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The psycho-politics of the concept of spectacle in the era of digital networks. An anticipation novel on the topic of artificial intelligence. See Haitian Publishing. A philosophical novella on the rarefaction of spaces of sublimity and poetic utopia. Paris: Plon. To browse Academia. Skip to main content. You're using an out-of-date version of Internet Explorer.
How to understand the sex worker at the table: gastrocritical approaches to eighteenth-century French prostitution more. Focusing primarily on the extra-textual context for my research and my interdisciplinary methodological approach, combining historicism with twentieth- and twenty-first century food theory, I offer an insight into the material practices, literary depictions, and philosophical and social anxieties surrounding food and sex work, to highlight how the combination of food and sex was not just a matter of pleasure, as has often been argued in relation to libertine and pornographic texts, but of instability and fear.
In this paper I will give a brief insight into the role of eating and drinking as a nutritional process, social ritual, and source of intellectual anxiety in eighteenth century French thought. I will then highlight its role in the material practices of eighteenth-century sex work. Having sketched out the context against which my analysis takes place, I will then give a brief overview of the role and significance of eating and drinking in a variety of text types depicting sex work: French police records, fictional correspondences between sex workers, libertine novels depicting male and female sex workers, and plans for sex work reform.
In so doing, I hope to reveal how the mealtime, often overlooked, provided a crucial moment at which authorial and societal anxieties about female sexuality, the vulnerability of the material body, social mobility, and sensual pleasure could be depicted and worked through. I also hope to demonstrate or at least spark debate on the validity of focusing on eighteenth-century sex work through the prism of ingestion, and my mixed methodological approach.
Save to Library. Eighteenth-Century literature , Sex Work , and Brothels. On 28 December, Van de Velde was again invited to dinner and in the course of the evening Misia commissioned a bedroom from him. See Van de Velde , pp. On Bing and Maurice Denis, see Weisberg , pp. He may have never registered, or perhaps had by now forgotten the original disposition of the panels at Bing's Art Nouveau. In any event, with a public auction the priorities would have changed: since the ensemble was now being broken up and dispersed, it would not have been in the interest of the sale to emphasize the decoration's original unity and sequential order.
The auction catalogue logically began with the most important picture L'album [fig. See notes 9—13 above. The windows were in fact blacked out in Henry Van de Velde's "back room," located on the upper floor, directly above Vuillard's antechamber. See Weisberg , fig. La dame en bleu is reproduced in Thomson , colorpl. In these and other paintings datable to , Vuillard renounces the brilliant counterpoint of his pictures—the virtuoso spatial manipulations, the seemingly unlimited juxtapositions, alternations, and interplays of opposing pictorial elements—in favor of interjecting a single, enlivening dissonance into a unified field of general accord.
This valid tendency has nevertheless led more than one writer astray. In a chapter of her exhibition catalogue entitled "The Music of Painting: Homages to Misia," Easton based a discussion of Vuillard and the Symbolist doctrine of synaesthesia on a brief text jotted down by Vuillard on a loose scrap of paper. C'est ce qu'on appellerait la musique du tableau. See Groom , p. For a reproduction of Ranson's dining room murals, see Weisberg , p.
Cited in translation in Weisberg , p. Weisberg misread the date of this letter as 30 April From the tone of Bing's letter it seems highly unlikely that he would have allowed Vuillard to decorate his antechamber with disjointed panels conceived to decorate a nonspecific interior with no particular function. On the other hand, Bing's stipulation that the Nabis rooms create a harmonious whole may have stimulated the artists to invent complementary and interrelated themes.
Vuillard's young bourgeois women engaged in interior domestic activities nicely complements Ranson's young peasant women laboring out of doors in fields. And Denis's The Love and Life of a Woman may have been intended as a kind of transcendent and unifying theme, tracing a woman's symbolic, visionary voyage from girlhood to motherhood. The relative homogeneity of the Nabis model rooms is exceptional in the context of Bing's exhibition, where stylistic variety and overall heterogeneity of artistic expression were the rule. See Watkins , p.
Vuillard to Maurice Denis, 30 May ; excerpted and translated in Weisberg , p. Although some of these stained-glass windows are still preserved, only the cartoon for Vuillard's Marronniers survives. In Vuillard's aerial view of a city square, more than half of the composition is given over to decorative patterns suggested by intervening horse chestnut boughs, whose ocher highlights are an idealization of the rusting tendency of horse chestnut leaves at summer's end.
The overall flatness of the design is interrupted only by the presence of a building at upper left seen in two-point perspective. For a discussion of the critical reception of Tiffany's windows in France, see ibid. Roger-Marx b, pp. For the original French text, see Roger-Marx a, p. Il a au plus haut point ces dons plastiques primordiaux dont ils ont avant tout le souci et le respect. A letter from a certain E. Castillond, dated 13 January and addressed to Vuillard, proposes the sale of a Redon album Salomon Archives, Paris. Vuillard uses the words "observable and verifiable" in a journal entry from January MS.
