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Cambridge University Press
978-0-521-84080-4 - Modern Women and Parisian Consumer Culture in Impressionist Painting
Ruth E. Iskin
Index
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<
Numbers in italics refer to illustrations
A la Parisienne (Chéret), 185, 186
A la Place Clichy, Costume Zéphir (Chéret), 203–4,
205
“A une Passante,” 122
About, Edmund, 39
accessories, 122, 203
displays of, 68
fashionable, 98, 185
parasols, 67, 124, 184, 185, 186, 193, 203–4,
211, 214, 220, 222, 246n48
regime of, 116–20, 123
selling in department stores, 9, 226n30. See also
gloves; umbrellas
Adler, Kathleen, 164, 234n83
advertisements and advertising (publicité), 3, 7,
21, 22, 41, 58, 100, 114, 130, 134–136,
138, 146, 147, 151, 187, 247nn66, 69,
86
of department stores, 36, 124, 134, 136, 137,
247n84, 254n9
in depiction of At the Café, 138–40
fashion plates, 24, 27
and female gazes, 45
images, 2, 4, 14, 24, 42, 101, 189
images of women consumers in, 83
intrusiveness of, 130, 132
in journals, 185
in paintings, 115
large painted, 134
mode of representing, 137
Paris exhibition as, 218
posters, 2, 4, 5, 15, 16, 45, 48, 57, 58, 83–84,
112, 123–26, 185
réclame, 2
representations of, 116, 134
role of, 130, 134
sandwichman, 135–36
signs, 2, 6, 8, 12, 129–31, 146
visual discourse of, 58, 233n58, 235n95
wall, 6, 83, 114, 124, 134, 135, 136, 146
affiches. See posters
agency
middle-class consumer’s, 81
modern women’s, 3, 23, 27–34, 57, 79, 82, 83
Parisienne’s, 190, 214
in self-display, 222
Ajalbert, Jean, 83
alcoholic beverages, 17, 36, 41, 42–44, 58, 97,
113, 128, 146, 183
alcove. See department store: alcove
alienation, 77, 112, 116, 122, 163, 201
Alq, Madame Louise d’ (pseud.), 50, 194–95, 197
Le nouveau Savoir-vivre universel, 195
Amicis, Edmondo, de, 140
anarchism, 77, 157, 164, 170, 250n43
Anderson, Benedict, 185
annonce. See advertising
Anspach, Maria d’, 70–71, 78, 92
Appréteuse et garnisseuse (Modes), rue du Caire
(Signac), 71, 77
Armstrong, Carol, 225–226n10, 241n126,
243n186
art collecting and collectors, 22, 23, 39, 99, 103,
159, 160, 210, 231n7, 240n100, 250n52,
257n98
by women, 4, 22, 23
art market, 44, 54, 78, 87, 90, 106, 138, 157–58,
159–60, 234
Art Nouveau, 85, 112, 214
articles de Paris, 95
“At the Bon Marché, the glove department” (“Le
Bon Marché: Au comptoir de ganterie”)
(Bayard), 13, 36
At the Café (Manet), 116, 133, 138, 139
At the Milliner (L 709) (Degas), 111, 112
At the Milliner’s (L 682; Degas), 74, 81
At the Milliner’s (L 683; Degas), 93, 95–96
At the Milliner’s (L 693; Degas), 75
At the Milliner’s (L 832; Degas), 65, 98, 99
At the Milliner’s (L 729; Degas), 62, 81, 95
At the Milliner’s (L 827; Degas), 90, 91
At the Milliner’s (L 834; Degas), 64
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At the Milliner’s (L 1318; Degas), 73, 106, 111,
243–44n187
At the Opéra (Cassatt), 230n112
ateliers, 5
in department stores, 137
millinery, 60, 77, 98, 108, 110
Atelier of the Milliners, The (Degas), 235n3
Atget, Eugène, 60, 96, 242n149
Le Salon de Mme C Modiste – Place St André des
Art, 67
Au bonheur des dames (Zola), 19, 20, 36, 44–45, 46,
76, 78, 79, 93, 100–1, 105, 124, 193, 231n9,
246n44
Au Moine St. Martin (Franck), 119, 123, 124
Au Paradis des Dames (Rouchon), 17, 18, 83,
124
Au Paradis des Dames (store), 46
Au Tapis Rouge (dept. store), 101
catalogue illustration, 103
Auclert, Hubertine, 24
audience, 28, 32, 33, 226n24
art viewing, 54
female, 101, 102. See also public
Auslander, Leora, 223, 258n143
“Aux Femmes” (“To Women”) (Rivière), 21
Aux Folies-Bergère (Chéret), 233n56
Aux Petit Saint-Thomas: Caprice (Gonin), 189
Aux Travailleurs (At the Workers) (Choubrac), 187
avant-garde art and artists, Parisian consumer
culture and, 1, 2, 4, 6, 8, 11, 13, 14, 16, 33,
36, 44, 45, 48, 54, 55, 58, 148, 149, 154, 177,
184, 202, 209, 214, 252n124
Avenir des femmes, L’, 24
Bailey, Colin B., 256n92
balconies (theater). See loge
Balcony, The (Manet), 8
Ballu, Roger, 121
Balzac, Honoré de, 243n159
At the Sign of the Cat and the Racket, 89,
240n103
Bar at the Folies-Bergère, A (Manet), 4, 12, 17, 34,
35–59, 37, 94, 97, 98, 99, 113, 128, 162, 182,
232n40, 241n120
Bar at the Folies-Bergère, A (detail; Manet), 45, 51
Bar at the Folies-Bergère, A (sketch; Manet), 55, 56,
97
Bar at the Folies-Bergère, The (Forain), 40, 42
barmaid, 4, 35, 43, 55, 97, 98, 162, 230n3, 231n12
bars, 4, 12, 36, 37, 40, 42, 43, 51, 58, 97, 183
Baudelaire, Charles, 8, 17, 35, 42, 44, 46, 55,
56–57, 58, 62–64, 66, 86, 115, 122–23, 142,
189, 199, 234n74, 236n17
“A une Passante,” 122
“The Painter of Modern Life,” 55, 62–63, 64,
122, 199–200, 236n24, 237n28
Baudrillard, Jean, 232n32
Baudry, Paul
La Perle et la vague, 199
Baudu, Denise (fictional character), 36, 89, 193,
201, 231n13
Bayard, Emile, 13
“At the Bon Marché, the glove department”
(“Le Bon Marché: Au comptoir de
ganterie”), 13, 36
Bazire, Edmond, 180
Before the Theater (Morisot), 198, 210–11, 212
Belle Jardinière, La (dept. store), 137
Benjamin, Walter, 7, 8, 38, 44, 52, 58, 232n37,
242n142
Béraud, Jean, 47, 87, 132, 136, 255n59
Berhaut, Marie, 253n125
Bermingham, Ann, 14
Bertall (pseud of Charles-Albert d’Arnoux),
8
Bing Maison de L’Art Nouveau, 105
binoculars. See opera glasses
Boggs, Jean Sutherland, 106, 112
Bon Bock, Le (Manet), 12
Bon Marché, Le (Vallotton), 88, 110, 112
Bon Marché, the, 7, 38–39, 52, 117, 231n9,
254n26
catalogue, 194, 228n77
glove counter at, 11, 25
Bonnard, Pierre
France-Champagne, 180, 181
bonnet. See hats
Bottin, 187, 188
bottles. See alcoholic beverages
Boucicaut, Aristide, 231n10
Boulevard des Capucines (Monet), 143, 144, 145,
248n110
Boulevard des Italiens: Morning, Sunlight (Pissarro),
145, 145–46
boulevards and streets, Parisian, 6, 15, 16, 25, 38,
48, 67, 113, 121–27, 128, 129, 130, 133–34,
136–37, 140–46, 160, 164, 184, 193, 226n16,
248n110
signs of consumer culture on, 114, 115, 116
