Perspectives on Manet
Bringing forth fresh perspectives on Manet's art by established scholars, this volume places this compelling and elusive artist's painted Å“uvre within a broader cultural context, and links his artistic preoccupations with literary and musical currents. Rather than seeking consensus on his art through one methodology, or focusing on one crucial work or period, this collection investigates the range of Manet's art in the context of his time and considers how his vision has shaped subsequent interpretations. Specific essays explore the relationship between Manet and Whistler; Emile Zola's attitude toward the artist; Manet's engagement with moral and ethical questions in his paintings; and the heritage of Charles Baudelaire and Clement Greenberg in critical responses to Manet. Through these and other analyses, this volume illuminates the scope of Manet's career, and indicates the crucial position the artist held in generating a modernist avant-garde aesthetic.
'What is there left to say about Manet? As these nine authors eloquently demonstrate, Manet remains a compelling and elusive object of study and interpretation whose works continue to elicit rich and conflicting readings from contemporary scholars.' Heather McPherson, University of Alabama at Birmingham, USA
'I highly recommend Perspectives on Manet. Granted it bears a high dollar price and it is decidedly disciplinarily specialized, but the very high intellectual and expository level of the essays and the imaginative verve of the contributions overall make it a very worthwhile, in fact an exciting, read for students of modern art. But it should also interest France specialists from across the disciplines...' H-France
'... [Dolan] has invited a profoundly diverse group of scholars to consider Manet’s oeuvre... their wide-ranging approaches reflect the exciting interdisciplinary paths that art historians tread today. By encouraging them to do so for this volume, Dolan has gathered a collection that is both interesting and challenging. And in the end, their distinct viewpoints carry a suggestion that applies beyond Manet, to art history in general, regardless of subject or methodological approach.' CAA Reviews