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Butterfly McQueen

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Butterfly (born Thelma) McQueen (January 7, 1911 - December 22, 1995) was an American actress. Originally a dancer, McQueen first appeared in film in 1939 as Prissy in Gone with the Wind. She was unable to attend the movie's premiere because it was held at a whites-only theater. Often typecast as a maid, she said: "I didn't mind playing a maid the first time, because I thought that was how you got into the business. But after I did the same thing over and over, I resented it. I didn't mind being funny, but I didn't like being stupid." She continued as an actress in film in the 1940s, and then moved to television acting in the 1950s. She won a 1980 Daytime Emmy Award for her performance in the ABC Afterschool Special.

Born January 7, 1911, in Tampa, Florida, Thelma McQueen planned to become a nurse until a high-school teacher suggested that she try acting. McQueen initially studied with Janet Collins and went on to dance with the Venezuela Jones Negro Youth Group. Around this time she acquired the nickname "Butterfly" - a tribute to her constantly moving hands - for her performance of the Butterfly Ballet in a production of A Midsummer Night's Dream. Disliking her birth name, she later legally changed it to Butterfly McQueen. She performed with the dance troupe of Katherine Dunham before making her professional debut in George Abbott's Brown Sugar. In 1975, at age 64, McQueen received a bachelor's degree in political science from City College of New York.[citation needed ]

McQueen was appearing on the Broadway stage in the comedy in 1938 when she was spotted by Kay Brown, talent scout for David O. Selznick, then in pre-production for Gone With the Wind (eventually released in 1939). Brown recommended that McQueen audition for the film. After Selznick saw her screen test, he never considered anyone else and McQueen was cast in the role that would become her most identifiable - "Prissy", a simple-minded house maid. She uttered the famous words: "Oh, Miss Scarlett! I don't know nothin' 'bout birthin' babies!" Her distinctive, high-pitched voice was described by a critic as "the itsy-little voice fading over the far horizon of comprehension". While the role is well known to audiences, McQueen did not enjoy playing the part and felt it was demeaning to African-Americans.

She also played an uncredited bit part as a sales assistant in (1939), filmed after Gone with the Wind but released before it. She also played Butterfly, Rochester's niece and Mary Livingstone's maid in the Jack Benny radio program for a time during World War II. She appeared in an uncredited role in Mildred Pierce (1945) and played a supporting role in Duel in the Sun (1946). By 1947, she had grown tired of the ethnic stereotypes she was required to play and ended her film career.

During World War II, McQueen frequently appeared as a comedian on the Armed Forces Radio Service broadcast . Many of these broadcasts are available on the Internet Archive.[citation needed ]

From 1950 until 1952, she was featured in another racially stereotyped role on the television series . She played Beulah's friend Oriole, a character originated on radio by Ruby Dandridge, who would then take over the TV role from McQueen in 1952-53. In a lighter moment, she appeared in a 1969 episode of The Dating Game.

McQueen was in the original version of the stage musical when it debuted in Baltimore in 1974. She played the Queen of the Field Mice, a character from the original L. Frank Baum novel The Wonderful Wizard of Oz. However, when the show was revised prior to going to Broadway, McQueen's role was cut by incoming director Geoffrey Holder.

Offers for acting roles began to dry up around this time, and she devoted herself to other pursuits including political study. She received a bachelor's degree in political science from City College of New York in 1975. McQueen played the character of Aunt Thelma, a fairy godmother, in the ABC Weekend Special episode "The Seven Wishes of Joanna Peabody" (1978) and the ABC Afterschool Special episode "Seven Wishes of a Rich Kid" (1979); her performance in the latter earned her a Daytime Emmy Award for Outstanding Individual Achievement in Children's Programming. Her final feature film role was in The Mosquito Coast (1986). Her final appearance was in the TV movie , a reimagining of the story with a Black cast.

McQueen never married or had any children. She lived in New York in the summer months and in Augusta, Georgia, during the winter.

In July 1983, a jury awarded McQueen $60,000 in a judgment stemming from a lawsuit she filed against two bus terminal security guards. McQueen sued for harassment after she claimed the security guards accused her of being a pickpocket and a vagrant while she was at a Washington, D.C. Greyhound bus terminal in April 1979.

A Democrat, she supported Adlai Stevenson's campaign during the 1952 presidential election.

In 1989, the Freedom From Religion Foundation honored her with its Freethought Heroine Award. "I'm an atheist," she had declared, "and Christianity appears to me to be the most absurd imposture of all the religions, and I'm puzzled that so many people can't see through a religion that encourages irresponsibility and bigotry." She told a reporter, "As my ancestors are free from slavery, I am free from the slavery of religion." This quote was used by the Freedom From Religion Foundation in advertisements inside Madison, Wisconsin, buses in 2009 and in an Atlanta market in 2010. She lamented that, if humans had focused on Earth and on people, rather than on mythology and on Jesus, there would be less hunger and homelessness. "They say the streets are going to be beautiful in Heaven. Well, I'm trying to make the streets beautiful here ... When it's clean and beautiful, I think America is heaven. And some people are hell."

McQueen died at age 84 on December 22, 1995, at Doctors Hospital in Augusta, from burns sustained when a kerosene heater she attempted to light malfunctioned and burst into flames. McQueen donated her body to medical science and remembered the Freedom From Religion Foundation in her will.

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Butterfly (born Thelma) McQueen (January 7, 1911 - December 22, 1995) was an American actress. Originally a dancer, McQueen first appeared in film in 1939 as Prissy in Gone with the Wind . She was unable to attend the movie's premiere because it was held at a whites-only theater.

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Audre Lorde

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A self-described "black, lesbian, mother, warrior, poet," Audre Lorde dedicated both her life and her creative talent to confronting and addressing injustices of racism, sexism, classism, and homophobia. Lorde was born in New York City to West Indian immigrant parents. She attended Catholic schools before graduating from Hunter High School and published her first poem in Seventeen magazine while still a student there. Of her poetic beginnings Lorde commented in Black Women Writers: "I used to speak in poetry. I would read poems, and I would memorize them. People would say, well what do you think, Audre. What happened to you yesterday? And I would recite a poem and somewhere in that poem would be a line or a feeling I would be sharing. In other words, I literally communicated through poetry. And when I couldn't find the poems to express the things I was feeling, that's what started me writing poetry, and that was when I was twelve or thirteen."

Lorde earned her BA from Hunter College and MLS from Columbia University. She was a librarian in the New York public schools throughout the 1960s. She had two children with her husband, Edwin Rollins, a white, gay man, before they divorced in 1970. In 1972, Lorde met her long-time partner, Frances Clayton. She also began teaching as poet-in-residence at Tougaloo College. Her experiences with teaching and pedagogy-as well as her place as a Black, queer woman in white academia-went on to inform her life and work. Indeed, Lorde's contributions to feminist theory, critical race studies, and queer theory intertwine her personal experiences with broader political aims. Lorde articulated early on the intersections of race, class, and gender in canonical essays such as "The Master's Tools Will Not Dismantle the Master's House."

Lorde's early collections of poetry include The First Cities (1968), Cables to Rage (1970), and From a Land Where Other People Live (1972), which was nominated for a National Book Award. Later works, including New York Head Shop and Museum (1974), Coal (1976), and The Black Unicorn (1978), included powerful poems of protest. "I have a duty," Lorde once stated, "to speak the truth as I see it and to share not just my triumphs, not just the things that felt good, but the pain, the intense, often unmitigating pain." Lorde's later poems were often assembled from personal journals. Explaining the genesis of "Power," a poem about the police shooting of a ten-year-old black child, Lorde discussed her feelings when she learned that the officer involved had been acquitted: "A kind of fury rose up in me; the sky turned red. I felt so sick. I felt as if I would drive this car into a wall, into the next person I saw. So I pulled over. I took out my journal just to air some of my fury, to get it out of my fingertips. Those expressed feelings are that poem."

Her poetry, and "indeed all of her writing," according to contributor Joan Martin in Black Women Writers (1950-1980): A Critical Evaluation, "rings with passion, sincerity, perception, and depth of feeling." Concerned with modern society's tendency to categorize groups of people, Lorde fought the marginalization of such categories as "lesbian" and "black woman." She was central to many liberation movements and activist circles, including second-wave feminism, civil rights and Black cultural movements, and struggles for LGBTQ equality. In particular, Lorde's poetry is known for the power of its call for social and racial justice, as well as its depictions of queer experience and sexuality. As she told interviewer Charles H. Rowell in Callaloo: "My sexuality is part and parcel of who I am, and my poetry comes from the intersection of me and my worlds... [White, arch-conservative senator] Jesse Helms's objection to my work is not about obscenity ... or even about sex. It is about revolution and change."

