Griselda Pollock, “Modernity and the Spaces of Femininity”

  1. What are the three “dimensions” of space that Pollock analyzes here?
  2. How does the work of Cassatt and Morisot indicate a different, female perspective for each space?
  3. Can there be a female flâneur (or “flâneuse”)? Why or why not?
  4. Is women’s and men’s art necessarily different? Why or why not?
  5. On page 78 of the article, Pollock states that “[f]emininity should be understood…not as a condition of women but as the ideological form of the regulation of female sexuality within a familial, heterosexual domesticity which is ultimately organized by the law.” What does she mean here (i.e. can you explain this idea in your own words)?

Tamar Garb, “Gustave Caillebotte’s Male Figures: Masculinity, Muscularity, and Modernity”

  1. How does Caillebotte identify with the figures in his paintings?
  2. What makes his male figures modern?

 

Félix Fénéon – use the selections from Fénéon’s essays as a reference source on the goals and techniques of the Neo-Impressionists

Linda Nochlin, “Seurat’s La Grande Jatte: An Anti-Utopian Allegory”

  1. How is this painting an allegory, according to Nochlin?
  2. How was Utopia understood in the nineteenth century?
  3. How does the Grande Jatte offer a counterpart to those ideas? In what ways is it a social critique (what makes it anti-Utopian)?
  4. What figure symbolizes Hope in the painting?

Stephen F. Eisenmann on van Gogh: use for background information

G.-Albert Aurier, “The Isolated Ones: Vincent van Gogh”

  1. What image of the artist does Aurier present?
  2. According to Aurier, who understands van Gogh’s work?

Lauren Soth, “Van Gogh’s Agony”

  1. How is Starry Night an imaginative vision of the landscape? From where did the artist get his ideas or inspiration?
  2. In what ways is Starry Night a religious picture, according to Soth? How did van Gogh use both color and images symbolically to imbue the painting with a religious meaning?

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