urban life of, 120, 121, 123, 126, 143, 146
bourgeois, representation of consumer culture
and, 7, 122, 130, 171, 193, 195, 226n16
consumers, 61, 73, 78, 81, 117, 149
“the Fats,” 152, 153
lower, 78, 193
men and husbands, 21, 22, 70, 98
upper, 76–77, 86, 87, 92, 102, 104, 138, 171,
193, 194
women, 4, 21, 22, 23, 24, 25, 28, 46, 67, 69,
70, 76, 80–81, 82, 86, 92, 98, 126, 163, 164,
166, 189, 194, 210
women addressed by Rivière, 20–22
boutiques, 25, 67, 87, 88. See also shops; shop
windows
Breeskin, Adelyn Dohm, 230n112
Brettell, Richard R., 76, 157, 163, 171,
228–29n84, 241n120, 250n63, 251n78,
251n93
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Broude, Norma, 229n98, 238n42
Brown, Marilyn R., 107, 241n122
Bürger, Peter, 253n124
buyers and buying, 151, 161, 162, 163, 164, 167
cabbages, 150, 163, 170
Cachin, Françoise, 170, 241n126, 243n170,
247n66
Café Singer (Singer with a Glove) (Chanteuse au
Café) (Degas), 8–9, 10, 226n27
cafés, 3, 25, 36, 47, 67, 106, 114, 116, 126, 184,
226n16
advertisement in depiction of, 138–40
café-concerts, 3, 34, 36, 48, 50, 59, 67, 162,
231n5
café-concert singer, 8–9, 72
Caillebotte, Gustave, 6, 7, 17, 114, 116, 124,
126–33, 140, 147, 160, 171–179, 182, 224,
244n4, 250n52, 252nn107, 108, 109, 118,
120, 253n127
Displayed Calf (Veau à l’étal), 175, 176, 177
Display of Chickens and Game Birds, 161, 162,
174, 176, 177
Display of Fruit (Fruits à étalage), 173, 178, 179,
253n127
Floor-Scrapers (“Raboteurs de parquet”), 178
Fruit, 94, 160, 241n120
The House Painters (Peintres en bâtiments), 116,
126–29, 129, 130, 132, 246n52
Interior, 116, 119, 129–30, 131, 136
Kitchen Garden, Petit Gennevilliers, 167
market depiction, 60, 148
Melon and Bowl of Figs, 172, 173, 178
Paris, A Rainy Day, 12, 66, 116–19, 118, 120,
121–26, 130, 244n9, 245n28, 246nn47, 56
Rue Halévy, Sixth Floor View, 144, 145
Young Man at his Window, 252n109
Caillebotte, Martial, 171
“Caillebotte as Floor-Scraper” (caricature), 178
Callen, Anthea, 236n6, 237n41, 239n73, 240n98
Camille (Woman in the Green Dress) (Monet), 64,
196, 201–3
capital and capitalism, 3, 105, 114, 115, 157, 163,
177, 182
Capucines, Boulevard des, 51, 143
Caricature, La (periodical), 14
caricatures, 8–10, 15, 24, 50, 53, 112, 116, 178–79,
220, 226n27, 242n149, 250n43
caricaturists, 8, 10, 179. See also Bertall; Draner
Carjat, Etienne, 204
Henriette Henriot, 207
Cassatt, Lydia, 207, 230n110
Cassatt, Mary, 4, 6, 15, 22–23, 27–34, 48, 66, 78,
81, 87–88, 100, 103, 184, 207–10, 215,
227n53, 232nn41, 45, 240nn96, 98, 99, 100,
243n163
The Cup of Tea, 198, 207, 208, 257n98
In the Loge, 27, 28–29, 32, 230n112
Modern Woman, 210
photograph of (after 1900), 209
Self-Portrait, 31, 32, 87–88
Woman with a Pearl Necklace in a Loge, 30, 32,
33, 34, 230n112
Castagnary, Jules-Antoine, 170, 199
catalogues
department store illustrated, 2, 63, 103, 124, 185
covers of, 185, 189, 192, 211
Manet’s 1867, 235n85
page from the Au Tapis Rouge sales, 103
sales, 194
Cézanne, Paul, 66, 151, 174, 236–37n24,
249n2
Champfleury (pseud. of Jules Fleury), 48
Les Chats – Histoire, Moeurs, Observations,
Anecdotes, 138
“Chanteuse de café” (Draner), 11
charcuterie, 1, 99, 149, 151, 162, 182
Chardin, Jean-Baptiste Simeon, 173
Charivari, Le (periodical), 8, 14
Charpentier, Georges-Auguste, 20, 228n76, 79,
229n92
Charpentier (née Lemonnier), Marguerite, 22,
23, 102, 229n92, 243n156
Chéret, Jules, 6, 228nn68, 70, 254n9
A la Parisienne, 185, 186
A la Place Clichy, Costume Zéphir (poster),
203–4, 205
Aux Folies-Bergère, 233n56
Halle aux Chapeaux, 84, 85, 106
posters by, 15–17, 83–84, 123, 233n56
“chic,” development of term, 195
chicken, 161, 162, 176, 250n54
chic Parisienne. See Parisienne
Child, Theodore, 48, 102
Choubrac, Alfred, 6
Aux Travailleurs (At the Workers), 187, 193
Cinq heures chez Paquin (Gervex), 88, 90, 90, 193,
217
Citoyenne, La, 24
city, 67, 124–26, 169, 177, 179, 182
advertising, 136–37
metropolitan retail market, 174
rural markets supplying, 163
urban decay, 169
city life, 120, 121, 122, 123, 143, 145, 146, 147,
215
inclusion of women in modern, 3
invasion of consumer culture into, 132
sites of, 67, 124. See also Paris
city views, 146
representations of consumer culture in, 6,
114–116
Clark, T. J., 37, 114, 231n12, 235n87, 244n3,
248n110, 250n43
class, Parisian consumer culture and 4, 37, 46, 47,
48, 72, 76, 77, 82, 84–86, 104, 164, 191,
226n16, 238n49. See also bourgeois; workers;
working
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Clayson, Hollis, 68, 142, 237nn34, 35, 241n126,
248n102
client. See consumer
clientele. See consumers
clothes, 32, 36, 66, 119, 163–64, 166, 185, 190,
192, 194, 195, 198, 200, 201, 203, 204, 210,
222
made-to-measure, 117, 137
mass-produced, 117, 137, 164, 191, 194
Cluseret, Gustave, 99
Collins, Bradford R., 228n70
colonialism, 39, 218–19
colonies, French, 218, 222
commerce, 105, 123, 134, 136, 163, 177, 179, 181,
185
boulevard as place of, 142–43
in the market, 150–51
sites of, 149, 162
commodification, 105, 106, 112, 113, 143, 148,
154, 168
of agricultural goods, 168
Impressionist artists’ response to, 148
commodities, 6, 17, 23, 38, 39, 41, 44, 78, 106,
120, 161, 162, 166, 174–76, 232n32
agricultural, 151, 168
culture of, 6, 36, 105
displays, 2, 3, 5, 33, 35, 36, 88, 98, 99, 100,
129, 160–62
fashion, 81, 94–96, 104
fetishism of, 100–1
gastronomic, 151, 153, 154, 161, 163, 177
hand-made, 107, 137, 138
luxury, 7, 8, 78, 102, 107, 116, 117, 119, 138,
141, 177
processed, 151, 153, 169
mass produced, 43, 138
and merchandise, 177, 182
supermerchandise, 177
connoisseurs, 106
of consumer culture, 136
of feminine fashions, 63, 82
consumer culture, 2, 7, 14, 77, 97, 113, 123
definition, 3
consumer culture, Parisian, 1, 2, 3, 5, 7, 8, 61, 83,
88, 99, 104, 114, 117, 119, 126, 143, 146, 152
and avant-garde painting, 14
and Caillebotte’s representation of market
goods, 177
in city views, 114–47
critique of, 33
implicit and explicit representations of, 3, 6, 7,
