{"id":137018,"date":"2019-06-06T14:36:22","date_gmt":"2019-06-06T18:36:22","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=137018"},"modified":"2019-06-07T13:37:26","modified_gmt":"2019-06-07T17:37:26","slug":"modernisms-debt-to-black-women","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/06\/06\/modernisms-debt-to-black-women\/","title":{"rendered":"Modernism\u2019s Debt to Black Women"},"content":{"rendered":"

An exhibition at Paris\u2019s Mus\u00e9e d\u2019Orsay centers on a black model named Laure in \u00c9douard Manet\u2019s <\/em>Olympia\u00a0and reinterrogates the role of black people in art history.<\/em><\/p>\n

\"\"<\/a>

\u00c9douard Manet, Olympia<\/em>, 1863, oil on canvas, 51″ x 75″. Presented at the 1865 Salon. Paris, Muse\u0301e d\u2019Orsay, RF 644. Photo \u00a9 Muse\u0301e d\u2019Orsay, Dist. RMN-Grand Palais \/ Patrice Schmidt.<\/p><\/div>\n

Around the time that \u00c9douard Manet was painting Olympia<\/em>, in 1863, a liberating politics was underway in France. Napoleon III had become so distracted with foreign affairs\u2014handling the Second French Intervention in Mexico, breaking up a burgeoning Roman Republic in order to restore the Pope\u2019s power, and making colonial conquests throughout Central Africa, Asia, and the South Seas\u2014that he had little time to resist many of the political pressures back home. And so he was actually carrying out some of the promises he\u2019d made in the run-up to his Second Empire coronation, such as reducing media censorship and allowing workers to strike. By 1870, Napoleon III, under the pressure of the Liberals, even assented to a parliamentary legislature in France, which would ultimately serve as the basis of the Third Republic.<\/p>\n

In the late nineteenth century, Paris began to seem like an integrated and relatively racially equitable city. After the 1848 Revolution, slavery had been abolished in France\u2019s territorial colonies; Caribbean people moved en masse to the French capital. Alexandre Dumas, author of The Three Musketeers<\/em>, and his father, Thomas-Alexandre\u2014who was one of the most important black military men in European history\u2014were viewed as unassailably prominent members of French society. Racism, of course, still existed, even at the highest levels of government: in 1884, Jules Ferry, who served as both prime minister and as president of the senate, was espousing his eugenics-based racism, saying things like, \u201cThe higher races have a right over the lower races \u2026 a duty to civilize the inferior races.\u201d But for a moment, the scene seemed to be set for a fresh form of liberty and relative equality.<\/p>\n

 <\/p>\n

\"\"<\/a>

Gustave Le Gray, Portrait d\u2019Alexandre Dumas en costume russe<\/em>, 1859, oval proof laminated on gray paper, itself laminated on cardboard, 10″ x 7 1\/2″. Paris, Muse\u0301e d\u2019Orsay, PHO 1986 11. Photo \u00a9 RMN-Grand Palais (muse\u0301e d\u2019Orsay) \/ image RMN-GP.<\/p><\/div>\n

 <\/p>\n

Art, naturally, was both driver and recipient. The poet Charles Baudelaire was dating Jeanne Duval, a French Haitian actress so beautiful she was often called the Black Venus and was painted by Manet. Manet, meanwhile, was fashioning himself as a recorder of the contemporary social scene. A number of his paintings depicted the black people who had immigrated to the northern neighborhoods of Paris. In his studio notebook, he described the black maid whom he painted standing next to the lounging white prostitute in Olympia<\/em> and the black caregiver in his Children in the Tuileries Garden<\/em> (1862) as \u201cLaure, tr\u00e8s belle n\u00e9gresse, rue Vintimille, 11, 3\u00e9me \u00e9tage.\u201d Manet\u2019s depiction of Laure wasn\u2019t exoticized\u2014not the kind of nude caricature that had been standard of European depictions of black women. Instead, with her voguish neckline and bouquet of flowers, Laure modeled a typically \u201cwhite role,\u201d as a clerk in a department store or a server at a caf\u00e9. Also: whereas in Titian\u2019s Venus of Urbino<\/em> (ca. 1532), a clear forerunner of Olympia<\/em>, the maid, who is white, is turned away from the nude, lounging women in the foreground; in Olympia<\/em>, Laure is just as much a part of the scene, in both the amount of the canvas she takes up and her foregrounded placement.<\/p>\n

A few years ago, Denise Murrell, an African American woman studying for a doctorate in art history at Columbia, found that excerpt about Laure in Manet\u2019s studio diary. Murrell was studying the depiction of black women from Olympia<\/em>\u2014the painting that is often considered the founding work of Modernism\u2014to the modern day. Murrell\u2019s dissertation, which she completed in 2013, served as the basis of the exhibitions \u201cPosing Modernity: The Black Model from Manet and Matisse to Today,\u201d which she curated at the Wallach Art Gallery in New York, and \u201cBlack Models: From G\u00e9ricault to Matisse,\u201d which is currently on at the Mus\u00e9e d\u2019Orsay in Paris as an expanded iteration of the New York exhibition. (The Orsay exhibition includes a number of works on view only in France, like Olympia<\/em>. Murrell co-curated the Orsay show, along with C\u00e9cile Debray and St\u00e9phane Gu\u00e9gan.)<\/p>\n