Lorde was a noted prose writer as well as poet. Her account of her struggle to overcome breast cancer and mastectomy, The Cancer Journals (1980), is regarded as a major work of illness narrative. In The Cancer Journals, Lorde confronts the possibility of death. Recounting this personal transformation led Lorde to address the silence surrounding cancer, illness, and the lived experience of women. For example, Lorde explained her decision not to wear a prosthesis after undergoing a mastectomy in the Journals: "Prosthesis offers the empty comfort of 'Nobody will know the difference.' But it is that very difference which I wish to affirm, because I have lived it, and survived it, and wish to share that strength with other women. If we are to translate the silence surrounding breast cancer into language and action against this scourge, then the first step is that women with mastectomies must become visible to each other."

Lorde's 1982 novel, Zami: A New Spelling of My Name, was described by its publishers as a "biomythography, combining elements of history, biography and myth." Sister Outsider: Essays and Speeches (1984) collected Lorde's nonfiction prose and has become a canonical text in Black studies, women's studies, and queer theory. Another collection of essays, A Burst of Light (1988), won the National Book Award. The Collected Poems of Audre Lorde was published in 1997.

In 1981 Lorde and fellow writers Cherríe Moraga and Barbara Smith founded Kitchen Table: Women of Color Press, which was dedicated to furthering the writings of black feminists. Lorde would also become increasingly concerned over the plight of black women in South Africa under apartheid, creating Sisterhood in Support of Sisters in South Africa and remaining an active voice on behalf of these women throughout the remainder of her life. Lorde addressed her concerns to not only the United States but the world, encouraging a celebration of the differences that society instead used as tools of isolation. As Allison Kimmich noted in Feminist Writers, "Throughout all of Audre Lorde's writing, both nonfiction and fiction, a single theme surfaces repeatedly. The black lesbian feminist poet activist reminds her readers that they ignore differences among people at their peril ... Instead, Lorde suggests, differences in race or class must serve as a 'reason for celebration and growth.'"

Lorde's honors and awards included a fellowship from the National Endowment for the Arts. A professor of English at John Jay College and Hunter College, Lorde was poet laureate of New York from 1991-1992. Warrior Poet (2006), by Alexis De Veaux, is the first full-length biography of Audre Lorde.

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A self-described "black, lesbian, mother, warrior, poet," Audre Lorde dedicated both her life and her creative talent to confronting and addressing injustices of racism, sexism, classism, and homophobia. Lorde was born in New York City to West Indian immigrant parents. She attended Catholic schools...

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mentioned in the program

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Maren Hassinger

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Born in Los Angeles, CA 1947.

University of California, Los Angeles, MFA 1973

Bennington College, BA 1969

Lives and Works in New York, NY

Maren Hassinger was the Emeritus Director of the Rinehart School of Sculpture at the Maryland Institute College of Art in Baltimore, which she led for 20 years. During a career that has spanned more than four decades, Hassinger has explored relationships between the industrial and natural worlds in a practice that is both meditative and critical. Currently, her work is focused on exploring issues of equality.

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Born in Los Angeles, CA 1947. University of California, Los Angeles, MFA 1973 Bennington College, BA 1969 Lives and Works in New York, NY Maren Hassinger was the Emeritus Director of the Rinehart School of Sculpture at the Maryland Institute College of Art in Baltimore, which she led for 20 years.

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Artwork Info

About

Anselm Kiefer's Untitled (1986) presents a vast, cosmic mystery, the full interpretation of which is elusive. The drama is played out against a scarred landscape, reminiscent perhaps of the postwar Germany of Anselm Kiefer's youth. Dominating the middle panel is a great serpent coiled at the foot of a ladder made of lead. In Genesis the patriarch Jacob dreams of angels climbing up and down a ladder from heaven. Could the artist mean the rickety ladder in this painting to be a symbolic link between the worldly and the spiritual realms? And is the serpent, that most earthbound of creatures, a reference to evil? Around the central image swirls a vortex of charred paint and splattered lead. Lead rains down, is "funneled" to the left, and rematerializes as a cluster of stones. Like a sorcerer or prophet, Kiefer conjures a vision of endless creation and destruction.

Tags: abstract expressionism, texture, World War II, history

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Untitled by Anselm Kiefer

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Artwork Info Anselm Kiefer's Untitled (1986) presents a vast, cosmic mystery, the full interpretation of which is elusive. The drama is played out against a scarred landscape, reminiscent perhaps of the postwar Germany of Anselm Kiefer's youth. Dominating the middle panel is a great serpent coiled at the foot of a ladder made of lead.

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Artwork Info

About

Matthew Brandt's striking, curious photographs call as much attention to his creative process as to the final images themselves-indeed, the two cannot be separated. Brandt's experimental techniques literally incorporate his subjects into their construction. In his most famous series, Lakes and Reservoirs, the artist shoots traditional, postcard-perfect landscapes of Western bodies of water before soaking the film-based prints-for days, weeks, or even months-in basins filled with water from that specific location. The finished work, removed from the water when the desired appearance is achieved, is marbled, discolored, and permanently changed, transformed from a classic American panorama to an abstracted jewel.

An element of the unknown plays a large part in the final appearance of the images in Lakes and Reservoirs, such as Long Lake, WA 10. Brandt must ultimately rely on the nature of the water itself to produce the ultimate product. Changes in tone and color, as well as the near erasure of sections of the image, are determined by the chemical makeup of the lakes or reservoirs themselves, including the amount and type of sediment found therein. A higher level of acidity might transform a placid lake into a burst of psychedelic pinks and yellows; a certain type of sediment "can cause a sparkle effect as the c-print starts to break up... I love when that happens," Brandt has said. The artist's laissez-faire attitude to his printing process, as well as his conventional, film-based methods, is a refreshing foil to the perfectionism of many photographers working in high-gloss, digital formats. Ultimately, due to the nature of his technique, each work that Brandt creates is unique-no work from the Long Lake sub-series is exactly alike. Some images look washed-out, literally, devoid of color and brightness, while others-one might argue that Long Lake, WA 10 is among them-exhibit flourishes that have much in common with painterly brushstrokes or calligraphy. The comparison, particularly, with painting is apt, as Brandt often cites 19th-century Hudson River landscapes as one of his primary influences.

Seeing the effects that water can have on a chromogenic print-in any other situation, one might refer to it as damage-immediately brings to mind an environmental subtext to Brandt's Lakes and Reservoirs series. The lakes from which the water is collected (Brandt saves up to five gallons per location he visits in order to assure that he has enough liquid to immerse multiple prints) appear calm and serene on the surface, but pollution (both natural and chemical) alter their essence. If repeated or prolonged exposure to this substance can so utterly contaminate photographic paper, what could it do to humans or animals that consume or bathe in it? Like the photographs of Vik Muniz and Chris Jordan (Jordan's works are in the NCMA's permanent collection), Matthew Brandt's works ask for discussion and interpretation in a wider context of conservation and ecological health.

Tags: environmental science, ecology, nature

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Long Lake, WA 10 by Matthew Brandt

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Artwork Info Matthew Brandt's striking, curious photographs call as much attention to his creative process as to the final images themselves-indeed, the two cannot be separated. Brandt's experimental techniques literally incorporate his subjects into their construction.

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This theme of recycling and reuse underlies his most recent body of work, for which he has received international recognition and acclaim. Clothlike metal sculptures are laboriously constructed from discarded bottle caps and liquor packaging pieced together to create large, draping sculptures. When hung on the wall, these sculptures appear as shimmering veils or undulating tapestries from afar.

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Translated Island (Promised Land), this painting is part of an ongoing series of seascapes by Capote. "The sea is an obsession for any island population," he says.

When I was a child, I looked to the horizon and I would imagine a world beyond. The sea represents the seductiveness of these dreams, but at the same time it represents danger and isolation. The Iron Curtain, a concept from the cold War that I read about for the first time during history classes as a student, was my inspiration for this series of seascape paintings. I wanted to use thousands of fishhooks to create a surface that would be tangible to the viewer upon their approach; the close perspective recreates the tactile experience of standing in front of a metal fence. The fishhook itself is an ancient tool that has kept its design for centuries and is also a symbol of seduction and entrapment. For Cubans the seascape imposes a political and ideological limit that has been dividing families, ideas and feelings for generations; it is a mental wall between the present and the future that perpetually affects and fascinates our collective consciousness.

tags: geography, waves, ocean

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Isla (Tierra Prometida) by Yoan Capote

seascape painting where the movement in the water is created with fishhooks

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Artwork Info Translated Island (Promised Land), this painting is part of an ongoing series of seascapes by Capote. "The sea is an obsession for any island population," he says. When I was a child, I looked to the horizon and I would imagine a world beyond.