8, 10, 23, 33, 115, 134
underplaying signs of, 128–29, 145. See also
Degas; fashion; Parisienne
consumerism, 10, 11, 120, 126, 132, 147, 148,
177, 178, 182, 195
consumers, 36, 37, 40, 42, 44, 52, 61, 71, 74, 78,
89, 93, 96, 97, 113, 137, 142, 162, 164, 174
of department stores, 117, 124, 126
foreign, 191
and French fashion industry, 190
sites, 127, 149
consumers, men, 54, 55, 54, 58, 59, 69
consumers, women, 23, 46, 47, 57, 58, 66, 71,
72, 73, 74, 76, 80–81, 83, 84, 89, 92, 94,
101, 102, 106, 109, 112–13, 218, 223, 238n49
Degas’s, 78–88, 92, 94, 95, 142
medical treatises on women’s consumption, 6,
79, 80
consumption, 2, 3, 6, 17, 33, 37, 41, 68, 88, 89,
104, 112, 115, 124, 128, 134, 151, 162, 223
age of, 23, 92
sites of, 4, 5, 77, 108, 124, 162
Coquiot, Gustave, 68
corsets, 100, 242nn100, 149
cosmetics, 33, 200
costume, 201, 203, 204, 217
of employment, 38
French regional, 163, 169, 194, 214
timeless robes in Symbolist painting, 214
counters, 36, 37, 43, 47, 51
display of goods on, 3, 40, 59, 88
countryside, 163, 168, 203
Courbet, Gustave, 151
courtesan, 44, 50, 51, 194
gaze of, 23
couturière. See fashion designer
Crary, Jonathan, 120, 243n173
criticism and critics, 4, 6, 8, 11, 12, 14, 16, 20, 21,
64, 123, 142, 170, 227n46
attitude to visual culture of consumption, 4, 11,
115
of Caillebotte, 119–120, 121, 130
of Manet, 120, 214, 234n83
women, 229n98
crowd. See public
culture, visual, 17, 23, 45, 58, 223
culture of consumption, 2, 3, 4, 6, 14, 15, 17, 23,
115, 142, 143, 182, 215
modern women’s participation in urban,
27–28
spectatorial address of, 104
and Zola’s Le ventre de Paris, 148
Cup of Tea, The (Cassatt), 198, 207, 208, 257n98
Curée, La (Zola)
customers. See consumers
Dahomey, 219
Dash, Comtesse, (pseud.), 32
Daumier, Honoré, 14
Dawkins, Heather, 229n98
Degas, Edgar, 5–6, 7, 15, 16, 17, 19, 22, 33, 48,
59, 78, 102, 104, 114, 147, 164, 171, 184,
215, 227n53, 228n76, 229n95, 235n84,
235n2, 238nn46, 54, 239nn67, 73, 85,
240nn96, 109, 255n62
The Atelier of the Milliners, 235n3
At the Milliner (L 709), 72, 76, 101, 111, 111-13
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At the Milliners (L 682), 60, 68, 72, 74, 76, 77,
79, 80, 81, 82 83, 87, 88, 90, 97, 101, 112,
240nn99, 100
At the Milliner’s (L 683), 60, 93, 94–96, 97, 98,
101, 105, 110
At the Milliner’s (L 693), 60, 72, 75, 76, 79, 80,
81, 82, 87, 90, 101, 110, 112
89, 90, 94, 95, 96, 97–98, 101, 105, 110,
239n73, 240n128
91, 92, 101
At the Milliner’s (L 834), 60, 64, 73, 81, 88, 98
At the Milliner’s (L 1318), 71, 72, 73, 106,
107–108, 111, 244n187
ballet scenes, 142, 248n102
brothel scenes, 248n102
Café Singer (Singer with a Glove) (Chanteuse au
Café), 8–9, 10, 226n27
and fetishizing fashions, 100–2
and Manet, 96–100, 242n128
The Little Milliners, (L 681), 60, 70, 71, 72, 77,
82, 96–97, 106, 107, 110
The Milliner (L 705), 71, 72, 106, 107
The Milliners (L 1023), 71, 72, 76, 107, 108,
108–11
The Milliners (L 1023), x-ray of, 108–11, 109
The Millinery Shop (L 832), 60, 65, 71, 72, 73,
87, 88, 89, 94, 95, 96, 98, 99, 101, 105, 107,
110, 241n120
millinery works, 60–113, 236n6, 240n98,
241n116
Miss Cassatt Seated. Holding Some Cards,
240n100
Portraits in an Office (New Orleans), 20, 228n78
and print images, 14
Women on the Terrace of a Café in the Evening
(pastel), 140–43, 141. See also consumers,
women; modiste
Déjeuner dans l’atelier, Le (Manet), 43–44
Déjeuner sur l’herbe (Monet), 198, 201
Delacroix, Eugène, 236n24
Demarsy, Jeanne, 51, 211, 214–15, 224
Demoiselle de magasin, Le (Tissot), 88
Denis, Maurice, 12, 163, 226n33
department stores, 5, 7, 8, 11, 19–20, 25, 36, 38,
40, 44, 46, 52, 67, 68, 78, 79, 84, 88, 89, 95,
101, 103, 114, 117, 120, 129, 137, 141, 185,
193, 194, 201, 226n24, 231nn9, 20, 241n116,
246n50
advertising of, 36, 83, 124, 134, 136, 137, 247n84
alcove, 5, 89, 90
buildings, 7, 123, 125
catalogues, 2, 20, 89, 124, 185, 192, 211,
228n76
displays, 39, 79, 80, 93, 201
interiors, 7, 112
millinery departments, 70, 89
and the Parisienne icon, 185
posters for, 17, 84, 116, 123, 185–86, 204,
254n9, 254n9
and ready-made fashion, 191, 193. See also
consumers, women
Dernière Mode, La ( journal), 103
desires, 58
men’s, 46, 57, 69, 70, 104, 105
women’s, 57, 70, 78, 79, 83, 101–2, 104, 105
Devéria, Achille, 83, 239n84
discourse of consumption, 14, 21, 23, 33, 36, 37,
38, 41, 48, 57, 58, 71, 78, 79, 80, 89, 100,
114, 115, 136, 218
of the chic Parisienne, 36, 185, 190, 197
of commodity display, 93, 99, 151
visual, 17, 44, 48, 79, 94, 101
on women, 32, 45, 57, 86
display artist (étalagist), 40, 93
Displayed Calf (Veau à l’étal) (Caillebotte), 175,
176, 177
Display of Chickens and Game Birds (Caillebotte),
161, 162, 174, 176, 177
Display of Fruit (Caillebotte), 173, 178, 179,
253n127
display (étalage), 23, 33, 36, 38, 39, 40, 60, 61, 81,
92, 93–94, 95, 96, 97, 98, 99, 100, 104, 105,
110, 112, 114, 115, 132, 148, 162, 176, 195
Degas’s, 92–96
Degas’s and Manet’s dialogue on, 96–100
department stores, 79, 80
of hats, 89, 94–96, 97, 98
and illuminated shop windows, 140–41
representing women’s agency in, 27–34
seduction, 7, 34, 38–45
shop, 12, 68, 94–96
strategies, 93–94, 100, 185
and women as object of, 229n98
Distel, Anne, 252n109
distraction, regime of, 116, 121
domesticity, 24, 44, 178, 232n47
ideology of, 46
Draner (pseud of Jules Rénard), 8–11
“Chanteuse de café,” 11
“Chez MM. Les Peintres Indépendants, par
Draner” (detail), 11
Druick, Douglas, 252n115, 253nn120, 121, 127,
130
Duranty, Edmond, 106, 199, 214, 255–56n62
La Nouvelle peinture, 120–21, 199
Duret, Théodore, 13
Duvergier de Hauranne, Ernest, 12
economy, 2, 114, 148, 157, 163, 168
importance of fashion industry to French,
190–91, 223
kitchen garden and the, 169
Eisenman, Stephen F., 242n142
Elder, Louisine. See Havemeyer, Louisine
entertainment, 9, 28, 32, 36, 47, 48, 50, 52,
53–54, 55, 114, 128, 143, 182–83
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entertainment (cont.)
