Pelez and Puberty, Pregnancy and the Press

Describe the attributes of pregnant and pubescent bodies that encourage artists, physicians and profiteers to convey them as grotesque. Inform your response with visual evidence from the painting by Pelez, the sculpture by Claudel, or the 1826 print to inform your response:

Fernand Pelez, Grimaces and Misery, 1888, oil on canvas, 222 x 625 cm, Petit Palais, Paris.
Camille Claudel, Profound Thought, 1898. Bronze and marble. 23.5 cm. (9.3 in.).
T., I.; A Physician Examining a Urine Specimen in Which a Faint Figure of a Baby Is Visible, a Female Patient Is Crying and Being Shouted at by Her Angry Mother, Indicating that She Is Pregnant; Wellcome Collection;


Didier Maleuvre on Gauguin

How does Maleuvre’s thesis and his explanation help us to interpret the colonial context of these images? Do you have any pushback against Maleuvre’s style of writing or way of presenting the French painter Paul Gauguin?

Paul Gauguin,  Nafea Faaipoipo, When Will You Marry? 1892. Oil on canvas. 39.7 x 30.3 in. (101 x 77 cm). Private Collection.

Paul Gauguin, The Siesta, ca. 1892-1894. Oil on canvas. 35 x 45 3/4 in. (88.9 x 116.2 cm). The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 1993, Bequest of Walter H. Annenberg, 2002


Femme Fatale

Below are examples of the way that Salome and/or Judith were depicted in 19th century Europe. Starting around 1870, this became a very important theme. What do you find is the most significant change in how Salome was depicted? Explain that change.

Giovita Garavaglia, Salome and the Head of John the Baptist, After Bernardino Luini (Italian, ca.1480–1532). Engraving 1815-1835. Metropolitan Museum of Art.
Henri Regnault, Salome, 1870. Metropolitan Museum of Art. Read more about the painting on the Met’s label:

At the Turn of the Century

Aubrey Beardsley illustrations to Oscar Wilde’s Salomé, from the portfolio of 16 unbound prints for the John Lane edition, 1907.

Aubrey Beardsley, Plate 14 and 15 of the illustrations to Oscar Wilde’s Salome, 1907. 

Gustav Klimt, Judith I, 1901.
Gustav Klimt, Judith II, 1909

Day (Truth)

After reading about the Habsburg court and Elisabeth and in considering the way that the female body has been presented as diseased, what needs to be emphasized in context or form about this work? You can upload an image as a comparison (not one of them from my lecture).

Ferdinand Hodler, Day (Truth), 1896/1898. Oil on canvas. 79 × 41 1/2 in. (200.5 × 105 cm). Art Institute of Chicago Joseph Winterbotham Collection

Reimagining posts: Windsor Castle in Modern Times

If this is a picture of Queen Victoria, who would be one of the longest-reigning British monarchs, what ideas do you think the artist and sitters wanted to project about this queen?

Sir Edwin Landseer (1803-73) Windsor Castle in modern times; Queen Victoria, Prince Albert and Victoria, Princess Royal 1841-43

Consider what the Royal Collection Trust has to say about this image and what you think the text is lacking:

We must imagine that Prince Albert, Ranger of the Great Park, has spent the day shooting and returns laden with booty – kingfisher, jay, mallard, woodcock, pheasant and ptarmigan – which he proudly, if not very probably, spreads out upon the drawing room carpet. He sits in outdoor clothing, with muddy boots, bag and powder pouch, patting his favourite dog, Eos, while Dandy Dinmont, Islay and Cairnach fuss around. The Queen welcomes her husband home by presenting him with a nosegay; their daughter plays with a dead kingfisher — a ‘Halcyon’, symbol of peace.

What has the artist communicated about the female? How is her body depicted? What gender conventions are used?