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Other works by artists in the NCMA who experiment with Process/Material

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Other works by artists in the NCMA who experiment with Process/Material

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Three Graces: Les Trois Femmes Noires - NCMALearn

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In this work, Mickalene Thomas has recreated the traditional image of the Three Graces, as familiar from Greek mythology. The Graces are presented in art-historical iconography as three women, representing conventional values of charm, beauty, and creativity.

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Judith and Holofernes is from Kehinde Wiley's most recent body of work and his first series of paintings to feature female subjects. As in his earlier work, Wiley used "street casting" to find his models for this series. He met the model for this painting, Treisha Lowe (who works as a prison guard at Rikers Island) at Fulton Mall, a pedestrian shopping street in downtown Brooklyn. In the painting, she wears a dress designed by Riccardo Tisci of Givenchy, who collaborated with Wiley on this series.

As in previous portraits, this painting references a specific art historical work. The Judith and Holofernes "quoted" in this work is the one by Giovanni Baglione which is in the Villa Borghese in Rome. Although it is true that Kehinde and Riccardo Tisci of Givenchy were actively inspired by many portraits in the Louvre, Kehinde particularly liked Baglione's piece for it's post-beheading stance. Here are examples of how other artists have depicted the story of Judith and Holofernes in 17th century Italian Art.

The story of Judith is from the Apocryphal books of the Bible: a Jewish town is under attack by the Assyrian army lead by the general Holofernes. Judith, a widow from the town, goes to Holofernes under the guise of helping him to defeat the Jews. After he falls asleep, she cuts his head off with his own sword, and the town defeats the army. Wiley translates this image of a courageous and powerful woman into a contemporary version that resonates with fury and anger. In keeping with Wiley's signature portraits, instead of a coherent narrative background, the primary subject is surrounded by an ornate, floral pattern that swirls behind and over her body.

tags: allusion, heroine, storytelling, women, identity, power, conflict

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Judith and Holofernes is from Kehinde Wiley's most recent body of work and his first series of paintings to feature female subjects. As in his earlier work, Wiley used "street casting" to find his models for this series.

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Artwork Info

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Bride, a five-tiered, ten-foot tall, monumental still life, cascades down from perfect order to total chaos, as the more than 500 individual glass elements that make up this excessive, decadent work are knocked over, slumped, broken, melted, and shattered by the time they reach the bottom tier. This multi-layered, crystal-clear still life alludes to the layers of a wedding cake, the flounces of an elaborate bridal gown, and still-life paintings throughout art history, with selected elements inspired by works in the permanent collection of the North Carolina Museum of Art, including a 17th-century German silver cup by Paulus Fischer and workshop; a plate of fish that appears in Pieter Aertsen's 16 th-century market scene painting, A Meat Stall, as well as in David Salle's painting, The Emperor, from 2000; the cat and bird in Frans Snyders' 17 th-century painting, Market Scene on a Quay; a candlestick from Bernardo Strozzi's 17 th-century painting, St. Lawrence Distributing the Treasures of the Church; and the 19 th-century Ottoman Esther Scroll and Case from the Judaic collection.

tags: change, food, animals, time, part/whole, family, conflict, impact

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Artwork Info Bride, a five-tiered, ten-foot tall, monumental still life, cascades down from perfect order to total chaos, as the more than 500 individual glass elements that make up this excessive, decadent work are knocked over, slumped, broken, melted, and shattered by the time they reach the bottom tier.

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Artwork Info

About

Devorah Sperber incorporates everyday materials-thousands of spools of thread, pipe cleaners, colored tacks-to reinvent famous works of art. She is interested in exploring the reproduction of images in the digital era, the links between art and technology, and visual perception-how the eye and brain make sense of the visual world. She starts by scanning a reproduction of a painting to create a color-charted map, which she remakes in three dimensions using small objects to mimic the pixels of digital images. In the process she greatly enlarges the original image and turns it upside down. Viewing the work through the acrylic sphere provided by the artist mimics peripheral vision, turning the image right side up and shrinking it to a recognizable size. Sperber explains that in addition to experimenting with perception, she is equally determined "to provide visual experiences that are compelling enough to stand on their own without any explanation."

tags: optics, reuse, observation, order, problem solving, variation, physics

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After the Mona Lisa 2 by Devorah Sperber

Thousands of spools of thread hang together to form a large replica of the face of Mona Lisa upside down. In front, a slender stand with a small lens focuses the image, flipping and reversing it right side up.

Thousands of spools of thread hang together to form a large replica of the face of Mona Lisa upside down. In front, a slender stand with a small lens focuses the image, flipping and reversing it right side up.

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Artwork Info Devorah Sperber incorporates everyday materials-thousands of spools of thread, pipe cleaners, colored tacks-to reinvent famous works of art. She is interested in exploring the reproduction of images in the digital era, the links between art and technology, and visual perception-how the eye and brain make sense of the visual world.

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Other examples of Appropriation in the NCMA

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Other examples of Appropriation in the NCMA

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An example, not actual source

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365 Days of Islands Picture-A-Day Wall Calendar 2016

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365 Days of Islands Picture-A-Day Wall Calendar 2016 [Workman Publishing] on Amazon.com. *FREE* shipping on qualifying offers. 365 Days of Islands Picture-A-Day Wall Calendar 2016

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Etienne-Joseph-Théophile Thoré. Salon de 1866. 1866 [reprinted in "Salons de W. Bürger, 1861 à 1868," Paris, 1870, vol. 2, p. 318], praises the color of this painting, which he saw in Manet's studio as a sketch, but predicts that it will be refused by the Salon of 1867.

G. Randon. "L'exposition d'Édouard Manet." Le Journal amusant no. 600 (June 29, 1867), p. 8, illustrates a caricature with the caption "Jeune Dame en 1866. Manque de tenue et de distinction; mais si vous l'aviez vue ce matin déjeunant sur l'herbe, sans chemise et sans façons, avec des camarades, vous diriez comme moi que c'est une bonne fille, et surtout pas bégueule," no. 15 in the 1867 Alma exhibition.

Emile Zola. "Une nouvelle manière en peinture: Édouard Manet." Revue du XIXe siècle, 8e sér., 4 (January 1, 1867), p. 59, speaks of the elegance of this picture.

E. Spuller. "M. Édouard Manet et sa peinture." Le nain jaune (June 9, 1867), p. 5 [see Ref. Loyrette 1994].

Claude Monet. Letter to Frédéric Bazille. June 25, 1867 [published in Gaston Poulain, "Bazille et ses amis," Paris, 1932, p. 94], calls it "mauvais" and asserts that Manet has painted better pictures.

Emile Zola. Éd. Manet: Étude biographique et critique, accompagnée d'un portrait d'Éd. Manet par Bracquemond, et d'une eau-forte d'Éd. Manet, d'après "Olympia". Paris, 1867, pp. 37-38.

Hippolyte Babou. "Les dissidents de l'exposition." La revue liberale 2 (1867), p. 288 [see Ref. Loyrette 1994].

Paul Mantz. "Salon de 1868, II." L'illustration (June 6, 1868), p. 362 [translated and reprinted in George Heard Hamilton, "Manet and His Critics," New Haven, 1954, p. 121], finds it unsuccessful in its treatment of flesh tones and untrue to nature.

J. Grangedor. "Le Salon de 1868." Gazette des beaux-arts 24 (June 1, 1868), p. 520.

[André Gill]. Gill-revue: Le salon pour rire (1868), p. 11, satirizes it in a cartoon.

Emile Zola. "Mon salon." L'evènement illustré (May 10, 1868) [reprinted in F. W. J. Hemmings and Robert J. Niess, "Émile Zola Salons," Paris, 1959, p. 124], expresses admiration for the handling of the costume.

Théophile Gautier. "Salon de 1868." Le moniteur universel (May 11, 1868) [reprinted in A. Tabarant, "Manet, histoire catalographique," Paris 1931, p. 150], criticizes it harshly.

Marius Chaumelin. "Salon de 1868." La Presse (1868) [reprinted in Chaumelin, "L'Art contemporain," Paris, 1873, pp. 136-37], dislikes the inclusion of the parrot in the composition.

B. de Renjarde. "Salon de 1868. VII. L'Ecole du laid." Le Petit journal (May 28, 1868), p. 3.

P. Véron. Le monde illustré (August 1, 1868), p. 67 [reprinted in A. Tabarant, "Manet et ses œuvres," Paris, 1947, p. 147], alludes to this picture in expounding the theme that Manet exploited ugliness.

Louis Auvray. Exposition des Beaux-Arts: Salon de 1868. Paris, 1868, pp. 73-74.

Durand-Brager. "Le salon de 1868." Le pays (June 4, 1868) [see Ref. Rouart and Wildenstein 1975].