advertising of, 83
women’s role as consumers of, 24, 46. See also
cafés-concerts
Epinal images, 12, 13
Erangy, 156–57
etiquette, 24, 50
books, 194, 233n52. See also Alq; Dash
Eugénie, Empress, 254n22
Execution of the Emperor Maximillian, The (Manet),
235n83
exhibitions, 3, 36, 226n16
of art for sale, 39, 231n7
illustrations of, 40
Impressionist, 106, 158, 160
Impressionist (1874), 170, 207, 210
Impressionist (1877), 12, 20, 22, 117, 121
Impressionist (1879), 33, 34
Impressionist (1881), 207
Impressionist (1886), 72, 77, 82
Manet’s alternative, 54, 227n42, 234–35n83
Manet’s retrospective (1884), 99, 228n70
Society of American Artists (1881), 230n112
viewing, 39, 52
Exposition de Blanc à la Place Clichy (Thiriet),
84–86, 84
expositions universelles, 36, 38, 39, 55, 134, 137,
247n64
competitiveness, 218
1855, 39, 52
1867, 47, 189
1878, 24
1900, 6, 185, 215, 217
linked to consumer culture, 247n81
World Exposition (1900; Paris), 6, 217,
218–219, 222
World’s Columbian Exposition (Chicago,
1893), 210
Fagerolle (fictional character), 90
fairs, 3, 163. See also exhibitions
Faison Jr., S. Lane, 240n126
Farwell, Beatrice, 83
fashion, 9, 60, 63, 87, 88, 102, 104, 106, 117, 119,
137, 164, 202, 203, 218
advertising, 83
consumption, 60, 61, 79, 186
display, 65, 97
and femininity, 25, 60, 101, 105, 218
fetishizing, 100–2, 104
French and French taste, 6, 184, 185, 190, 192,
195, 196, 198, 218, 222, 223, 224
haute couture, 61, 68, 103–4
mass-produced, 191, 194
ready-made, 137–38
national brand of French, 215. See also Degas;
fashion industry; Parisienne
fashionability, women’s, 6, 86, 91, 105, 185,
193–194, 198, 199, 207, 209, 210, 218,
219
fashion designer, 66, 67, 83, 91, 92, 102, 103–4,
190, 191, 211, 217, 226n30, 241nn112, 114
fashion industry, French, 6, 7, 11, 68, 190–91,
218, 254n10
fashion plates, 2, 4, 6, 14, 24, 64, 65, 66, 83, 92,
184, 185, 189, 191, 192, 200, 201, 202, 204,
210, 211, 215, 228n66, 237n24
La Saison, 24
femininity, French, 32, 50, 66, 86, 101, 104, 194,
214, 218
and fashion, 25, 60, 101, 105, 218
feminine public space, 91
and modernity, 6, 223
national brand of, 215
and the chic Parisienne, 184, 198, 222, 223,
224. See also agency
feminism
Congrès International des droits des femmes
(1878), 24
feminist art historical studies, 3, 68
feminist publications, 24
feminist scholarship, 3
women’s rights, 24, 46, 232n47
women’s suffrage, 24, 46, 234n76
La Gazette des femmes, 47–48
See also Auclert; femme nouvelle
femme française, la, 192, 199, 214, 224
femme nouvelle, la (The New Woman), 24, 48
fetishism of commodity, 100, 243n170
Fifer, The (Manet), 12
Figaro, Le, 64, 227n53
flânerie, 56, 115, 102, 105, 121, 125, 147, 246n53
women’s, 91
flâneurs, 46, 55, 63, 66, 95, 115, 121, 122, 126,
136, 142, 190, 211, 244n8
gaze of, 9, 56, 104, 142
haute-couture, 102
and window shopping, 115
flâneuses, 95, 121
Flaubert, Gustave, 232n43
Floor-Scrapers (“Raboteurs de parquet”) (Caillebotte),
178
Folies-Bergère, 17, 38, 44, 48, 52, 99, 138,
234n69
women at, 47–48. See also Manet
Folies-Bergère (Lévy), 48, 49
Forain, Jean-Louis, 16, 227n53
The Bar at the Folies-Bergère, 40, 42
Foucault, Michel, 17
fragmentation, 76, 101, 112, 123, 138, 147
of signs, 130, 132, 136, 140
of words in poster, 138–39
Framboisette, La (Tamagno), 58
Français peints par eux-mèmes, Les, 70
France, the French
colonial ambitions of, 7
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economy of, 157, 163, 168, 169, 185, 190,
223
fashion and national identity, 194
fashion industry, 6, 7, 11, 190–91, 218, 254n10
status of women in society, 46
superiority of, 7, 184, 185, 190, 218
See also fashion industry; identity; Parisienne
France-Champagne (Bonnard), 180, 181
Franck, R., 126
Au Moine St. Martin, 119, 123, 124
Franco-Prussian War, 99, 236n24
Frébault, Elie
La Vie de Paris, 135–36, 143
French woman, the. See femme française
Freud, Sigmund, 101, 104, 243n170
Fried, Michael, 245n28
Fruit (Caillebotte), 94, 160, 241n120
fruit, 150, 151, 153, 168, 173, 176, 177, 179,
252n118
game (commodities), 161, 173, 173, 177
Garb, Tamar, 226n11, 230nn106, 110, 241n125,
255n59
Garrard, Mary, 229n11
gardens and gardeners, 67, 163, 184. See also
kitchen gardens; workers
Gasquet, Joachim, 236n24
Gauguin, Paul, 87, 102, 104, 163, 214
Gautier, Théophile, 38
Gavarni, Paul, 14, 227n52
gazes, 44, 45, 50, 51, 53, 58, 77, 85, 86, 92, 104,
105, 107, 113, 124, 230n106
flâneurs’, 6, 24, 70, 102, 104, 142, 211
gendered, 23
men’s, 4, 23, 24, 28–29, 33, 45, 50, 52, 55, 56,
69, 70, 81, 104, 124, 226n11, 229n98
of modiste, 71, 76
of the public, 44, 51–55
plurality, 4, 23, 54, 56
voyeuristic, 69
women’s, 4, 5, 21, 23, 24, 27, 28, 29, 44,
45–51, 55, 61, 76, 82, 83, 84, 104, 124, 204
Gazette des femmes, La, 47–48
Geffroy, Gustave, 82, 209
gender, 4, 23, 32, 33, 104, 226n11
Gervex, Henri, 82, 88, 180, 193, 242n148
Cinq heures chez Paquin, 82, 88, 90, 90, 91, 193,
217
Giffard, Pierre
Les Grands Bazars, 79
Gilbert, Victor, 252n120, 253n138
Giroux’s, 38, 50, 235n83
Gisors, 154, 155
gloves, 8, 10, 11, 67, 76, 92, 94, 113, 186, 203,
222, 226n29
glove counter at Bon Marché, 11, 25, 46
Gonin
Aux Petit Saint-Thomas: Caprice, 189
Gonzales, Eva
The Milliner, 96
gowns, evening, 32, 102, 191, 196, 211, 217,
218
Gozlan, Léon, 184
Grand Boulevards, The (Renoir), 116, 126, 127,
143
grand dame, 82
Grands Bazars, Les (Giffard), 79
Grands Magasins du Louvre (dept. store), 90, 95,
117
Catalogue illustration, 25
Grandville, J.J., caricature in Petite misères de la vie
humaine, 24, 25, 48, 50
Grasset, Eugène, 57, 142
L’Odéon, 57
Greek drapery, 11, 224
Greenberg, Clement, 227n46
Guilbert, Yvette, 226n29
Guillement, Madame, 221–22
Guillemet, Jules, 221, 222
Guys, Constantin, 236n24
Halévy, Daniel, 105
Halévy, Elie, 228n80
Halle aux Chapeaux (Chéret), 84, 85, 106
Halles, Les, 1, 148–49, 163, 166, 168, 176, 182,
249n14, 252n120
Halles, Les (L’hermitte), 180
hat shop. See millinery boutiques
hats, 67, 70, 73, 79, 81, 82, 84, 86, 88, 89, 96,