According to records preserved in the Salomon Archives in Paris, Vuillard owned two important Redon flower compositions—a painting and a pastel—as well as a coastal scene, all dating to after On Vuillard's one-man show, Hermann , p. See Mauner , p. When last checked the page no longer existed at its original location. Oil on canvas. National Gallery of Art, Washington, D. Paul Mellon Private collection. The curator of the exhibition, Gloria Groom, is to be congratulated for successfully reuniting all five panels of this major Nabis decoration for the first time since their dispersal in In the two different installations of the Album decoration in Chicago and New York, the paintings were hung in a curiously haphazard manner with no apparent attempt made to group the panels in any coherent order.
Three panels were arbitrarily placed on a single wall, obvious pendants were reversed, etc. Furthermore, this casual hanging was not the result of any neglect on the part of the curator. His journal entries and numerous preparatory sketches for the Jardins publics , for example, confirm that from the very conception of a decoration Vuillard was actively concerned with every aspect of its installation—with the lighting, dimensions, and function of the designated room, and with the format, order, spacing, and formal progression of his panels within that room. Moreover, there is substantial visual evidence in the panels themselves that suggests they compose a closely interrelated and harmoniously unified, continuous frieze with brief ellipses , clearly designed for a specific room of intimate scale and function.
But above all, Groom fails to investigate seriously a well-known fact about the Album panels, namely that they were exhibited in S. Bing's "Art Nouveau" exhibition a few weeks after being completed. The exceptional nature of the Album cycle within the context of Vuillard's decorative oeuvre suggests a stronger connection with Bing's exhibition and purposes exists than Groom would have us believe; for the Album panels speak a much less idiosyncratic language than his preceding decorations and exceptionally experiment with the formal innovations of more mainstream contemporary movements in the decorative arts.
Though Groom presents ample visual documentation to support her thesis, her proof turns out, as we shall see, to deal with subsequent, truly arbitrary installations of the Album panels rather than with the original one. The purpose of our paper is to demonstrate that the Album panels were originally designed to decorate a small model room in S.
Bing's Maison de l'Art Nouveau, as part of a Nabis group commission. Logically following up a somewhat earlier collaboration with Bing, this new commission was to be a further, more important occasion for the Nabis to develop a group aesthetic and to attempt once again to regenerate the original spirit of their brotherhood. Perhaps most significantly, however, the new commission was to be a first opportunity for Vuillard and the Nabis to demonstrate to an exhibition audience their ability to complement and enhance architecturally defined spaces and to show what the function of decoration in relation to architecture should be.
From the mids to the end of the decade, Vuillard's intimacy with the Natansons grew to the point that he saw them almost daily, either in their rue Saint-Florentin apartment or during his long sojourns at their country houses in Valvins, on the Seine near Fontainebleau, and Villeneuve-sur-Yonne, in Burgundy. Photograph by E. Floor plan. For the first time in his career, Vuillard openly evokes the art of tapestry in a multi-panel decoration. Furthermore, in the Album decoration Vuillard consciously alludes to his emulation of this analogous decorative aesthetic in a charming, witty conceit.
The seated young woman seen "weaving" in Tapisserie fig.
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Rather, she is embroidering a stretched canvas employing needles and dyed-wool yarns in a kind of imitation tapestry, much as Vuillard himself used brushes and oil paints to imitate woven tapestry on the stretched canvases of his Album panels. The Album panels are further unified by a harmonious play of light. Vuillard's little sitting room was said to be very dimly lighted, only by a curious chandelier. But the true quality of Vuillard's magical invented light is comprehended more fully only when the viewer becomes aware of the girl in the rear of Tapisserie , who is drawing back the curtain on the window.
Quite suddenly we realize that the light irradiating Vuillard's interior scenes is only just entering the "room" and that it is a simple everyday gesture—the drawing back of a curtain—that has had the effect of casting a spell on the room's inhabitants. It is this banal gesture that temporalizes Vuillard's decoration, transforming and uniting the seemingly timeless separate scenes of the Album panels, into a single, quintessential Vuillard moment that is at once intimate, poetic, and mysterious.
Again from his auction catalogue entries: It is apropos of this painting [ L'album fig. Lithograph R-M 18, first state. Lithograph R-M 19, first state. At this juncture in his career, Vuillard probably had no other friend or patron who would have done the same.
On the most personal level, then, Vuillard's decoration may well be an expression of his profound gratitude to the friend who had been his most fervent and faithful supporter. Bibliography 1. This floor plan has been published by Weisberg , p. See note 25 above. See note 23 above. See note 35 above.
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Weisberg , pp.