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The rich bibliography surrounding 19th-century painter Edouard Manet includes stimulating books by Anne Coffin Hanson and T.J. Clark that describe Manet's revolutionary and inventive approaches to art with imaginative interpretations. Nancy Locke, an associate professor of art history at Wayne State University, here weighs in with a psychoanalytical view of the paintings, based less on Freud than on more recent French thinkers like Michel Foucault and Jacques Lacan. Unlike more formalist art criticism, which focuses on shapes and brush technique to the exclusion of content, her basis for this approach is that Manet often used members of his family as models, such as his illegitimate son, who pops up in a variety of poses in the artworks. The result, divided into chapters like "Family Romances," "Manet Pere et Fils," and "The Promises of a Face," is presented in deadly solemn academic prose, but with a common sense that shines out from behind her Gallic forebears: "For Manet, every act of painting was grounded in resistance to everything for which his family name stood: there was the authority of the judge [his father], the property, the income, the receptions, tradition, the family honor." Balancing personal influences with social meanings, the paintings have a variety of resonances, which Locke brings out in a language mainly suited for academic art historians, although civilian art lovers may want to give it a try for its unusual perspectives. Illus. (May)Forecast: University libraries are this book's natural market, and the price may well prove prohibitive elsewhere. But the volume's idyllic and well-laid-out cover, and its biography-based title could attract some high-end browsers.

ACKNOWLEDGMENTS

INTRODUCTION

1 THE COUCH OF ORESTES

2 FAMILY ROMANCES

3 THE SPACE OF OLYMPIA

4 MANET PERE ET FILS

5 THE PROMISES OF A FACE

CONCLUSION

NOTES

BIBLIOGRAPHY

INDEX

PHOTOGRAPHY CREDITS

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书籍介绍

Édouard Manet's paintings have long been recognized for being visually compelling and uniquely recalcitrant. While critics have noted the presence of family members and intimates in paintings such as Le Déjeuner sur l'herbe, Nancy Locke takes an unprecedented look at the significance of the artist's family relationships for his art. Locke argues that a kind of mythology of the family, or Freudian family romance, frequently structures Manet's compositional decisions and choice of models. By looking at the representation of the family as a volatile mechanism for the development of sexuality and of repression, conflict, and desire, Locke brings powerful new interpretations to some of Manet's most complex works. Locke considers, for example, the impact of a father-son drama rooted in a closely guarded family secret: the adultery of Manet père and the status of Léon Leenhoff. Her nuanced exploration of the implications of this story--that Manet in fact married his father's mistress--makes us look afresh at even well-known paintings such as Olympia. This book sheds new light on Manet's infamous interest in gypsies, street musicians, and itinerants as Locke analyzes the activities of Manet's father as a civil judge. She also reexamines the close friendship between Manet and the Impressionist painter Berthe Morisot, who married Manet's brother. Morisot becomes the subject of a series of meditations on the elusiveness of the self, the transience of identity, and conflicting concerns with appearances and respectability. Manet and the Family Romance offers an entirely new set of arguments about the cultural forces that shaped these alluring paintings.