E. Roger de Tranoir. "Salon de 1868." Le figaro-programme (June 12, 1868) [see Ref. Rouart and Wildenstein 1975].

T. Révillon. "Salon de 1868." La petite presse (May 9, 1868) [see Ref. Rouart and Wildenstein 1975].

Henri Fouquier. "Salon de 1868." L'avenir national (May 20, 1868) [see Ref. Rouart and Wildenstein 1975].

Louis Leroy. "La session de Salon de 1868." Le Charivari (June 4, 1868), p. 3 [see Ref. Loyrette 1994].

G. de Varennes. "Salon de 1868." La gazette de France (May 18, 1868) [see Ref. Rouart and Wildenstein 1975].

T. Thoré. Salon de 1868 (1868) [reprinted in T. Thoré, "Salons de W. Bürger, 1861 à 1868," vol. 2, Paris, 1870, pp. 461, 532-33].

Edouard Manet. Memorandum of Paintings Sold to Durand-Ruel. [January-February 1872] [published and translated in Ref. Wilson-Bareau 1991, p. 163], notes that he sold it to Durand-Ruel for Fr 1,500.

Edmond Bazire. Manet. Paris, 1884, p. 60, discusses reaction to this painting at the Salon of 1868.

"Impressionists and Imitators." The Collector 1 (November 15, 1889), p. 11, as "Woman with the Parrot".

William Sharp. "The Art Treasures of America (Concluded.)." Living Age, 7th ser., 1 (December 3, 1898), p. 606, as "Girl with a Parrot".

Arthur Hoeber. The Treasures of The Metropolitan Museum of Art of New York. New York, 1899, p. 90.

Théodore Duret. Histoire d'Édouard Manet et de son œuvre. Paris, 1902, pp. 55-56, 214, no. 88, notes that it was poorly received by the public at the Salon of 1868 and that it was rudely called "Femme au perroquet".

Hugo v. Tschudi. Édouard Manet. Berlin, 1902, p. 19.

Etienne Moreau-Nélaton. Manuscrit de l'œuvre d'Édouard Manet, peinture et pastels. [1906], unpaginated, no. 89 [Département des Estampes, Bibliothèque Nationale de France, Paris], calls it "Jeune dame en 1866" or "La femme au perroquet".

Frank Fowler. "The Field of Art: Modern Foreign Paintings at the Metropolitan Museum, Some Examples of the French School." Scribner's Magazine 44 (September 1908), p. 381, discusses the use of color and notes the "marvellous painter-like quality of the half-peeled orange".

Erich Hancke. "Manet als Porträtmaler." Kunst und Künstler 8 (February 1910), pp. 247-48, ill., notes that the figure recalls silhouettes found in Japanese art.

Emil Waldmann. "Französische Bilder in amerikanischem Privatbesitz II." Kunst und Künstler 9 (December 1910), p. 137.

Paul Durand-Ruel. Mémoires de Paul Durand-Ruel. 1911-12 [published in Lionello Venturi, "Les archives de l'impressionnisme," Paris, 1939, vol. 2, pp. 190, 206, no. 88].

Jean Laran and Georges Le Bas. Manet. Paris, 1912, pp. 51-52, pl. XVIII, mention that it was referred to as "La jeune Dame en 1866," "La femme en rose," and "La femme au perroquet"; cite contemporary criticism.

Julius Meier-Graefe. Édouard Manet. Munich, 1912, p. 312, pl. 91.

Théodore Duret. Manet and the French Impressionists. 2nd ed. [1st ed. 1910]. London, 1912, pp. 58, 228, no. 88, ill. opp. p. 46.

Katharine Metcalf Roof. The Life and Art of William Merritt Chase. New York, 1917, p. 94, notes that Chase told Weir that Durand-Ruel had this painting and another by Manet for sale in their gallery.

Duncan Phillips. Julian Alden Weir: An Appreciation of His Life and Works. New York, 1921, p. 21, comments that Erwin Davis commissioned Weir to buy Impressionist paintings for him in Paris, including this one.

Emil Waldmann. Édouard Manet. Berlin, 1923, pp. 46-47, 72, ill.

Etienne Moreau-Nélaton. Manet raconté par lui-même. Paris, 1926, vol. 1, pp. 86 n.1, 98-99, fig. 91; vol. 2, pp. 114, 128, cites contemporary criticism and identifies it as no. 39 in Manet's 1884 exhibition.

Paul Jamot. "Manet as Portrait Painter." Burlington Magazine 49 (December 1926), pp. 302, 306-9, fig. A, identifies the woman as Victorine Meurend, a model that Manet painted numerous times; declares it a masterpiece and comments on its delicacy, subtlety, and grandeur; notes its influence on Renoir's "Portrait of Mme Maître".

Paul Jamot. "Manet, 'Le fifre' et Victorine Meurend." Revue de l'art ancien et moderne 51 (January-May 1927), pp. 36, 39-41, ill. (overall and detail), remarks that the model's proportions have been elongated.

Charles V. Wheeler. Manet, An Essay. Washington, 1930, pp. 39-40, ill.

A. Tabarant. Manet, histoire catalographique. Paris, 1931, pp. 149-51, no. 111, provides provenance information and reprints contemporary criticism.

Charles Léger. Édouard Manet. Paris, 1931, pp. 10-11, pl. 8.

Paul Jamot and Georges Wildenstein. Manet. Paris, 1932, vol. 1, pp. 37-39, 42-43, 83, 107, 133, no. 132; vol. 2, fig. 38, suggest that it was no. 40, "Jeune fille en peignoir rose," in the inventory made of Manet's works after his death.

"Notes biographiques." L'Amour de l'art 13 (May 1932), p. 146.

Paul Colin. Édouard Manet. Paris, 1932, pp. 33, 74, pl. XX.

Paul Jamot. "La poésie de Manet." L'Amour de l'art 13 (May 1932), p. 151, calls it "baudelairien".

Introduction by René Huyghe. Cent trente chefs-d'œuvre de l'art français du moyen age au XXe siècle. Paris, 1937, pl. 101.

Charles Sterling in Chefs d'œuvre de l'art français. Exh. cat., Palais National des Arts. Paris, 1937, pp. 176-77, no. 356.

Robert Rey. Manet. English ed. [French ed. 1938]. New York, 1938, pp. 14, 75, ill.

Ernst Scheyer. "Far Eastern Art and French Impressionism." The Art Quarterly 6 (Spring 1943), p. 125, dates it 1868 and notes the influence of Japanese art.

Louis Piérard. Manet l'incompris. Paris, 1944, p. 73, finds the composition similar to works by Alfred Stevens.

Ima N. Ebin. "Manet and Zola." Gazette des beaux-arts 27 (June 1945), pp. 361-63, fig. 3, notes that Zola was the first to criticize this work.

Hans Huth. "Impressionism Comes to America." Gazette des beaux-arts, 6th ser., 29 (April 1946), p. 233.

A. Tabarant. Manet et ses œuvres. 4th ed. (1st. ed. 1942). Paris, 1947, pp. 119, 124, 146-47, 149-50, 195, 323, 492, 516, 536, no. 115, fig. 115, notes that it was included in a private exhibition held in Manet's studio on the rue de Guyot in 1866.

Michel Florisoone. Manet. Monaco, 1947, pp. xxi, 38, ill., includes it among the pictures reflecting Manet's study of Velázquez at the Prado.

Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 63.

George Heard Hamilton. Manet and His Critics. New Haven, 1954, pp. 101, 114-16, 118-20, 124, 130, 209, 276, 279, pl. 18, reprints and discusses contemporary criticism.

Nils Gösta Sandblad. Manet: Three Studies in Artistic Conception. Lund, 1954, pp. 83, 104, 150.

J.-L. Vaudoyer. E. Manet. Paris, [1955], unpaginated, no. 22, ill. (overall and detail).

James Thrall Soby. De David à Toulouse-Lautrec: Chefs-d'œuvre des collections américaines. Exh. cat., Musée de l'Orangerie. Paris, 1955, unpaginated, no. 38, pl. 35.

A. Hyatt Mayor. "The Gifts that Made the Museum." Metropolitan Museum of Art Bulletin 16 (November 1957), p. 100.

Jean Sutherland Boggs. "Degas Notebooks at the Bibliothèque Nationale III: Group C (1863-1886)." Burlington Magazine 100 (July 1958), p. 243 n. 6, compares The Met's painting to Degas's pencil study for his "Girl in Red" (ca. 1866, National Gallery of Art, Washington), where the figure appears with a parrot (Notebook C 1, p. 27, Bibliothèque Nationale, Paris); suggests that Manet and Degas may have shared the same model when working on these two paintings.

Henri Perruchot. La vie de Manet. Paris, 1959, pp. 193-94.

François Daulte. "Le marchand des impressionnistes." L'Oeil no. 66 (June 1960), p. 58, reproduces the page from Durand-Ruel's account book where the purchase of this picture from Manet in January 1872 is recorded.