 <\/p>\n

\"\"<\/a>

Marie-Guillemine Benoist, Portrait de Madeleine <\/em>(also known as Portrait d\u2019une femme noire<\/em>), 1800, oil on canvas, 32″ x 25 1\/2″. Presented at the 1800 Salon. Paris, Muse\u0301e du Louvre, INV 2508. Photo \u00a9 RMN-Grand Palais (Muse\u0301e du Louvre) \/ Ge\u0301rard Blot.<\/p><\/div>\n

 <\/p>\n

The Orsay exhibition includes paintings of black women by Manet, G\u00e9ricault, Matisse, Delacroix, Gauguin, Picasso, Bonnard, and C\u00e9zanne. Marie-Guillemine Benoist\u2019s Portrait of a Negress<\/em> has been, in this exhibition, temporarily renamed Madeleine<\/em>, after the black model\u2019s name, an act of humanization. But it is Laure, Manet\u2019s model, who is at the center of both the Orsay exhibition and Murrell\u2019s dissertation\u2014a founding symbol of the overlooked centrality of black women in Modernism.<\/p>\n

\u201cThe small body of published commentary about Manet\u2019s Laure, with a few notable exceptions, generally dismisses the figure as meaning, essentially, nothing\u2014except as an ancillary intensifier of the connotations of immorality attributed to the prostitute,\u201d Murrell writes in her dissertation. She suggests, however, that Laure demonstrates that the history of Modernism is also, in part, the history of an \u201cevolving cultural hybridity.\u201d Ultimately, she writes, \u201cwhat is at stake is an art-historical discourse posed as an intervention with the prevailing historical silence about the representation and legacy of Manet\u2019s Laure.\u201d \u201cThe black female figure,\u201d she concludes, \u201cis foundational to the evolving aesthetics of modern art.\u201d<\/p>\n

 <\/p>\n

\"\"<\/a>

Jean-Baptiste Carpeaux, Pourquoi nai\u0302tre esclave?<\/em>, after 1875, polychrome plaster, 24″ x 18″ x 14 1\/2″. Reims, Muse\u0301e des Beaux-Arts, 941.1. \u00a9 Muse\u0301e des Beaux-Arts de la Ville de Reims.<\/p><\/div>\n

 <\/p>\n

It\u2019s a similar idea to that championed by the artist Lorraine O\u2019Grady in her seminal 1992 paper<\/a> \u201cOlympia\u2019s Maid: Reclaiming Black Female Subjectivity,\u201d in which she argues that black models are far more than formal constructs, as was often claimed\u2014their color meant to bring to the fore the white models in contrast. Olympia<\/em> was indeed a formally revolutionary artwork in its flatness and the washed-out color of the white woman in the foreground. But as O\u2019Grady hints, and as pointed<\/a> out by the doctoral student Kaegan Sparks, Laure\u2019s blackness also blends into the background, creating, as Sparks writes, a kind of \u201cproto-abstraction,\u201d another tenant of this nascent Modernism.<\/p>\n

Placing black models at the center of\u2014and the beginning of\u2014Modernism also works to overturn the idea that high art is the sole purview of white, European culture. \u201cOne of the central claims to European supremacy,\u201d writes Kehinde Andrews<\/a>, a professor of black studies at Birmingham University, is that \u201cart galleries and museums are the embodiment of whiteness\u2014at times, it seems, conceived solely to prove that \u2018high\u2019 culture is the possession of those of European descent.\u201d This remains a core claim of conservative thinkers today and is the not-so-subtle implication of those who cling to so-called Western values.<\/p>\n

 <\/p>\n

\"\"<\/a>

Fre\u0301de\u0301ric Bazille, Femme aux pivoines<\/em> (originally titled Ne\u0301gresse aux pivoines<\/em>, 1870, oil on canvas, 23 1\/2″ x 29 1\/2″. Washington, National Gallery of Art, collection de M. et Mme Paul Mellon, 1983.1.6. \u00a9 Courtesy National Gallery of Art, Washington, NGA Images.<\/p><\/div>\n

 <\/p>\n

For a long time, and even very recently, artworks with black models\u2014or by black artists\u2014were collected sparingly by museums, in part because they weren\u2019t considered to fit into any standard art-historical narratives. Between 2008 and 2018, for instance, only 2.4 percent of purchases and donations in thirty of the best-known American museums were works by African American artists, according to an analysis by In Other Words and ARTNews<\/em>. Only 7.6 percent of exhibitions concerned African American artists. From Modernism through postwar Abstract Expressionism, work by black painters still represented a catch-22: they were either too much<\/em> about the black experience and thus didn\u2019t seem to fit into the European timeline of art history, or they were too reliant on the abstract when the few museums that did collect black artists wanted figurative works that represented \u201cthe black experience.\u201d \u201cIt\u2019s pretty hard to explain by any other means than to say there was an actual, pretty systemic overlooking of this kind of work,\u201d said Ann Temkin, the curator of painting and sculpture at the Museum of Modern Art in New York, in a recent interview<\/a>.<\/p>\n

