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Sheer Presence: The Veil in Manet's Paris
     

Sheer Presence: The Veil in Manet's Paris

by Marni Reva Kessler
 

ISBN-10: 081664781X

ISBN-13: 9780816647811

Pub. Date: 12/11/2006

Publisher: University of Minnesota Press

Tamar’s instrument of seduction in the Hebrew Bible, Penelope’s shroud in Homer’s Odyssey, accessory of brides as well as widows, and hallmark of the religious and the wealthy, the veil has historically been an intriguing signifier. Initially donned in France for liturgical purposes and later for masked balls and as a sun- and windscreen at the

Overview

Tamar’s instrument of seduction in the Hebrew Bible, Penelope’s shroud in Homer’s Odyssey, accessory of brides as well as widows, and hallmark of the religious and the wealthy, the veil has historically been an intriguing signifier. Initially donned in France for liturgical purposes and later for masked balls and as a sun- and windscreen at the seashore, face-covering veils were adopted for fashionable urban use during the reign of Napoleon III. In Sheer Presence, Marni Reva Kessler demonstrates how this ubiquitous garment and its visual representations knot together many of the precepts of Parisian life. Considering the period from the beginning of Napoleon III’s rule in 1852 to 1889, when the Paris Universal Exhibition displayed veiled North African Muslims and other indigenous colonial peoples, Kessler deftly connects the increased presence of the veil on the streets and on canvas to Haussmann’s massive renovation of Paris. The fashion of veil wearing, she argues, was imbricated with broader concerns: fears of dust and disease fueled by Haussmannization and class mixing on the city streets, changes in ideals of youth and beauty, attempts to increase popular support for imperialism, and the development of modernist art practices. A veil was protection for the proper woman from the vices associated with the modern city, preserving—at least on the surface—her femininity and class superiority. Kessler explores these themes with close readings of paintings by Gustave Caillebotte, Edgar Degas, and Edouard Manet—including Manet’s perplexing portraits of artist Berthe Morisot—as well as photographs, images from the popular press, engravings, lithographs, and academic paintings. She also mines French fashion journals, etiquette books, novels, and medical publications for clues to the veil’s complex meanings during the period. Positioning the veil directly at the intersection of feminist, formalist, and social art history, Kessler offers a fresh perspective on period discourses of public health, seduction and sexuality, colonial stereotypes, and, ultimately, an emerging modernity. Marni Reva Kessler is assistant professor of art history at the University of Kansas.

Product Details

ISBN-13:
9780816647811
Publisher:
University of Minnesota Press
Publication date:
12/11/2006
Pages:
248
Product dimensions:
5.89(w) x 9.00(h) x 0.70(d)

Table of Contents


Acknowledgments     XI
Introduction     XVII
Pathologizing the Second Empire City     1
Dusts
A Key to the Bridge
The Medicalization of Dust
Seeing through the Veil
Making Up the Surface     34
The Ideal Bourgeois Visage
Foundations
The Parisienne's Veil
Perplexing the Veil
Unmasking Manet's Morisot, or Veiling Subjectivity     62
The Balcony
Veils, Ribbons, and Furs
Violets, Fans, and Pink Shoes
Effacing
Veiling Her Own Subjectivity, or Morisot's Self-Portraits
The Other Side of the Veil     94
Face-to-Face: Both Sides of the Loom
Cross-Cultural Dressings
Fabricating an Orient
At the Universal Exhibitions, on the Streets, and in the Harem
The Orientalist Trajectory
Visual Cultures
Epilogue     142
Notes     147
Bibliography     173
Index     201

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