Jean Sutherland Boggs. Portraits by Degas. Berkeley, 1962, p. 33, fig. 47.

Pierre Courthion. Édouard Manet. New York, 1962, pp. 88-89, ill. (color), notes that Manet seems to return to an "earlier manner" in this picture; identifies the violets as Parma violets.

A. Tabarant. La Vie artistique au temps de Baudelaire. 2nd ed. (1st ed. 1942). [Paris], 1963, p. 376.

George Heard Hamilton. "Is Manet Still 'Modern'?" Art News Annual 31 (1966), pp. 160, erroneously calls it "Young Lady in 1868".

Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX-XX Centuries. New York, 1967, pp. 40-43, ill., note that this could not have been the picture lent by Gérard to Manet's posthumous exhibition of 1884 as "Une jeune femme, 1867" because it had already been acquired by J. Alden Weir, probably in 1881, for Erwin Davis.

Joel Isaacson. "The Early Paintings of Claude Monet." PhD diss., University of California, Berkeley, 1967, pp. 190-91, 311 n. 11, p. 313 n. 22, p. 319 n. 27.

Sandra Orienti in The Complete Paintings of Manet. New York, 1967, p. 96, no. 103, ill.

Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill.

Merete Bodelsen. "Early Impressionist Sales 1874-94 in the Light of some Unpublished 'procès verbaux'." Burlington Magazine 110 (June 1968), pp. 339-40, publishes excerpts from the original record of the Hoschedé sale of 1878.

Joel Isaacson. Manet and Spain, Prints and Drawings. Exh. cat., The Museum of Art, The University of Michigan. Ann Arbor, Mich., 1969, p. 11, relates it to Velázquez's full-length figure compositions.

Michael Fried. "Manet's Sources." Artforum 7 (March 1969), p. 57, notes the influence of Watteau.

William S. Talbot. "Henri Fantin-Latour: Madame Henri Lerolle." Bulletin of the Cleveland Museum of Art 56 (November 1969), p. 313, fig. 4.

Sharon Flescher in From Realism to Symbolism: Whistler and His World. Ed. Allen Staley. Exh. cat., Wildenstein & Co., Inc. New York, 1971, p. 98, no. 96, pl. 16, suggests that Manet could have been influenced by Whistler's "White Girl".

Denys Sutton, ed. Letters of Roger Fry. New York, 1972, p. 24.

John L. Connolly Jr. "Ingres and the Erotic Intellect." Art News Annual Ed. Linda Nochlin and Thomas B. Hess., Woman as Sex Object, Studies in Erotic Art, 1730-1970, 38 (1972), pp. 25-27, ill., calls this an "essay" on the five senses.

Joel Isaacson. Monet: Le déjeuner sur l'herbe. New York, 1972, pp. 84, 114 n. 96.

Mona Hadler. "Manet's 'Woman with a Parrot' of 1866." Metropolitan Museum Journal 7 (1973), pp. 115-22, fig. 1, identifies the parrot as a Jaco, a type indigenous to Africa; discusses the relationship between the woman and the parrot.

Richard J. Boyle. American Impressionism. Boston, 1974, pp. 159-60.

Carl R. Baldwin. The Impressionist Epoch. Exh. brochure, The Metropolitan Museum of Art. [New York], 1974, p. 12.

Charles S. Moffett in Impressionism: A Centenary Exhibition. Exh. cat., The Metropolitan Museum of Art. New York, 1974, pp. 110-14, 124, 126, no. 19, ill. (color, overall and detail) [French ed., "Centenaire de l'impressionnisme," Paris].

George Mauner. Manet, Peintre-Philosophe: A Study of the Painter's Themes. University Park, Pa., 1975, pp. 136-37, 140, fig. 81, interprets it as a study of the five senses.

Denis Rouart and Daniel Wildenstein. Édouard Manet, catalogue raisonné. Paris, 1975, vol. 1, pp. 5, 15, 17, 20, 112-13, no. 115, ill.

Theodore Reff. The Notebooks of Edgar Degas: A Catalogue of the Thirty-Eight Notebooks in the Bibliothèque Nationale and Other Collections. Oxford, 1976, vol. 1, p. 111 (notebook 22, p. 27), notes that Degas's sketch of a woman wearing a dressing gown, with a parrot perched on her right hand (Bibliothèque Nationale, Paris), probably a study for "Girl in Red" (ca. 1866, National Gallery of Art, Washington), was "evidently inspired by" The Met's picture, remarking that Manet's painting was exhibited in 1867 and 1868 [presumably to suggest occasions when Degas could have seen it].

Anne Coffin Hanson. Manet and the Modern Tradition. New Haven, 1977, pp. 75-76.

Sharon Flescher. Zacharie Astruc: Critic, Artist and Japoniste. PhD diss., Columbia University. New York, 1978, p. 189.

Bertrand Marret in Phaidon Encyclopedia of Impressionism. Ed. Maurice Sérullaz. Oxford, 1978, p. 231, ill., incorrectly dates it 1868.

Theodore Reff. "Courbet and Manet." Arts Magazine 54 (March 1980), pp. 101, 103, fig. 14.

Frances Weitzenhoffer. "First Manet Paintings to Enter an American Museum." Gazette des beaux-arts, 6th ser., 97 (March 1981), pp. 125, 127-28, describes in detail Erwin Davis's acquisition, attempted sale, and donation of this picture.

Novelene Ross. Manet's 'Bar at the Folies-Bergère' and the Myths of Popular Illustration. Ann Arbor, Mich., 1982, p. 49, pl. 29.

Charles S. Moffett in Manet, 1832-1883. Ed. Françoise Cachin and Charles S. Moffett. Exh. cat., The Metropolitan Museum of Art. New York, 1983, pp. 58, 109, 201, 254-58, no. 96, ill. (color, overall and detail) [French ed., Paris, pp. 109, 201, 254-58, no. 96, ill. (color, overall and detail)].

Françoise Cachin in Manet, 1832-1883. Ed. Françoise Cachin and Charles S. Moffett. Exh. cat., The Metropolitan Museum of Art. New York, 1983, pp. 58, 318 [French ed., Paris].

Anne Distel. "Albert Hecht, collectionneur (1842-1889)." Bulletin de la Société de l'Histoire de l'Art Français, année 1981, (1983), pp. 271, 273 n. 21, believes that it was probably Henri, and not his brother Albert, who bought this picture at the Hoschedé sale in 1878; refutes that Durand-Ruel sold it through J. Alden Weir to Erwin Davis in 1881, suggesting that it was included in the Manet retrospective of 1884 as no. 39, "Une jeune femme," Salon de 1868, as in the collection of Gérard.

Pierre Daix. La vie de peintre d'Édouard Manet. Paris, 1983, pp. 151, 156, 176, fig. 23.

Charles F. Stuckey. Manet. Mount Vernon, N.Y., 1983, p. 11, colorpl. 8, notes that the parrot on its stand suggests a courtesan's bedroom.

John House. "Seeing Manet Whole." Art in America 71 (November 1983), pp. 181, 185, as "Woman with a Parrot".

Charles F. Stuckey. "Manet Revised: Whodunit?" Art in America 71 (November 1983), pp. 161, 239 n. 13, ill. (overall and x-radiograph), discusses the picture's "battle scars" visible in the x-radiograph, including the multiple times Manet scraped out the head to arrive at one with which he was content; notes that his final changes to the painting may postdate Monet's (1867) and Gautier's (1868) criticisms of it.

Peter Hecht. "Manet et les Hollandais, ou la tradition du 'contemporain'." Septentrion 13 (April 1984), pp. 47-48, comments that attempts to interpret this painting as an allegory of the five senses are misplaced, asserting that the hidden symbolism in seventeenth-century Dutch painting was largely unrecognized in the nineteenth century.

John Pope-Hennessy. "Roger Fry and The Metropolitan Museum of Art." Oxford, China, and Italy: Writings in Honour of Sir Harold Acton on his Eightieth Birthday. Ed. Edward Chaney and Neil Ritchie. London, 1984, pp. 231, 235-36, notes that Roger Fry "fancied himself a restorer" and identifies this painting as the most important picture he treated in New York.

Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 36-37, ill. (color, overall and detail).

Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, p. 35, pl. 7.

Maureen C. O'Brien in Maureen C. O'Brien. In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition. Exh. cat., Parrish Art Museum. Southampton, N.Y., 1986, pp. 25, 35, 37-38, 96, 146, 154, 160-61, fig. 28, colorpl. XVIII, reproduces the 1883 exhibition catalogue; discusses the "show-stopper" status of this picture and Manet's "Boy with a Sword" (MMA 89.21.2) due to preferential hanging in the place of honor, the south wall of the paintings gallery, which they shared with Degas at the exhibition of 1883.

