7, 32, 153

as seductive 19, 21, 30, 34–8, 154

and signature 22, 43, 54, 96

Madame Moitessier Seated 255 n.91

Madame Philibert Riviére 40, 44

Mademoiselle Caroline Riviére 40, 45

Marie Marcoz 29, 29

Mrs John Mackie, née Dorothea Sophia Des Champs 23

Napoleon I on his Imperial Throne 40, 42

Philibert Riviére 40, 41

Queen Caroline Murat 30, 31

Raphael and La Fornarina (drawings) 43–6, 46

Raphael and La Fornarina (paintings) 46–50, 47, 48, 53

Sheet of Studies with the Head of the Fornarina and the Hands of Madame de Senonnes 50, 51

Source 152, 152

Study of Madame de Senonnes 52, 56

Study for the Portrait of the Comtess d’Haussonville 200

Turkish Bath 21, 21, 38

Vicomtesse Othenin d’Haussonville, née Louise-Albertine de Broglie 27, 27, 155, 200

intertextuality, in Picasso 183–4, 195

Irigaray, Luce 136–7, 163–4

James, Henry 31

Jewishness, as exotic 25–6, 84

Journal amusant 76, 86–8, 213–15, 213

Juren, Vladimir 255 n.85

Kahn, Gustave 224, 231

Kahnweiler, Daniel-Henry 185, 185, 265 n.19

Klein, Gaston 74, 256 n.12

Klein, John 266 n.3

Knobloch, Madeleine 12, 13

Krauss, Rosalind 266 n.44

Kristeva, Julia 163, 261 n.50

La Liseuse see women, as readers

La Nouvelle Révue française 220

Labille-Guiard, Adélaide 98

Lafosser, G. ‘La Vaccinomanie’ 88, 88

Laignel-Lavastine, Maxime 36–7

Lajer-Burcharth, Ewa 53, 251–2 n.15

language

and representation 181–4, 188, 193, 208–9

and Stein 188–9, 201

Lapauze, Henry 25, 38, 53

Laurent-Pichat, L. 257 n.37

Lawrence, D. H. 150–1, 158–61

Le Brun, Charles 239

Le Figaro 66, 115–16, 122–5, 128–9

‘Le Ministère des Joconds’ 219

Le Monde illustré, ‘Au Salon d’Automne’ 225, 225

Lecomte, Georges 149

Leenhoff, Leon 80–1

Léger, Fernand 246–8, 267 n.41

Lehmann, Henri, Franz Liszt 68, 69

Leonardo da Vinci

and desire 38, 213

and painting vs. poetry 38–9, 252 n.8

Mona Lisa 19, 21–2, 21, 212, 253 n.13

as commodity 215–16, 216

defacing 217–19, 219

and femininity 213, 214, 217

guarding 216–17, 217, 218

theft and recovery 211–12, 214–16, 231, 246

Levinas, Emmanuel 151

L’Humanité, ‘M. le Commissaire s’occupe

d’art’ 221, 221

light

artificial, and make-up 3

natural, and painting of women 10–11

likeness

and death-bed portraiture 103

and individuality 68–9

and photography 9, 60, 157–8, 199, 224, 246

and portrait as presence 139, 159–61, 177

and portraiture

and Cézanne 157, 159, 169, 179

and Fauvism 223–4, 231

and Ingres 32, 54, 56, 154

and Manet 60–1, 63

and Matisse 211, 223, 233–5

and Picasso 197, 201, 206–7

and sound 181–4

and vulnerability of sitters 60–1, 66–8, 72–3, 76

L’Illustration 60, 61, 216, 217, 218, 223

line drawing, vs. oil painting 29–30

Loerner, Joseph 252 n.21

lorgnettes, as sexually coded signifier 260 n.39

Lyotard, Jean François 262 n.16

make-up

and femininity 2–3, 8–9, 12, 116

and painting 1–17, 116, 153, 169, 233, 241–2, 250

Mallarmé, Stéphane 4, 10, 251 n.12

Manet, Edouard

and brutality 75, 90

and Courbet 65, 73

and exoticism 59, 79–84

and femininity 60, 76, 81, 92, 99, 116

and light 10

as manifesto work 92

originality 77

and Realism 64, 66–8, 76–9, 92, 96

and Spanishness 80–4

and still-life painting 91–5, 99

as teacher 74–5, 91–2

and truth 68, 90

works:

The Balcony 82, 83, 259 n.86

Dejeuner sur l’herbe 65, 65

Emile Zola 81, 81, 95–6

Eva Gonzalès Painting in Manet’s Studio 78, 79, 80–1, 86

The Fifer Boy 91, 91

Le Repos 258 n.46

Luncheon in the Studio 94

The Music Lesson 74, 74, 76, 90

Nana 3–6, 5, 6

Olympia 59, 59, 65–6, 74, 75, 81, 257–8 n.43

and black cat as signifier 66, 74, 76, 257–8 n.43

sources 82

Peonies in a Vase 92, 94

Portrait of Mlle E. G. frontispiece, 58, 58–9, 65, 72–99, 73, 84, 87, 93

and arms 86–90

and caricature 73–4, 76

and dirt 74–5, 76–9

and dress 59, 78–9, 84, 91

and flower painting 91–5, 93, 94, 99

and identity of sitter 59, 68–9, 86, 91, 96

and individuality 73, 76–9, 122

reactions to 59–60, 60, 73–4, 86

and signature 95–6, 99

Profile of Eva Gonzalès (etching after) 75, 77

Théodore Duret 82, 82, 94, 95

Velázquez in his Studio, Painting the Little Cavaliers 80, 80

Woman Reading 116, 117

Young Lady in 1866 66, 67, 94, 95

Zacharie Astruc 94

manifesto paintings

Manet 92

Morisot 12

maquillage see make-up

Marcel-Lenoir (Jules Oury) 225

Marcoz, Marie-Geneviève-Marguerite 28–36, 29, 54, 56

masculinity

and colour 32

and gender role reversal 81

and individuality 24, 68–9, 185

and Melancholia 101–2

and newspapers 124

see also portraiture, male

masks

and Matisse 231, 237, 241–2, 244–8

and Picasso 197–8, 203

and portraiture 169, 245

materiality

and Cézanne 146, 149, 151, 153, 161–2

and Manet 68, 74, 92

and Matisse 235

and Picasso 208

and woman 2, 9–10, 36, 65

Mathews, Mancy Mowll 114

Matisse, Amélie 211, 224–5, 228–31, 229, 237–8, 242–3

Matisse, Henri 34, 36, 38, 211–48

and anciens fauves 221, 223–4

and maternal face 246

works:

Amido the Moroccan 238

Bathers by a River 229

copy after Raphael’s Baldassare Castiglione 214

Greta Moll 36, 37

Madame Matisse (The Green Line) 233–5, 234

Moroccan Café 238, 239

Notes of a Painter 221

The Painter’s Family 236, 237, 238

Portrait 210, 211–13, 220, 227, 229, 242, 247

and colour 226–7, 229–30, 238, 243

costume 229–30

and Cubism 225–6

and erasure 226–7

exhibition 212, 223, 224

as expressive work 235

and face as mask 231, 244–6, 247

and femininity 211, 213, 229–30, 245–6

and identity of sitter 220, 225

reactions to 230–1, 235

The Red Madras Headdress 238–42, 240, 242

Standing Riff 238

Woman with the Hat 223, 223, 232, 233, 235, 248

Zorah Standing 237, 237, 238

Mauclair, Camille 32

Melancholia, portrayal 101–2, 134, 137

Merleau-Ponty, Maurice 148, 151, 158, 161–4

Metzinger, Jean 223

Michaux, Henri 151

Michel, A. 255 n.78

mimesis see likeness

mirrors

in Cassatt 125–9, 136

in Cézanne 157

in Ingres 21–2, 26, 52, 54, 56–7, 153

in Morisot 11–12

model

abandonment 199, 211

anonymity 184, 202–4, 206–7

see also sitter

modernism

and Cézanne 151

and Picasso 199

Modigliani, Amadeo, Madam Pompadour 15, 17

Monet, Claude 31, 149

Camille on her Deathbed 103–5, 104

Morice, Charles 149

Morisot, Berthe 10

and Cassatt 109

and domestic portraiture 106, 109–14

and femininity 109–12, 128, 150

and Impressionism 149–50

and Manet 82, 258 nn.46, 52, 259 n.86

works:

Le Corsage noir 149

Madame Pontillon 110, 112

The Mother and Sister of the Artist 109, 111, 112, 136

Woman at her Toilette 11–12, 11

Young Woman in a Ball Gown 109, 109

Morisot, Edma 109, 109, 110, 111, 112

Murat, Caroline 52

Nadar, Félix, Marceline Desbordes-Valmore on her Deathbed 103, 103

Nancy, Jean-Luc 264 n.6

Naturalism 10

and Cassatt 106–7

and Courbet 65

and Manet 81

and Matisse 225, 231, 233–5, 245

and Picasso 183, 193, 199–201

Neo-classicism 10, 53, 68–72, 152

‘New Woman’ 21

newspapers, in female portraiture 115, 122–30

Nochlin, Linda 114

nudes

and Cézanne 176, 176

and Courbet 65–6

and Ingres 38, 52–3

and Picasso 181–4, 202, 204–6

and van Dongen 220–2

oil painting

vs. line drawing 29–30

and painterly identity 2, 4, 11–12, 91–5

and texture 2, 146, 150, 153, 157, 166

Olivier, Fernande 203–8

opacity

in Cézanne 148, 151

in Picasso 188

Orientalism

and Manet 80

and Matisse 236–7, 242

paint

and Cézanne 149–53, 157, 162, 167–9, 226

and Ingres 153

and Matisse 226–7

and presence 10

painting

as fiction 20, 34, 144

and line drawing 29–30

and make-up 1–17, 116, 153, 169, 241–2, 250

and photography 9, 60, 103, 150–1, 157–8, 199, 224, 246

vs. poetry 38–9, 252 n.8, 259 n.84

and sculpture 144–5, 149, 244

see also still-life painting

palette-knife, in female portraiture 3, 10, 65

Papety, Dominque Louis, Antoine Vivenel 68–9, 69

Paris-caprice 1, 10, 86

parisiennes 3, 65, 224, 242, 245

parrot, as signifier 66, 73–4, 94

passivity, and femininity 30, 37–8

Patricot, Jean 30

perfume, advertising 8, 8, 12

Perron, Charles 34

perspective 150–2, 154, 237

photography, and painting 9, 60, 103, 150–1, 157–8, 199, 224, 246

Picabia, Francis, Young American Girl 225, 245

Picasso, Pablo 181–209

and collages 183, 192, 250

and the female body 202

and femininity 183, 195–6, 201, 203, 209

and individuality 185, 202–3

and portraiture 184–5

and still lifes 183, 191–3

works:

Accordionist 186

Ambroise Vollard 185, 185

The Architect’s Table 190, 191–3, 201

Daniel-Henry Kahnweiler 185, 183

Demoiselles d’Avignon 208, 265 n.38

Die, Packet, Calling Card 192

The Dryad 202, 202, 20

Female Nude: ‘J’aime Eva’ 181–4, 182, 193

Gertrude Stein 194, 195–201, 198

and identity 201

Guitarist 207, 207

‘Ma Jolie’ (Woman with a Zither or Guitar) 180, 181, 188, 208–9, 209

and identity of sitter 181–3

and individuality 185–8

Nude in an Armchair 204

The Poet 187, 187

Portrait of a Girl 196, 205, 248–50, 249

Seated Female Nude 206

Study (Ear, Eye, Nose) 205

Suite 347 49, 49, 50

Violin: ‘Jolie Eva’ 183, 184

Wilhelm Uhde 185, 183

Woman in an Armchair (1909–10) 206

Woman in an Armchair (1913) 205

Woman with a Fan 202–3, 203

Pichat, Olivier 74, 91

Piles, Roger de 144

Pittura, and woman as art 4, 96–8, 97, 98–9

Pleynet, Marcelin 267 n.60

Poe, Edgar Allan 19–21, 54, 56–7

Pollock, Griselda 114, 260 n.21

Pontmartin, A. de 74, 257 nn.28, 31

Pope, Theodate 130, 130

portraiture

death-bed 103–5, 103, 104, 105

decorative 9, 12–17, 225, 230–7, 241–2, 248–50

domestic 3, 106–37, 170, 202, 228, 248

and mask 169, 197–9, 203, 238, 240, 242, 244–8, 245

and model 199, 202–7

nude 184–6, 204–6, 264 n.6

verbal 188–9

and women artists 106–7

portraiture, female

as biography 27–8

as fiction 20, 34

and hands 139–40

and illusion 6, 22, 36, 54, 96–7, 146, 161, 208

and imagination 177

and pose 2, 36, 52–3, 60, 78, 84, 101–2, 119

as presence 139, 159–61, 177, 186, 203–6, 208

seen as superficial 1

and specificity and genre 60–1, 72, 108–9, 153

and vulnerability of sitter 60–1, 66–8, 72–3, 76–80, 84, 96

see also desire; individuality; likeness

portraiture, male 214–15

and age 243

and colour 32

and hands 139

and individuality 23–4, 68–9, 185, 187

pregnancy, portrayal 109–12

presence 10

and Cassatt 129

and Cézanne 139, 151, 159–61, 177

and Courbet 72

and Ingres 22

and Manet 64, 90, 94, 99

and Picasso 183, 186, 189, 192–3, 196, 203–6, 208

primitivism 197, 202, 244–5

propriety

and nudes 220–1

and portraiture 1, 60, 65, 68, 72

Raphael

and Ingres 39–54, 154

as lover 43, 48–9

and Picasso 49

works:

Baldassare Castiglione 214–15, 214, 217

La Fornarina 19, 39–41, 39, 43–6, 43, 53–4, 96

Madonna dell Sedia 40, 40, 48, 51

Pope Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi 154, 154

Raymond, E. 251 n.8

Realism 9–10, 17, 62–8

and allegory 97–9, 101–2

and Cassatt 101–2, 106, 125

and Courbet 63–5, 72, 76, 98, 257 n.26

and Degas 243

and flower painting 92

and Ingres 32, 154

and Manet 64, 66–8, 76–9, 92, 96

and Picasso 192–3, 196–7, 201, 208, 250

and truth 64, 68

refinement

and feamle readers 116–20

and make-up 3

Regnault, Henri

Madame Mazois in her Deathbed 103–5, 105

Salomé 80

Renoir, Auguste 32

Madame Clapisson (Lady with a Fan) 32, 32

respectability

and femininity 3, 29, 51, 116

and Manet 65, 73, 76–8, 86

Rifkin, Adrian 56–7

Rilke, Rainer Maria 145, 157–8

Ripa, Cesare, Iconologia 96

Ris, Clement de 253 n.17

Rivière, George 158

Rivière, Philbert 40

Rivière, R. P, and J. F. Schnerb 150

Romano, Giulio 254 n.70, 255 n.85

Rome, as city of passion 24–5

Rubin, James H. 259 n.83

Salmon, André 223, 231, 246, 267 n.18

Salon of 1870, and Manet 59, 65, 74, 80

Salon d’Automne (1907) 150, 157–8

Salon d’Automne (1913) 217–19, 245

and Cubism 219–20, 223, 226

and Fauvism 223–4, 225

and Ingres 21

and Matisse 223, 224, 230–1, 238

and van Dongen 220–3

Schapiro, Meyer 158, 178

Schneider, Pierre 233

Schukin, Sergei 237

sculpture

African 197–9, 244–5

archaic 197–9, 197

and painting 144–5, 149

seduction

and Cézanne 157–8, 170

and Ingres 19, 21, 29–30, 34–6, 51, 54

and long hair 157

and make-up 3

and Matisse 230

and painting 39, 128

self-portraiture

and allegorisation of painting 97

and femininity 12, 215

and right hand 11

Sembat, Marcel 221, 224, 230, 266 nn.7, 8

sensation

and Cézanne 139, 144, 146–9, 150–2, 158, 162, 177

and Lawrence 161

Seurat, Georges 224

Young Woman Powdering Herself 12, 13

sexuality

ambiguity 170–6, 179

and baring of arms 86–90

and Cézanne 145, 164, 173–9

and Courbet 65–6

and Ingres 53

and make-up 3, 9

and Manet 66–7, 75, 76, 79–80, 82, 86

and Matisse 230, 241

and Picasso 250

and reproduction 109–12

and touch 145, 164–6, 173, 177–8

Shiff, Richard 164, 167

signature

and Cassatt 129, 129, 136

and Ingres 22, 24, 43, 54, 96

and Manet 82, 95–6

and Morisot 11–12

and Raphael 54, 96

signifier

in Realism 66, 73–4, 80, 94, 260 n.39

of sexual difference 214, 260 n.39

sitter

identity 21, 22–9, 61, 68–9, 86, 96, 201, 206–7, 220

vulnerability 60–1, 66–8, 76–80, 84, 96

see also model

skin

and age 243

as canvas 1, 6, 9–10, 12, 20, 88

and colour 227

and daylight 10–11

and touch 9–10, 139, 157

smallpox vaccination 86–9, 88, 89

sociability, female 106–8

sound, and likeness 181–4

space

and Cassatt 136

and Cézanne 146, 162, 164, 167

and Ingres 128

and Matisse 226, 228, 236–8, 241

Spain, influence on French painting 80–2

spectacles, in female portraiture 122, 130, 132

Staël, Germaine de 25

Stein, Gertrude 188–9, 191–201, 194, 198, 209, 211

still-life painting

and Cézanne 160, 161, 171

and Manet 91–5, 99

and Picasso 183, 191–3

subject and object, as interconnected 158–63

subjectivity

and Cézanne 148, 151, 161, 177

and Matisse 213, 242–3

and Morisot 109

and Picasso 189, 201, 202, 206, 224, 250

Symbolism 32, 224, 235

Tabarant, Adolphe 231

Taine, Hippolyte 145

têtes d’expressions 238–41

texture

in Cézanne 146, 150, 157, 166

and femininity 2

in Ingres 30, 153

in Picasso 185–7

Tissot, James 32

touch

in Cassatt 112, 128, 130

in Cézanne 139–44, 145–53, 161–6, 173, 177–9

in Dubufe 155

in feminist theory 163–7

and Freud 148, 165–6

in Ingres 22

in Manet 76

in Morisot 11–12, 109

and vision 142–8, 152, 161, 164–5

transparency 146, 151–2, 154–6

truth

and Manet 68, 90

and Realism 64, 68

Uzanne, Octave 251 n.4

van Dongen, Kees

and Matisse 221–3

Tableau 220–1, 221

Vasari, Giorgio 43

Velázquez, Diego 80–1, 80, 96

Drinkers 81

Verdier, Jean 37–8

Vigée-Lebrun, Elisabeth 98

Villemer, Jean 266 n.19

vision, and touch 142–8, 152, 161, 164–5

Vlaminck, Maurice de 245

Dancer at the ‘Rat Mart’ 14, 16, 16, 241

Vollard, Ambroise 158, 159, 170

Winterhalter, Franz Xaver 155–7

Madame Rimsky-Korsakov 156, 157

Wolff, Albert 74

women

as art 12–17, 96–9

as ciphers 2–3, 21, 57, 68, 97, 99, 183–4, 208, 238

as painters 91–2, 96–9, 101–37

as readers 115–30

as spectacle 1–2, 32

Yriarte, Charles 84

Index compiled by Meg Davies

(Fellow of the Society of Indexers)

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