101, 102, 104, 110–11, 112, 185, 186, 192,
204, 207, 211, 240n99
decorated, 68, 69, 70–72, 74, 76, 77, 83,
84–85, 91, 92, 94, 95, 102, 105, 108, 110,
111, 164, 184, 220, 222, 241n126
displays of, 89, 94–96, 97, 98, 100
Haussmann, Baron Georges-Eugène, 114, 123,
126, 143, 149, 244n2
Haussmannization, 3, 16, 114, 116, 122, 126, 133,
244nn3, 4, 9
haute couture, 62, 103, 191, 193, 210, 217
and the flâneur, 102–5
role in the 1900 exhibition, 217
salons, 68, 82, 88–92, 108
Havemeyer, Henry O., 22–23, 240n100
Havemeyer (née Waldron Elder), Louisine, 22, 23,
209–10, 229n95, 240nn96, 100
Henriot, Henriette, 204, 207, 207, 256n92
Herbert, Robert L., 65, 114–15, 160, 201, 214,
222, 228n68, 230n3, 233n56, 235n88, 244n4,
248nn90, 102, 110, 251n104
Hermel, Maurice, 72, 82
Higonnet, Anne, 66, 92, 210, 227n52
House, John, 226n11, 245n25, 248n111, 252n111
House of Worth, Fitting the Wedding Gown,
219
House Painters (Peintres en bâtiments) (Caillebotte),
116, 126–29, 129, 130, 132, 246n52
Houssaye, Henry, 12, 38
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Huysmans, Joris-Karl, 7, 15–16, 17, 106, 123, 130,
173, 209, 222, 226n16, 243n186, 249n14,
251n103, 258n137
Huyssen, Andreas, 36, 86, 232n43
Hyatt, Charles, 218
identities
men and women’s evolving, 56
of women, 6
identity, national and gender, 6, 194, 223
Parisienne as icon for, 184, 190, 222
Illustration, L’, 11, 25, 88, 215, 216
illustrations, 2, 5, 25, 40, 45, 48, 58, 185, 202,
215
crowds in, 52, 53
of department stores, 40, 88
of women in journals, 83
images, 24, 46, 83, 123
in advertising, 2, 4, 14, 24, 27, 42,
101
mass media, 6, 14, 20, 132, 184, 211
popular culture, 79, 142. See also posters
Impressionist painting, 1, 3, 7, 8, 11, 20, 21, 22,
25, 117, 145, 199, 203, 224
addressing multiple and diverse viewers, 3
ambivalence toward the culture of
consumption, 4, 114–47
and subversion of consumer culture, 6, 153,
178. See also exhibitions
Impressionniste, L’ ( journal), 21
Impression Sunrise (Monet), 12
Impressionists, 1, 3, 6, 7, 8, 14, 15, 16, 17, 19, 21,
22, 23, 24, 36, 48, 54, 58, 67, 81–82, 90,
105, 113, 114, 115, 132, 148, 150, 168, 178,
184, 198, 202, 210, 226n16, 241n116
Baudelaire’s influence on, 63–64, 200
chic Parisienne of the, 198–215
term, 20, 21. See also exhibitions
In the Conservatory (Manet), 198, 221
In the Loge (Cassatt), 27, 28–29, 32, 230n112
industrial art. See posters
Ingres, Jean-Auguste Dominique, 223, 227n53
Bertin, 223
Interior (Caillebotte), 116, 119, 129–30, 131,
136
interiority, 105–13
interiors
domestic, 67, 129–32
shop, 7, 92, 94, 112, 140
“The International Cafés in the Park at the 1867
International Exhibition in Paris,” 47
Kitchen Garden, Petit Gennevilliers (Caillebotte),
167
kitchen gardens, 6, 148, 151, 164, 167–72,
251nn78, 93
Kitchen Gardens at the Hermitage, Pontoise ( Jardins
potager à L’Hermitage, Pontoise) (Pissarro), 165,
169
Kropotkin, Peter 168, 170–71
“La Parisienne” (dept. store), 185
L’hermitte, Léon
Les Halles, 180
label, 17, 20, 41
labor. See work
laborer. See worker
Lantier, Claude, 1, 6, 16, 19, 33, 99–100, 133,
146, 148–54, 156, 176, 177, 181, 182, 225n2,
242n139, 248–49n2
attitude to Les Halles, 148, 149–51, 169
oppositional act, 6, 33
Laurent, Méry, 51, 233n64, 234n65, 243n169,
243n171
Le Bon, Gustave, 53
Legrand du Saulle, Henri (psychiatrist), 80
leisure, 3, 36, 106, 168, 233n51
shopping as activity, 7, 79, 91
Lemer, Julien, 140, 248n94
Lepelletier, E., 117–18, 120
Leroy, Louis, 12
Lévy, Emile, 48
Folies-Bergère, 49, 233n57
Lindsay, Suzanne G., 230n110
Lipton, Eunice, 68, 237n34
Liqueurs Cusenier (anon.), 17, 19
lithographs, 14, 17, 48, 78, 83, 138
posters, 114, 124, 134
Little Milliners, The (Degas), 70, 71, 96–97, 106
loge, 28, 30, 32–33, 48, 57
Loge, The (Renoir), 33
looking and being looked at, 47, 107, 193
flâneurs, 115
men’s, 28–32, 50
women’s, 24, 25, 27–34, 45, 46, 48, 50, 81, 211
looking at art, 120, 123, 130
lorgnette, 24, 25, 27, 46, 91
Louvre, 21, 227n52
lower class. See working class
Luchet, Auguste, 156–57
Jeune France, La ( journal), 214
Jour et la Nuit, Le, 100
Journal des Voyage, 215
Journal illustré des Dames, 24, 26
journals, 3, 4, 20, 21, 189, 192, 195, 197, 198, 215
advertising images in, 83
illustrated, 2, 4, 13, 20, 24, 185, 192, 243n156
women’s, 22, 24, 229n90
Madame Charpentier and Her Children (Renoir),
22
Magasin du Printemps (dept. store), 141
Magasin pittoresque, 13
Magasin des Demoiselles, 192
mail-order catalogues, department store, 20, 192,
194, 228nn76, 77, 254–55n26
covers, 185, 192. See also catalogues
Mainardi, Patricia, 39
Maison de couture: atelier (anon.), 109
Maison de couture: choix petit salon (anon.), 75, 76
276
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INDEX
“Maison Meunier et Cie. – The Main Hall of
French Manufacturers,” 41
Mallarmé, Stéphane, 54, 102, 233n64
La Dernière Mode, 103
Manet, Edouard, 1, 2, 3, 6, 7, 8, 14, 16, 17, 19,
20, 23, 24, 33–34, 41, 51, 53, 54, 62, 63, 64,
67, 90, 96–100, 102, 104, 106, 113, 114, 115,
132, 133, 147, 153–54, 168, 173, 179–81, 184,
198, 202, 223–24, 226nn10, 16, 227n53,
230n112, 232n31, 233n64, 234nn65, 78, 82,
243n171, 244n3
and advertisement, 54, 134, 136, 138–40, 146,
234n83
At the Café, 116, 133, 138, 139
Autumn, 243n169
The Balcony, 8
A Bar at the Folies-Bergère, 4, 12, 17, 34, 35–59,
37, 45, 51, 60, 94, 97, 98, 99, 113, 128, 162,
182, 228n70, 232n40, 233n56, 241n120
A Bar at the Folies-Bergère (detail), 45, 51
A Bar at the Folies-Bergère (sketch), 55, 56, 97
and Baudelaire, 63, 236n13
Le Bon Bock, 12
and Degas, 96–100, 242n134
Le Dejeuner dans l’atelier, 43–44
and depiction of contemporary fashions, 6, 67,
81, 211–14, 224
The Execution of the Emperor Maximillian, 235n83
The Fifer, 12
hat sketches, 241n126
In the Conservatory, 198, 221–22, 221
and mass media, 15
The Milliner, 96, 241n127
Music in the Tuileries, 63
Nana, 38, 50–51, 235n83
Olympia, 232n40
Portrait of Emile Zola, 120
proposal for the Hôtel de Ville, 6, 148, 179–81,
182
Railway, 12
Rendez-vous de chats, 138