Kathleen Adler. Manet. Oxford, 1986, pp. 87-88, 92, 101, 230 nn. 12 and 13, colorpl. 76, remarks that the fruit in this picture is the shape and size of an orange, but the color of a lemon, and that it appears to be a "citron," which were grown in orangeries in the nineteenth century "and so, particularly appropriate in connection with the exoticism of the parrot"; notes that radiography has revealed that Manet repainted the head extensively, "perhaps in response to criticism it received at the Salon".

Ronald G. Pisano in Maureen C. O'Brien. In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition. Exh. cat., Parrish Art Museum. Southampton, N.Y., 1986, pp. 63, 69.

John House in The Hidden Face of Manet: An Investigation of the Artist's Working Processes. Exh. cat., Courtauld Institute Galleries. [London?], 1986, p. 12.

Sjraar van Heutgen et al. in Franse meesters uit het Metropolitan Museum of Art: Realisten en Impressionisten. Exh. cat., Rijksmuseum Vincent van Gogh, Amsterdam. Zwolle, The Netherlands, 1987, pp. 11, 13, fig. 1.

Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, pp. 6, 14-15, colorpls. 3 (overall and detail), agree with the spelling "Meurent".

Gary Tinterow et al. Capolavori impressionisti dei musei americani. Exh. cat., Museo di Capodimonte, Naples. Milan, 1987, p. 54, notes that this and the "Boy with a Sword" (MMA 89.21.2) were the first of Manet's pictures to enter a public collection in the United States.

Larry L. Ligo. "Baudelaire's Mistress Reclining and Young Woman Reclining in Spanish Costume: Manet's Pendant Portraits of his Acknowledged 'Mistresses,' Baudelairian Aesthetics and Photography." Arts Magazine 62 (January 1988), 77-78, 84 nn. 14-15, fig. 4, discusses the iconography of the picture to support his theory that the woman portrayed is intended to represent a courtesan.

Horst Keller. Edouard Manet. Munich, 1989, pp. 34, 39, 81, 173, colorpl. 59.

Mikael Wivel, Juliet Wilson-Bareau, and Hanne Finsen. Manet. Exh. cat., Ordrupgaard. Copenhagen, 1989, pp. 35, 50, 66, 90-93, 95, 98, 140, no. 15, ill. (color).

Anne Distel. Impressionism: The First Collectors. New York, 1990, pp. 104, 240-42, colorpl. 210.

Françoise Cachin. Manet. [Paris], 1990, pp. 66-67, 158, colorpl. 3.

Martine Bacherich. Je regarde Manet. Paris, 1990, pp. 103, 130.

Éric Darragon. Manet. Paris, 1991, pp. 178, 180, 183-84, 212, 275, 280, 381, 398, fig. 106 (color).

John House. "Degas' 'Tableaux de Genre'." Dealing with Degas: Representations of Women and the Politics of Vision. Ed. Richard Kendall and Griselda Pollock. London, 1992, p. 89.

Eunice Lipton. Alias Olympia: A Woman's Search for Manet's Notorious Model & Her Own Desire. New York, 1992, pp. 50, 90, 132.

Margaret Fitzgerald Farr. "Impressionist Portraiture: A Study in Context and Meaning." PhD diss., University of North Carolina at Chapel Hill, 1992, pp. 167-70, p. 175 n. 31, pl. 28.

Vivien Perutz. Édouard Manet. Lewisburg, Pa., 1993, pp. 89-90, colorpl. 15, remarks that the monocle and the violets are Manet's revival of the seventeenth-century theme of the five senses and the that "trailing orange peel is . . . a playful reference to a Dutch image of time and so to the 'vanitas' warnings that frequently accompany depictions of the senses".

H. Barbara Weinberg in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 76.

Brigitte Le Juez. "'La femme au perroquet': Un portrait de la femme au XIXe siècle." French Studies Bulletin 47 (Summer 1993), pp. 10-12.

Gary Tinterow and Henri Loyrette. Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. xiii, 296, 318 [French ed., "Impressionnisme: Les origines, 1859-1869," Paris, pp. XIII, 296, 319].

Henri Loyrette in Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 197, 201, 207, 212, 362, 373, 408-10, no. 103, ill. (colorpl. 243 and black and white) [French ed., Paris, pp. 197, 200, 207, 210, 360, 372, 405-7, ill. (colorpl. 243 and black and white)], compares it to Monet's "Camille (La femme à la robe verte)" (Kunsthalle Bremen).

Marie Simon. Fashion in Art: The Second Empire and Impressionism. London, 1995, pp. 202, 205, ill. p. 204 (color).

Michel Schulman. Frédéric Bazille, 1841-1870: Catalogue raisonné, Peintures-Dessins, pastels, aquarelles. Paris, 1995, p. 358, notes that the picture was quickly called "Femme en rose" (Woman in Pink), especially by Zola.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 444, ill.

Michael Fried. Manet's Modernism: or, The Face of Painting in the 1860s. Chicago, 1996, pp. 2, 103, 279, 303-4, 334, fig. 56, notes the inspiration of Watteau and of Velázquez.

Beth Archer Brombert. Édouard Manet: Rebel in a Frock Coat. Boston, 1996, pp. 119, 207-8, 306, 443, 471 n. 19, fig. 19, discusses the symbolism of the monocle.

Alan Krell. Manet and the Painters of Contemporary Life. London, 1996, pp. 34, 49, 77, 81-82, 174, colorpl. 71, fig. 72 (detail), reproduces Randon's caricature (fig. 70), but misidentifies the artist as Bertall and mistakenly gives the publication date as May 19, 1867.

Colin B. Bailey in Colin B. Bailey. Renoir's Portraits: Impressions of an Age. Exh. cat., National Gallery of Canada, Ottawa. New Haven, 1997, p. 114, cites its mood and technique as an influence on Renoir's "Rapha Maître" (private collection).

Juliet Wilson-Bareau. Manet, Monet, and the Gare Saint-Lazare. Exh. cat., National Gallery of Art. New Haven, 1998, pp. 1, 20-23, 25, 194, no. 15, colorpls. 13 and 14 (overall and detail) [French ed., "Manet, Monet: La Gare Saint-Lazare." pp. 20-23, 195, no. 15, colorpls. 13 and 14 (overall and detail)], remarks that it is the first time that Victorine appears as herself in one of Manet's paintings.

Carol Armstrong. "To Paint, to Point, to Pose: Manet's 'Le déjeuner sur l'herbe'." Manet's "Le déjeuner sur l'herbe". Ed. Paul Hayes Tucker. Cambridge, 1998, pp. 98-99, 101-2, fig. 29, compares it with the "The Fifer" (Musée d'Orsay, Paris) and the "Street Singer" (Museum of Fine Arts, Boston).

Important Paintings and Sculpture formerly in the Auguste Pellerin Collection. Christie's, New York. November 8, 1999, p. 50.

Katharina Schmidt in Manet, Zola, Cézanne: Das Porträt des modernen Literaten. Ed. Katharina Schmidt. Ostfildern-Ruit, Germany, 1999, pp. 30, 33, 45 n. 45, fig. 12.

George Mauner and Henri Loyrette. Manet: The Still-Life Paintings. Exh. cat., Musée d'Orsay. New York, 2000, pp. 13, 17-19, 22, 60, 154, fig. 10 (color) [French ed., "Manet: Les natures mortes," Paris, pp. 33-34, fig. 9 (color)], compares it to a painting, "Girl with a Rose," from about 1643 by a Neapolitan artist known as The Master of the Annunciation (DeVito collection, Naples) to support his reading of this work as a representation of the theme of the five senses, noting that although Manet probably did not know this particular work he was familiar with the type.

Rebecca A. Rabinow. "Modern Art Comes to the Metropolitan: The 1921 Exhibition of 'Impressionist and Post-Impressionist Paintings'." Apollo 152 (October 2000), pp. 4, 9 n. 13.

William H. Gerdts. American Impressionism. 2nd ed. New York, 2001, p. 105.

Nancy Locke. Manet and the Family Romance. Princeton, 2001, pp. 99-100, 157-58, 162, fig. 45.

Marie Lathers in Dictionary of Artists' Models. Ed. Jill Berk Jiminez and Joanna Banham. London, 2001, pp. 370-71.

Carol Armstrong. Manet Manette. New Haven, 2002, pp. 11, 15-16, 20, 28, 40-42, 49, 143-44, 159-60, 164-72, 179, 193, 324 n. 24, p. 355 n. 27, p. 356 nn. 40-41, p. 357 n. 48, ill. (overall: colorpl. pl. 68 and fig. 15; details [color]).

Juliet Wilson-Bareau in Gary Tinterow and Geneviève Lacambre. Manet/Velázquez: The French Taste for Spanish Painting. Exh. cat., Musée d'Orsay, Paris. New York, 2003, pp. 220, 222, 288, fig. 9.33 (color).