 <\/p>\n

\"\"<\/a>

Henri Rousseau, La Charmeuse de serpents<\/em>, 1907, oil on canvas, 66″ \u00d7 74 1\/2″. Paris, muse\u0301e d\u2019Orsay, RF 1937 7. Photo \u00a9 Muse\u0301e d\u2019Orsay, Dist. RMN-Grand Palais \/ Herve\u0301 Lewandowski.<\/p><\/div>\n

 <\/p>\n

To upset this rigid art history, therefore, has been a great\u2014and recent\u2014feat. The Orsay show isn\u2019t quite the solution it could be. It is not so radical as to be only<\/em> about black artists, since the artists depicting black people are mostly white, but it functions as an impressive and vital bridge, placing black figures at the center of European art history. It also comes on the heels of a recent rise in interest in black artists by museums. Between 2018 and now, there\u2019s been a significant uptick in exhibitions centered on African American artists, thanks in part to the rising popularity of the Obamas\u2019 portraitists, Amy Sherald and Kehinde Wiley, as well as to increasingly market-friendly African American artists like Mark Bradford, who represented the U.S. at the previous Venice Biennial, in 2017, and the enigmatic David Hammons, whose current show at Hauser and Wirth in Los Angeles is a marvel in both beauty and marketing strategy. (His last major exhibition was in 2000 at the Prado in Madrid, and rumor has it that part of his reason for choosing Hauser and Wirth for this current exhibition, \u201cHarmolodic Thinker,\u201d was that the gallery agreed to pre-purchase all of the works to be shown. But again: rumor \u2026)<\/p>\n

The market has been instrumental in bringing black artists to the fore: it is now a financial risk for museums and individuals not to collect work by black artists. Just a few years ago, a collector (or a museum) could have gotten a large, collaged work by Bradford for under a million dollars. Today, one would be lucky to get that kind of Bradford at auction for under ten million. Hammons, a few years ago, sold a basketball-hoop chandelier for $8 million, Sam Gilliam\u2019s Lady Day II<\/em> realized $2.17 million at Christie\u2019s last fall, and then there\u2019s Jean-Michel Basquiat, an almost impossibly bankable artist. From a market perspective, African American male artists have been on a precipitous rise.<\/p>\n

 <\/p>\n

\"\"<\/a>

Henri Matisse, Dame a\u0300 la robe blanche (femme en blanc)<\/em>, 1946, oil on canvas, 38″ x 24″. Des Moines, Des Moines Art Center, 1959.40; donated by M. John et Mme Elizabeth Bates Cowles. \u00a9 Photo: Rich Sanders, Des Moines, IA. \u00a9 Succession H. Matisse.<\/p><\/div>\n

 <\/p>\n

It seems strange, then, to think about how long even basic facts about the relationship between blackness, black culture, and certain Modernists, like Manet and Matisse, have been omitted from the timeline of art history. Matisse, the exhibition shows, was enormously inspired by the Harlem Renaissance when he visited New York throughout the thirties. He had a great love for black theater and for jazz, and it\u2019s clear in the exhibition, albeit ultimately circumstantial and implicit, that Matisse found inspiration in African American art. To illustrate the 1947 edition of Baudelaire\u2019s famed poetry collection Les fleurs du mal<\/em>, Matisse enlisted black models like the Haitian dancer Carmen Lahens to act as his model and muse.<\/p>\n

The Orsay exhibition concludes with recent works by black women artists like Elizabeth Colomba and Ellen Gallagher. The implication is that, today, black women, rather than merely being depicted, are now wielding the brush, controlling their own narrative. As we enter a time of decreasing liberalization with more and more checks placed on women\u2019s bodies\u2014and increasingly overt racism condoned by governments from the U.S. to Hungary to Brazil and beyond\u2014it\u2019s vital to realize that black women have always been a part of the art-historical narrative. It\u2019s just that now galleries and museums are finally beginning to make a space for the history that was there all along.<\/p>\n

\"\"<\/a>

Jean-Le\u0301on Ge\u0301ro\u0302me, E\u0301tude d\u2019apre\u0300s un mode\u0300le fe\u0301minin pour \u00ab A\u0300 vendre, esclaves au Caire \u00bb<\/em>, ca. 1872, oil on canvas, 19″ x 15″. Private collection. \u00a9 Photo courtesy of Galerie Jean-Franc\u0327ois Heim – Ba\u0302le.<\/p><\/div>\n

Cody Delistraty is a writer and critic in Paris and New York.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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