Le Repos, 12
and Rue Mosnier, 133–34, 138
Rue Mosnier Decked Out in Flags, 247n65
Rue Mosnier Decorated with Flags, 247nn64, 65
Rue Mosnier with Pavers (La Rue Mosnier aux
paveurs), 116, 133, 135, 136, 137, 139, 143, 146,
247n66
Spring, 81, 211–14, 213, 224
Three Heads of Women, 241n126
Two Hats, 241n126
and woman of the Third Republic, 223–24. See
also exhibitions
Manet, Eugène, 99, 234n82
mannequin. See models
Mantz, Paul, 12, 119, 130
marchande. See sellers
marchandise. See commodity
Marianne, 184, 216
market, the, 149
competition, 41, 44, 54
Paris as, 148–54, 156, 157, 181
Market at Pontoise (Pissarro), 163
marketing, 7, 36, 185
Market Place, The (A Corner of Les Halles)
(Pissarro), 159, 165, 251n74
marketplace, 160, 163, 167, 177, 182
markets, 33, 148–83, 162–63
displays, 60, 160, 171, 172, 174, 177, 178, 182,
232n34
Les Halles, 1, 148–49, 151, 163, 165, 166, 168,
176, 182, 249n14
stall, 151, 162
upscale Parisian, 172–79
urban, 6, 7, 149, 155, 160, 163, 165, 166, 167,
168, 172
village, 6, 148, 154–67, 168, 170, 171. See also
art market
Market Stall, The (Pissarro), 158, 164–65
Marrinan, Michael, 252n109
Marx, Karl, 242n142
Capital: A Critique of Political Economy, 100
mass consumption, 2, 7, 36, 37, 38, 39, 46, 53, 55,
59, 125, 138, 195
discourse of, 48, 58
and women’s gazes, 46
mass culture
distinction between high art and, 17
identification with women, 86
representation of women’s agency, 86
mass media, 4
chic Parisienne as icon in, 184, 202, 204
images, 6, 14, 20, 132, 184, 211
journal illustrations and prints, 45, 83. See also
posters
mass production, 2, 43, 108, 137, 194, 223
goods, 14, 43, 44, 78, 112, 117, 163, 185, 232n34
Masterpiece, The. See Oeuvre (Zola)
Mathews, Nancy Mowll, 243n163
Maupassant, Guy de, 78, 82, 234n69
Strong as Death, 82
Mellerio, André, 17
Melon and Bowl of Figs (Caillebotte), 172, 173, 178
merchandise. See commodity
Mermet, Emile, 134
metropolis. See city
middle class. See bourgeois
Miller, Michael B., 7, 186, 194, 244n13
Millet, Jean-François, 170, 251n103
Milliner, The (L 705) (Degas), 106, 107
Milliner, The (L 1023), x-ray of (Degas), 109
Milliner, The (Gonzales), 96
Milliner, The (Manet), 96
milliners, 72, 76, 89, 109, 237n35
Milliners, The (Degas), 107, 108, 108, 109–10, 109
millinery, 5
department in department store, 89
millinery boutiques, 12, 38, 60, 69, 70, 79, 81,
102, 104, 113, 240n103
Parisian, 89. See also Degas
277
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Millinery Shop, The (Degas), 65, 241n120
millinery worker. See modiste
millinery works. See Degas
mirror, 28, 32, 34, 35, 38, 40, 41, 43, 52, 54, 55,
58, 59, 81, 82, 89, 92, 97, 112–13, 233n56
“Mlle Théo, en marchande de parfums, dans la
Grande Kermesse,” 43
models
fashion, 104, 201, 202
live artists’, 38, 77, 81, 87, 97, 198, 202, 204,
207, 210, 240nn97, 98
in painting, 202
in print media, 65, 187
wax mannequin, 201, 217
modernist painting and painters, 8, 12, 36, 41, 42,
44, 114, 115, 126, 132, 146–147, 153, 154, 199
and the advertising poster, 17, 123–26
ambivalence, 115, 126, 132, 146
and oppositional stance, 6, 33, 146
response to the marketplace and consumer
culture, 6, 105, 148, 160, 182–83
resistance, 115, 132, 138, 146
subversion, 33
modernity, 3, 33, 36, 46, 55, 68, 99, 114, 151, 194,
200, 203, 232n44, 244n1
and advertising, 135, 138
and fashion, 62–63, 64, 202
femininity and, 6, 66, 223
modern women’s inclusion in, 23, 25, 33
and points of view, 55–56
public space of, 4, 23, 25, 33
relationship between posters and painting of,
15
modern life, 15, 136, 150, 211
painting of, 2, 7, 8, 17, 33, 63, 66, 68, 100,
104, 178, 198, 199, 200, 202, 210. See also
Baudelaire: “The Painter of Modern Life”
Modern Woman (Cassatt), 210
Modes et coiffures, 63, 95
modes of address, 3, 14, 17, 19, 23, 29, 41, 226n11
Mode illustrée, La, 66, 187–89
advertising in Didot-Bottin Annuaire, 188
fashion plate, 191
“La Modiste” (Anspach), 70
modistes, 5, 61, 66, 68–73, 76, 77, 78, 82, 83, 86,
89, 92, 94, 96, 97, 98, 105, 106–8, 110, 111,
192, 199, 237n34
artisan, 71, 72
appréteuse, 71, 72, 237n39
assistant, 71, 72, 82–83
dress mode of, 96
formière, 237n39
garnisseuse, 237n39
première, 71, 72, 73–74, 237n39
Monde illustré, Le, 52, 88, 233n58
Monet, Claude, 6, 22, 62, 106, 114, 116, 147,
172–73, 184, 200–4, 207, 215, 228n66,
236n17, 248n110, 249n2, 256n78
Boulevard des Capucines, 143, 144, 145, 248n110
Camille (Woman in the Green Dress), 64, 196,
201–3
Déjeuner sur l’herbe, 198, 201
Impression Sunrise, 12
The Picnic, 64–65
Study for The Picnic, 64
Woman with Parasol, 197, 198, 203
Women in the Garden, 7, 9, 64, 65, 81, 198, 201
Woman with a Parasol, turned to the left, 203
Montmartre, Boulevard, 140–43
Moore, George, 60, 83, 95–96, 97, 99, 106
Moreau-Vauthier, Paul, 217
Morisot, Berthe, 6, 22, 66, 92, 184, 210–11,
227n52, 228n76, 232nn41, 45, 234n82,
239n67, 257n109
Before the Theater, 198, 210–11, 212
mother of, 20
and print images, 14
Morris column, 114, 126, 145, 146
Mosnier, rue, 133–34, 136, 138
Mouret, Octave (fictional character), 36
Mulvey, Laura, 45, 81, 229n98
museums, 11, 121, 227n52, 233n52
Louvre, 21, 227n52
Luxembourg, 224
Pavillon de la Mode, 217
Music in the Tuileries (Manet), 63
Nadar, 36
Nana (Manet), 38, 50–51, 235n83
Nana (Zola), 50, 133
Naturalism, 148, 149, 170
nature, 148, 156, 157, 203, 237n28
commodification of, 151–52
as middle-class leisure site, 168
Parisiennes in, 203
versus produce, 167–72, 182
Neo-Impressionists, 77
Neuromm, Edmond, 215–16
New Woman, the. See femme nouvelle
newspapers, 247n86
Nittis, Giuseppe de, 6, 116, 132, 136, 146–47,
235n84
The Violet Perfumery (La Parfumerie Violet), 117,
121, 132, 133
Nochlin, Linda, 28, 101, 164, 233n51, 242n142
Nora, Pierre, 222
Normand, Maurice, 216–17
Nouvelle peinture, La (Duranty), 120–21, 199
Odéon, L’ (Grasset), 57
Odéon theater, 57
Oeuvre, L’ (The Masterpiece; Zola), 15, 16, 90,
124
Olympia (Manet), 50, 232n40
Opéra, the, 3, 24, 33, 40, 184, 233n52
opera, 32, 50, 67
