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Painted Love. Prostitution in French Art of the Impressionist Era Texts & Documents

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Manufacturer: Getty Publications
Author: Hollis Clayson
Binding: Paperback
Publication Date: 2003-10-30
Publisher: Getty Publications
Label: Getty Publications
Number Of Pages: 224

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Editorial Review
In this engrossing book, Hollis Clayson provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cezanne, Degas, Manet, and Renoir, as well as by the academic and low-brow painters who were their contemporaries.
Clayson not only illuminates the imagery of prostitution-with its contradictory connotations of disgust and fascination-but also tackles the issues and problems relevant to women and men in a patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and civilized mores. She describes the system that evolved out of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness among their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it exemplified the commercialization and the ambiguity of modern life.
This is a reprint of the book first published by Yale University Press in 1991.
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Customer Reviews

Terrific Insight

2008-02-09
I always wondered why everyone was always so certain that "Olympia" was a prostitute. Now I know! This is a great book about an Era in France with some deep, dark secrets.

Highly Scholarly

2000-05-25
I might not have purchased this book if it hadn't been included in a selection of bargain books from Yale University Press. The Acknowledgments on p. xv includes a comment on "My dissertation research in Paris." My use of the term "modern" in my reviews conforms to the sense which I observe on page 79 of this book. A cartoon at the top of the page, called "M. Manet studying beautiful nature," dated April 25, 1880, is followed by an explanation which "connects the extremity of exposed breasts to vulgarity and ugliness . . . by mocking any connection between this toilette and decorous feminine beauty." The painting which is then discussed, Henri Gervex's "Rolla," was abruptly removed from the Salon of 1878 for impropriety, but was exhibited by a private dealer for three months. Consideration of that painting in this book begins with "Another instance of a painting that displays female sexuality as something of a threat, and that locates this threat specifically in the realm of modern fashion." (p. 79) The painting was based on a poem by Alfred de Musset about a son of the bourgeoisie who squandered his fortune and committed suicide at the age of nineteen. The details of the painting are discussed to such an extent that minor elements of the picture become a great danger. "Indeed the lack of restraint that Gervex showed in placing the cain in the still life points to the vulnerability of the genre of the nude, to the ways in which the nude was almost always a strained synthesis of opposing forces, perpetually in danger of slipping out of equilibrium as a consequence of even the smallest push in the direction of deviance." (p.88) The discussion of that painting concludes with "Rolla drowned in the rising tide of sexual vice. The woman was the culprit, and Rolla her victim." (p. 93) Chapter Four's topic is "Suspicious Professions" and features pictures of working women, the intrigue being tied closely to the question, what makes them so cute?