Manuela B. Mena Marqués in Manet en el Prado. Ed. Manuela B. Mena Marqués. Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 186, 276, 338, 472, 490, fig. 92.

Juliet Wilson-Bareau in Manet en el Prado. Ed. Manuela B. Mena Marqués. Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 50, 385.

Gudrun Mühle-Maurer in Manet en el Prado. Ed. Manuela B. Mena Marqués. Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 354, 496.

Arden Reed. Manet, Flaubert, and the Emergence of Modernism: Blurring Genre Boundaries. Cambridge, 2003, pp. 1-347, ill. (details), and colorpl. IX, quotes contemporary criticism, noting that it was mentioned in only 28 (of 134) reviews of the salon, mostly unfavorably; discusses it in relation to Flaubert's works.

Madeleine Korn. "Exhibitions of Modern French Art and Their Influence on Collectors in Britain 1870-1918: The Davies Sisters in Context." Journal of the History of Collections 16, no. 2 (2004), pp. 195, 208, fig. 4.

Dorothee Hansen in Monet und "Camille": Frauenportraits im Impressionismus. Ed. Dorothee Hansen and Wulf Herzogenrath. Exh. cat., Kunsthalle Bremen. Munich, 2005, pp. 100, 103, 190, no. 19, ill. pp. 14, 101-2, 190 (color, overall and detail), compares it to Monet's "Camille" (Kunsthalle Bremen) of the same year.

Uwe Fleckner in Monet und "Camille": Frauenportraits im Impressionismus. Ed. Dorothee Hansen and Wulf Herzogenrath. Exh. cat., Kunsthalle Bremen. Munich, 2005, p. 47.

Solfrid Söderlind in Monet und "Camille": Frauenportraits im Impressionismus. Ed. Dorothee Hansen and Wulf Herzogenrath. Exh. cat., Kunsthalle Bremen. Munich, 2005, p. 248, compares it to Velázquez's portraits.

Birgit Haase in Monet und "Camille": Frauenportraits im Impressionismus. Ed. Dorothee Hansen and Wulf Herzogenrath. Exh. cat., Kunsthalle Bremen. Munich, 2005, p. 103.

Ross King. The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism. New York, 2006, pp. 222, 227, 243.

Gary Tinterow in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800-1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 6, 80, figs. 15, 16 (installation photos, color).

Kathryn Calley Galitz in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800-1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, p. 48.

19th Century European Paintings. Sotheby's, London. June 27, 2007, p. 243, under no. 222, fig. 6 (color).

Michèle Haddad. Gustave Courbet: Peinture et histoire. Sainte-Croix, 2007, pp. 138, 141-42.

Kathryn Calley Galitz in Masterpieces of European Painting, 1800-1920, in The Metropolitan Museum of Art. New York, 2007, p. 58.

Tamar Garb. The Painted Face: Portraits of Women in France 1814-1914. New Haven, 2007, pp. 66, 94, 257 n. 18, colorpls. 61 (overall), 94 (detail), discusses the relationship of the painting's parrot to that in Courbet's "Woman with a Parrot" (MMA 29.100.57) and the recurrence of its lemon peel as a signature element of the painter's in Manet's "Portrait of Zacharie Astruc" (Kunsthalle, Bremen) of the same year as well as in "Luncheon in the Studio" (Neue Pinakothek, Munich) and "Portrait of Théodore Duret" (1868, Petit Palais, Musée des Beaux-Arts de la Ville de Paris) two years later.

Helen Burnham. "Fashion and the Representation of Modernity: Studies in the Late Work of Edouard Manet (1832-1883)." PhD diss., Institute of Fine Arts, New York University, 2007, p. 151 n. 270.

Laurence des Cars in Gustave Courbet. Exh. cat., The Metropolitan Museum of Art. New York, 2008, p. 66, fig. 6 (color) [French ed., Paris, 2007].

Aruna D'Souza. Cézanne's Bathers: Biography and the Erotics of Paint. University Park, Pa., 2008, pp. x, 54, fig. 29.

Bruce Altshuler, ed. Salon to Biennial-Exhibitions That Made Art History, 1863-1959. Vol. 1, London, 2008, p. 95, as "The Lady with the Parrot".

Anne Distel. Renoir. New York, 2010, p. 69.

Stéphane Guégan in Birth of Impressionism: Masterpieces from the Musée d'Orsay. Exh. cat., de Young Museum, Fine Arts Museums of San Francisco. San Francisco, 2010, pp. 94-95, fig. 28 (color).

Juliet Wilson-Bareau in Manet et le Paris moderne. Exh. cat., Mitsubishi Ichigokan Museum. Tokyo, 2010, pp. 308, 311 n. 40.

Laurence des Cars in Manet, inventeur du Moderne. Exh. cat., Musée d'Orsay. Paris, 2011, p. 45.

Simon Kelly in Manet, inventeur du Moderne. Exh. cat., Musée d'Orsay. Paris, 2011, pp. 63, 68 n. 38.

Stéphane Guégan in Manet, inventeur du Moderne. Exh. cat., Musée d'Orsay. Paris, 2011, p. 37.

Paul-Louis Durand-Ruel and Flavie Durand-Ruel in Manet, inventeur du Moderne. Exh. cat., Musée d'Orsay. Paris, 2011, pp. 284-85.

Gary Tinterow in Impressionism, Fashion, & Modernity. Ed. Gloria Groom. Exh. cat., Musée d'Orsay, Paris. Chicago, 2012, pp. 21, 26, 29-31, 304- 5 nn. 1-9, ill. pp. 27 and 29 (color, overall and detail) [French ed., "L'Impressionnisme et la Mode," Paris, pp. 31, 41-44, ill. p. 40 (color)], compares it to Tissot's "Portrait of the Marquise de Miramon, née Thérèse Feuillant" (J. Paul Getty Museum, Los Angeles) and to Gavarni's "Lorette in Dressing Gown with a Parrot" from Étienne de Neufville's "Physiologie de la femme" (1842); notes that critical attention at the exhibitions of 1867 and 1868 focused on the new pale salmon color of her peignoir, an aniline dye first produced for commercial textiles only after 1860; notes that an x-radiograph of the painting shows that the dress was originally two inches wider on each side and longer along the bottom and that these changes demonstrate Manet's concern over the peignoir's silhouette.

Gloria Groom in Impressionism, Fashion, & Modernity. Ed. Gloria Groom. Exh. cat., Musée d'Orsay, Paris. Chicago, 2012, p. 38 [French ed., "L'Impressionnisme et la Mode," Paris, p. 78], notes that Victorine probably did not own the peignoir.

Justine De Young in Impressionism, Fashion, & Modernity. Ed. Gloria Groom. Exh. cat., Musée d'Orsay, Paris. Chicago, 2012, p. 120 [French ed., "L'Impressionnisme et la Mode," Paris, p. 150].

Impressionism, Fashion, & Modernity. Ed. Gloria Groom. Exh. cat., Musée d'Orsay, Paris. Chicago, 2012, p. 283, no. 9, ill. (color) [French ed., "L'Impressionnisme et la Mode," Paris, p. 299, no. 24].

MaryAnne Stevens in Manet: Portraying Life. Exh. cat., Toledo Museum of Art. London, 2012, pp. 26, 31-32, 191, under no. 36, p. 197, under no. 51, fig. 10 (color), suggests an association with Manet's "Portrait of Mme Brunet" (1860-63, J. Paul Getty Museum, Los Angeles), which was included in the 1884 studio sale under the title "Woman of 1860".

Stéphane Guégan in Manet: Portraying Life. Exh. cat., Toledo Museum of Art. London, 2012, pp. 39, 202 n. 15, notes that its "redefined eroticism" eluded the reviewer Théophile Gautier at the 1868 Salon.

Sarah Lea in Manet: Portraying Life. Exh. cat., Toledo Museum of Art. London, 2012, p. 170.

Juliet Wilson-Bareau. "Edouard Manet dans ses ateliers." Ironie no. 161 (January/February 2012), unpaginated.

Mark A. Roglán in Nineteenth-Century European Paintings at the Sterling and Francine Clark Art Institute. Ed. Sarah Lees. Williamstown, Mass., 2012, vol. 1, p. 464, under no. 200, compares it to Raimundo de Madrazo y Garreta's "Woman with a Parrot" (ca. 1872, Clark Art Institute, Williamstown) and notes that Madrazo may have seen Manet's picture on exhibition in Paris either in 1867 or in 1868.

John House in Nineteenth-Century European Paintings at the Sterling and Francine Clark Art Institute. Ed. Sarah Lees. Williamstown, Mass., 2012, vol. 2, p. 682, under no. 282, compares it to Renoir's "Child with a Bird (Mademoiselle Fleury in Algerian Costume)" (1882, Clark Art Institute, Williamstown).