opera glasses, 24, 27, 28–29, 32, 33, 48, 50, 54,
58, 211
278
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INDEX
“The Painter of Modern Life” (Baudelaire), 55,
62–63, 64, 199–200, 236n24, 237n28
Paix, rue de la, 87, 102, 104, 217
Paquin, House of, 82, 88, 90–91, 193, 217
Isidore, 217
Jeanne, 217, 255n39, 257–58n126
“The Parfumerie Oriza’s Display,” 39
Paris, 1–2, 6, 8, 24, 32, 47, 56, 69, 77, 79, 89, 90,
93, 95, 97, 99, 100, 102, 107, 112, 114, 116,
117, 120, 126, 134, 142, 143, 149, 155,
159–61, 170, 184, 209, 258n130
and advertising, 41, 41, 130, 132, 134, 135–136
consumer culture of, 1, 2, 17, 36, 91, 101, 104,
152
and fashion, 11, 61, 67, 68, 89, 102, 103, 192,
217
flânerie, 104, 115
as market, 148–54, 156, 157, 181
markets, 172–79
posters in, 17, 40
public space, 32, 33
“still life” of commodity spectacle, 94
typical Parisian apartment house, 128
See also articles de Paris; department stores;
Halles; Salon
Paris, A Rainy Day (Caillebotte), 12, 66, 116–19,
118, 120, 121–26, 130, 244n9, 245n28,
246nn47, 56
Paris au Gaz, 140–41
Paris guide par les Principaux écrivains et artistes de la
France, 189
Parisienne, 184–224, 255n59
African Parisienne, 219–21, 222
agency, 190
in avant-garde painting, 184, 198, 202, 210,
214, 215, 217
bourgeois status, 186
cosmopolitan, 192, 209, 222
as department store icon, 185, 186, 194, 211
discourse in popular culture, 6, 185–197
emblem of the Third Republic, 215, 218
fashionable, 17, 210, 218
and French superiority, 184
icon for French fashion and femininity, 184,
190, 204, 211, 223
and the Impressionists, 198–215
mass media image of, 184, 185, 202, 203, 204,
211, 254n9
mystique of, 197–98
as national brand, 215–22, 223, 224
and national identity, 184, 185, 195, 198, 218,
222
in nature, 203
as mother, 186, 203
in print media, 184, 186, 189, 194, 202, 204,
217
stereotype of French fashion and femininity,
185, 193, 194, 219, 222, 223
trademark of French fashion industry, 7, 222
“type,” 192, 194, 198, 202, 207, 217, 254n10
Parisienne, La (Renoir), 198, 204, 206
Parisienne, La (monument), 6, 185, 215–19, 216,
222
parks, 25, 67
public, 184
passersby, 8, 116, 121, 123, 132, 142, 143
as consumers, 114
Pavillon de la Mode (at 1900 Exposition), 217
Peasant Digging, The jardin de Maubuisson, Pontoise
(Paysanne bêchant, jardin de Maubuisson,
Pontoise) (Pissarro), 166, 169
peasants, 12, 151, 157, 160, 163, 164, 168, 171, 215,
251n78, 252n105
perfumery, 116, 117, 132
periodicals, 14
Perle et la vague, La (Baudry), 199
petite bourgeoisie, 37, 85
Petit Gennevilliers, 171, 252
photographs, 5, 6, 60, 82, 96, 108, 137, 204, 209,
211, 215, 244n190, 248n115
Maison de coutour: atelier (Anon.), 109
physiognomy, 199, 200, 214, 220
Picnic, The (Monet), 64–65
Pissarro, Camille, 12, 22, 77–78, 100, 105–6, 114,
116, 145, 182, 215, 226n33, 250n52, 251n104,
253n127
art market, 158–60
Boulevard des Italiens: Morning, Sunlight, 145,
145–46
and Caillebotte, 160–62, 171–72, 176–77, 182
and Degas, 164, 171, 238n54
Kitchen Gardens at the Hermitage, Pontoise ( Jardins
potager à L’Hermitage, Pontoise), 165, 169
Market at Pontoise, 163
The Market Place (A Corner of Les Halles), 159,
165, 251n74
The Market Stall, 158, 164–65
Peasant Digging, The jardin de Maubuisson,
Pontoise (Paysanne bêchant, jardin de
Maubuisson, Pontoise), 166, 169
The Pork Butcher (La Charcutière), 157
Poultry Market, Pontoise, 156, 161, 162, 163, 164
Poultry Market at Gisors, 155, 161, 162, 163
The St. Honoré Market, 251n74
Study of a female figure examining a market stall,
161
Turpitudes Sociales, 157
village markets of, 6, 148, 154–67, 176, 182,
250n58, 251n78. See also kitchen gardens
Pissarro, Joachim, 162, 249n39
Pissarro, Lucien, 159, 253n127
Pointillists, 77
Pollock, Griselda, 28, 29, 230nn106, 112, 226n11,
232n45
Pontoise, 154, 160, 162, 163, 170, 250n63, 251n80
popular culture, 6, 28, 52, 78, 124, 142
Pork Butcher (La Charcutière) (Pissarro), 157
Portrait of Emile Zola (Manet), 120
279
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Portraits in an Office (New Orleans) (Degas), 20
Poster, Mark, 14, 227n49
posters, 2, 6, 16–17, 41, 48, 58, 88, 138, 106, 114,
124, 134, 146, 180, 184, 189, 201, 202, 204,
228nn66, 68, 70, 233nn56, 57, 246n43
advertising, 5, 14, 15, 16, 41, 57, 58, 83–84,
112, 114, 123–26
department store, 17, 84, 116, 123, 185, 204,
247n84, 254n9
Folies-Bergère, 48
in Manet’s At the Café, 138–40
and painting of modernity, 15, 235n95
representations of the Parisienne on, 185, 186,
202, 215, 254n9
visual codes of, 48
Post-Impressionists, 105, 106
poultry, 161
meat, 176, 177
Poultry Market at Gisors (Pissarro), 155, 161, 162,
163
Poultry Market, Pontoise (Pissarro), 156, 161, 162,
163, 164
print media, 17, 138 184, 186, 189
images, 14, 17, 19, 28, 83, 194, 202, 217
private space, 89, 122, 130
produce, 151, 163. 168, 169, 170, 176
versus nature, 167–72, 182
producers, 23, 86, 161, 177
artisanal, 107
of fashion, 66, 89
production, 68, 77, 106, 110, 112, 118, 162, 166
promotion. See marketing
prostitutes, 68, 72, 116, 140, 143, 237nn34, 35
prostitution, clandestine, 61, 68, 96
Proust, Antonin, 64, 180, 223, 235n65, 236n13,
243n169, 257n108
Proust, Marcel, 233n64, 240n90
Prouvaire, Jean, 207, 210
provinces, 151, 194
French woman in the, 195
signs in, 135
Przyblyski, Jeannene M., 228n73
public, modern (crowd), 4, 13, 36, 44, 46, 50–51,
53–54, 55, 59, 78, 97, 106, 123, 143, 154, 164,
165, 166, 232n44, 234n69, 74, 75, 248n109
direct address of the, 232n40
“era of crowds” 51–55
gazes of mixed, 23
representation in literature, 53
viewpoint of the, 52. See also audience
public space. See space
publicité. See advertising
Publicité en France, La (Mermet), 134
Raffaéli, Jean-François, 132
Railway (Manet), 12
Rapetti, Rodolphe, 252n108
Raymond, Emmeline, 184, 192, 223
“La Mode et la Parisienne,” 185, 189–90
ready-to-wear, 117, 137, 191, 193, 255n36, 244n13
réclame. See advertising
Redon, Odillon, 120
Reff, Theodore, 228n76
Renard, Jules. See Draner
Rendez-vous de chats (Manet), 138
