1750895145     

Value in art : Manet and the slave trade / Henry M. Sayre

Sayre, Henry M., 1948- [Verfasserin/Verfasser]

Chicago ; London : The University of Chicago Press, 2022

xix, 255 Seiten

Englisch

Includes bibliographical references and index

Archivierung/Langzeitarchivierung gewährleistet (Rechtsgrundlage FID). UB Heidelberg

Erscheint auch als: Value in art / Sayre, Henry M. (Online-Ausgabe)

978-0-226-80982-3 (cloth)

978-0-226-80996-0 (ISBN der parallelen Ausgabe)

2021009478

OCoLC: 1334646106     

ND553.M3

759.4     Ähnliche Literatur

Basisklassifikation: 15.65 (Frankreich) <Geschichte> ; 71.62 (Ethnische Beziehungen) ; 20.24 (Gesellschaft; Kultur) <Ikonographie>

Fachinformationsdienst(e): FID-KUNST-DE-16

*Manet, Edouard / Olympia      Zum Register

*Frankreich ; Schwarze <Motiv> ; Sklaverei <Motiv> ; Künste ; Geschichte 1850-1900      Zum Register

LOC-SH: Manet, Édouard -- 1832-1883 -- Olympia ; Art and society -- France -- History -- 19th century ; Blacks in art ; Slavery -- United States -- Foreign public opinion ; Art -- Political aspects -- France ; Art and literature -- France ; France -- Civilization -- American influences ; France -- Intellectual life -- 19th century

Olympia's value -- Prostitution and slavery -- Sand/Baudelaire, Couture/Manet -- "La femme" de Baudelaire -- Le sud de Manet -- Poe -- Two wars -- Zola's Olympia -- Value in art -- Coda.

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"How did art critics come to speak of light and dark as, respectively, "high in value" and "low in value." In this book, Henry Sayre traces the origins of this usage in one of art history's most famous and racially charged paintings, Manet's Olympia. Masterfully researched and argued, this bold study reveals the extraordinary weight of history and politics that Manet's painting bears, and the presence of slavery at modernism's roots. Sayre shows that it was Émile Zola who introduced a new "law of values" to art criticism in an 1867 essay on Manet. Unpacking the intricate contexts of Zola's essay and of several related paintings of Manet, Sayre argues that Zola's use of the economic metaphor of "value" was doubly coded. On the one hand, it was a feint that deflected attention away from Olympia's actual subject and toward the painting's formal qualities. On the other, Sayre argues, "value" for Zola was a trope for the political economy of slavery and the Second Empire's complicity in the ongoing slave trade in the Americas. Value in Art is a surprising and necessary intervention in our understanding of modern art's emergence in relation to issues of race"--