Michael F. Zimmermann in Renoir, Between Bohemia and Bourgeoisie: The Early Years. Exh. cat., Kunstmuseum Basel. Ostfildern, 2012, p. 34.

Stefanie Manthey and Nina Zimmer in Renoir, Between Bohemia and Bourgeoisie: The Early Years. Exh. cat., Kunstmuseum Basel. Ostfildern, 2012, p. 103 n. 5.

Susan Sidlauskas in Perspectives on Manet. Ed. Therese Dolan. Farnham, Surrey, 2012, pp. 35, 39.

Robert Lethbridge in Perspectives on Manet. Ed. Therese Dolan. Farnham, Surrey, 2012, pp. 109-10.

Jean Colrat. Cézanne: Joindre les mains errantes de la nature. Paris, 2013, p. 412, compares it to Cézanne's images of women with parrots.

Stéphane Guégan in Manet: Ritorno a Venezia. Ed. Stéphane Guégan. Exh. cat., Palazzo Ducale. Venice, 2013, pp. 141-42.

Cesare de Seta in Manet: Ritorno a Venezia. Ed. Stéphane Guégan. Exh. cat., Palazzo Ducale. Venice, 2013, p. 63.

Ed Lilley. "Manet and His London Critics Revisited." Burlington Magazine 156 (April 2014), p. 232.

MaryAnne Stevens in Degas: Klassik und Experiment. Ed. Alexander Eiling. Exh. cat., Staatliche Kunsthalle Karlsruhe. Munich, 2014, pp. 45, 52 n. 20, fig. 3 (color).

Janet Whitmore. "Exhibition review of 'Impressionism, Fashion, and Modernity'." Nineteenth-Century Art Worldwide 13 (Spring 2014), fig. 29 (color) [http://www.19thc-artworldwide.org/spring14/whitmore-reviews-impressionism-fashion-and-modernity], discusses its display at the Chicago venue in the gallery entitled "In the Boudoir" and contrasts it to Henri Gervex's "Rolla" (1878; Musée d'Orsay, Paris).

Colin B. Bailey. "The Floating Studio." New York Review of Books 62 (April 23, 2015), p. 55.

Roberta Crisci-Richardson. Mapping Degas: Real Spaces, Symbolic Spaces and Invented Spaces in the Life and Work of Edgar Degas (1834-1917). Newcastle upon Tyne, 2015, p. 127, states that Degas probably sketched from the picture, either at Manet's exhibition in Paris in 1867 or after visiting it.

Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, pp. 437-38, no. 358, ill. pp. 367, 438 (color).

Paul Perrin in Spectaculaire Second Empire. Ed. Guy Cogeval et al. Exh. cat., Musée d'Orsay. Paris, 2016, p. 94.

Henri Loyrette. Degas: A New Vision. Exh. cat., National Gallery of Victoria. Melbourne, 2016, p. 24.

Edouard Manet. Ed. Gerhard Finckh. Exh. cat., Von der Heydt-Museum. Wuppertal, 2017, pp. 118, 306, as both "Dame mit dem Papagei" and "Die junge Dame mit dem Papagei".

Pierre Bourdieu. Manet: A Symbolic Revolution. Cambridge, 2017, pp. 226, 260, 343, 459, 464, colorpl. 38.

Juliet Wilson-Bareau and Genevieve Westerby in Manet Paintings and Works on Paper at the Art Institute of Chicago. Ed. Gloria Groom and Genevieve Westerby. Chicago, 2019, under nos. 10-11 [https://publications.artic.edu/manet/reader/manetart/section/140038], reproduce Durand-Ruel's stock book page for the picture from their 1868-73 stock book (Archives Durand-Ruel).

Emily A. Beeny in Manet and Modern Beauty: The Artist's Last Years. Ed. Scott Allan, Emily A. Beeny, and Gloria Groom. Exh. cat., Art Institute of Chicago. Los Angeles, 2019, pp. 93-95, 109 n. 56, fig. 53 (color), compares her pink peignoir to a similar robe worn by the seated woman at right in Watteau's "Pilgrimage to Cythera" (1717, Musée du Louvre, Paris).

Devi Ormond et al. in Manet and Modern Beauty: The Artist's Last Years. Ed. Scott Allan, Emily A. Beeny, and Gloria Groom. Exh. cat., Art Institute of Chicago. Los Angeles, 2019, pp. 158-59 n. 47.

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Edouard Manet | Young Lady in 1866 | The Metropolitan Museum of Art

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Etienne-Joseph-Théophile Thoré. Salon de 1866. 1866 [reprinted in "Salons de W. Bürger, 1861 à 1868," Paris, 1870, vol. 2, p. 318], praises the color of this painting, which he saw in Manet's studio as a sketch, but predicts that it will be refused by the Salon of 1867. G. Randon.

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Artist: Winslow Homer (American, Boston, Massachusetts 1836-1910 Prouts Neck, Maine)

Date: 1899; reworked by 1906

Dimensions: 28 1/8 x 49 1/8 in. (71.4 x 124.8 cm)
Framed: 42 5/16 x 62 11/16 x 5 7/8 in. (107.5 x 159.3 x 15 cm)

Credit Line: Catharine Lorillard Wolfe Collection, Wolfe Fund, 1906

Accession Number: 06.1234

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Winslow Homer | The Gulf Stream | American | The Metropolitan Museum of Art

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Untitled (Island I), 2012, 52 x 52 inches, burned, branded and singed paper with watercolor

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Stacy Lynn Waddell, Woman with a Parrot (after Édouard Manet), 2013, 44 x 33 in. (111.8 x 83.8 cm), Burned and singed paper with watercolor, gold leaf, and Austrian crystals, Purchased with funds from the William R. Roberson Jr. and Frances M. Roberson Endowed Fund for North Carolina Art, 2013.7.2

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Artwork Info

About

Stacy Lynn Waddell's artwork tackles the complexities of African American identity, and our relationship to history and how it affects the present day. Waddell uses her signature technique-the burning, singeing, and branding of papers and fabric-to create unique mixed-media works. This specialized incineration process, which forms a sepia or black stain, allows golden, ghostly figures to emerge, dreamlike, through the surface of papers and canvases. When these images are combined with large-scale photo reproductions, the viewer is absorbed into an installation that is both familiar and strange, both spectral and ultra-realistic. The recent addition of glitter and rhinestones provides an extra element of glamour and glitz to an otherwise barren scene.

Recent works by Waddell have confronted notions of history and American colonialism and their continual scars, particularly in regard to members of the African and Caribbean diasporas. Frequently the artist employs imagery chosen for its symbolic nature: clipper ships, small boats, figures in 19 th century dress or represented as Southern debutantes, and water, among others. Singed into Waddell's supporting materials, these representations bring to mind turbulent episodes in American (or elsewhere) history: the slave trade and the Civil Rights movement of the 1960s are prime in the artist's . Waddell has confirmed that our own turbulent times, as we face an uncertain future filled with shifting social, political and artistic foundations, have caused her anxiety. As a result, she's sought answers from other unsettled/unsettling times in the past, focusing her attentions, in particular, on the late Nineteenth Century. By emulating the works of artists from that time period, Waddell finds a new beginning, a new start, a clearer path to proceed through these unknown times. She is able to become, in her words, "an amalgamation of the 19 th century naturalist, the archivist, the social documentarian, the architect and political scientist. This allows me to make images that are not only re-constructions, but re-visions of sites that highlight my interest in the relationship between space, light, water and the construction of ideals." For this work, Waddell takes her inspiration from a beloved masterpiece in New York's Metropolitan Museum of Art: The Gulf Stream by American master Winslow Homer . With this work, Waddell notes, she is making an "effort to appropriate the power invested in portraiture, cultural leitmotifs and the naturalistic vista. Each provides a fitting context for me to critique the contradictions and misunderstandings of culture and history that remain relevant." The artist has not elaborated on her choices of Homer and Manet as inspirations of her own images, but her erasure of both figures is telling. While many of her earlier works address issues of race in a more overt way, Waddell indirectly does so here by removing Homer's figure entirely. The viewer's eye is thus drawn to the blank void of the floor of the boat, acknowledging a physical absence that reminds us of the historical neglect of African or African Americans.

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Images

The Gulf Stream (After Winslow Homer) by Stacy Lynn Waddell

empty boat surrounding by sharks in water

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The Gulf Stream (After Winslow Homer) - NCMALearn

# data[].attributes.attachment_link.description
Artwork Info Stacy Lynn Waddell's artwork tackles the complexities of African American identity, and our relationship to history and how it affects the present day. Waddell uses her signature technique-the burning, singeing, and branding of papers and fabric-to create unique mixed-media works.