Renoir, Pierre-Auguste, 6, 22, 33, 102, 114, 147,
173, 184, 204, 207, 215, 256n92
The Grand Boulevards, 116, 126, 127, 143
The Loge, 33
Madame Charpentier and Her Children, 22
paintings of boulevards, 248n110
La Parisienne, 198, 204, 206
Young Woman Reading an Illustrated Journal, 3–4,
5
Repos, Le (Manet), 12
restaurants, 3, 25, 36, 114, 126, 226n16
retail, 2, 7, 125, 149, 151, 185, 252n120
Revue des deux mondes, 218
Rewald, John, 229n84, 236n24
Richepin, Jean, 19–20, 79
rights, women’s. See feminism
Rivière, Georges, 23, 24, 228–29n84, 246n55
addressing middle-class women, 20–22
“Aux Femmes” (“To Women”), 21
Rococo, 228n70
Roqueplan, Nestor, 195
Roskill, Mark, 201
Ross, Novelene, 36
Rouart, Henri, 16, 97
Rouchon, Jean-Alexis, 46, 83, 246n43, 254n9
Au Paradis des dames, 17, 18, 83, 124
Rubens, Peter Paul, 249n14
Rue Halévy, Sixth Floor View (Caillebotte), 144, 145
Rue Mosnier with Pavers (La Rue Mosnier aux
paveurs; Manet), 116, 133, 135, 136, 137, 143,
146, 247n66
Ruel, Durand, 54, 97, 158, 159, 241–42n128
Sagraves, Julia, 122, 246nn52, 56
St. Petersbourg, rue, 244n9
Saison, La (fashion plate), 24, 28
“La Saison, toilettes et nouveautés du Petit
Saint-Thomas” (anonymous), 26
sales, 38, 158
sales catalogues, illustrations in, 6, 14, 101
salon
elite designer, 5, 191, 193, 194, 201
haute couture, 68, 82, 88, 90, 108
millinery departments of elite, 70
Paquin, 90–91
salon (gatherings), 86–87
Salon, Paris, 15, 16, 39, 54, 171, 201, 256n89,
258n137
1862, 199
1868, 245n25
1869, 8
1873, 12
1876, 138
280
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INDEX
1879, 15, 22
1880, 15
1882, 11, 12, 36, 42, 97, 214, 228n72
1884, 52
spectators, 43, 53
Salon de Mme C Modiste – Place St André des Art,
Le (Atget), 67
Salon de thés, 25
“Le Salon officiel de 1880” (Huysmans), 15
Schapiro, Meyer, 7–8, 105, 151, 173–74
Schwartz, Vanessa R., 228n73
seamstresses, 66, 67, 78, 192, 226n30
seduction, 33, 34, 35, 57, 58, 78
department store, 101
self-display, 211, 222
Self-Portrait (Cassatt), 31, 32, 87–88
sell art. See art market; selling
sellers and selling, 35, 36, 37, 40, 53, 58, 69, 84,
127, 129, 148, 162, 163, 164, 165, 166, 174
art, 158, 159, 160, 170, 234n82
discourse of, 41, 89
in village markets, 161, 170
salesgirls, 36, 37, 41, 44, 46, 52, 58, 68, 71, 72,
76–77, 88, 89, 96, 231n12, 238n48
salesmen, 11, 25, 36, 46, 88, 112
saleswomen, 5, 8, 10, 23, 36, 37, 85, 91, 101,
105, 106, 112, 201
shopkeepers, 48, 78
Seurat, Georges, 17, 77, 160, 214, 228n68,
233n56
Shikes, Ralph E., 249–50n42, 250n43
shop displays, 12, 68, 94–96, 115
shop signs, 6, 12, 115
representation of, 114
shop windows, 6, 38, 60, 92, 96, 116, 126, 146,
152, 154, 160
artificial light in, 6, 38, 116, 140–43
displays, 1, 2, 3, 33, 38, 68, 78, 94–96, 99, 114,
115, 129, 146, 151–52, 153, 193, 201
Manet’s Nana displayed in, 50–51
vitrines simulating, 38
shoppers, 42, 44, 46, 83, 86, 88, 89, 96, 97, 106,
112
shopping, 68, 86, 127
middle class woman’s, 82, 192
sites of, 5, 47, 61, 88–92
shops, 7, 110, 114, 115, 123, 145, 146
artificial light in, 141, 151, 157
shopfronts, 6, 114, 115, 116–17, 120, 126–29,
132, 145, 146, 147, 151. See also signs
Signac, Paul, 77, 78, 96, 160
Appréteuse et garnisseuse (Modes), rue du Caire, 71,
77
signs, 116, 117, 119, 123, 146
advertising, 2, 6, 8, 12, 114, 129–30
fragmentation, 130, 132, 136, 147
gold-lettered, 6, 117, 130, 136, 140, 151
modern, 135
old-style, 135
shop, 6, 12, 114, 115, 116, 117, 119, 123,
128–30, 132, 151
signs of consumer culture
explicit, 3, 4, 7, 10, 61, 99, 113, 114, 115, 126,
145, 148
implicit, 3, 7, 8, 10, 33, 114, 115, 146
inconspicuous, 4
Silverman, Debora L., 223, 243n182, 257nn116,
122, 258n130
Singer with a Glove. See Café Singer
sociability, 116, 123, 126, 163
space, 25, 32, 122, 182
artisanal, 106, 111
consumer, 89, 112, 113
private, 89, 91
public, 4, 25, 28, 29, 32, 33, 42, 44, 53, 55, 89,
91, 122, 125, 142–44, 125, 142
women in public, 23, 24, 25, 28, 32, 33, 70,
214
Spate, Virginia, 65, 201, 228n66, 236n17,
256n78
spectacle, 3, 53, 54, 78, 114, 142, 143, 151, 214,
250n58
Parisian “still life” of commodity, 42, 43–44,
58, 59, 94
women as, 12, 46, 56, 57, 83
spectators, spectatorship, 3, 7, 23, 29, 32, 33, 36,
40, 50, 51–55, 94–95, 98, 121, 125, 150, 152,
182, 198, 203, 204, 211
crowds of, 35–36, 54
direct address of, 17, 29, 40, 104, 122
of high art, 130
masculine position, 28, 42, 48
participatory position, 4, 29
spectatorial identifications, 164, 182
women as, 23, 24, 28, 29, 33, 45, 46, 48–49,
50, 57, 58, 83, 226n11
spheres, 130
doctrine of separate, 47, 124
public, 14, 28, 46
separate for art, 14, 19, 29, 123, 182
Spring (Manet), 81, 211–14, 213, 224
Steinlen, Théophile-Alexander, 78
Steele, Valerie, 257n126
Stevens, Alfred, 255n59, 257n109
still life, 97, 120, 150, 151, 152–53, 154, 166,
172–74, 178, 249n14, 252nn111, 115, 120
of commodities, 42, 94, 97, 99–100, 101, 151,
182
Stillman, James, 103, 243n164, 257n98
store owners, 129
storefront. See shops
stores. See shops
Straus, Geneviève, 86–87, 240n90
strolling, 25, 56, 103, 124, 136, 142, 168, 198
Study for The Picnic (Monet), 64
Study of a Female Figure Examining a Market Stall
(Pissarro), 161
subversion, inconspicuous, 6, 114–47
281
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INDEX
suffrage, women’s. See feminism
supermerchandise. See commodity
Suzon (model), 38, 230n3
Symbolists, 12, 106, 107, 163, 170, 214
Tabarant, Adolphe, 38, 138, 230n3
Taine, Hippolyte, 38
Tamagno, Francisco, 58
taste, 6
bourgeois men’s, 21, 104
bourgeois women’s, 21, 22, 23, 33
superiority of French, 192, 195, 198, 218, 222,
223
theater, 3, 25, 28, 32, 33, 67, 184, 226n16
advertising on curtains, 135
Thévenot, M.
wall painting in the French Company of
Western Africa pavilion, 219–221, 219
Third Republic, 102, 180, 223, 224
La Parisienne as emblem of, 215, 218, 223
and women’s consumption of French consumer
goods, 258n143
Thiriet, Henri
Exposition de Blanc à la Place Clichy, 84–86, 84
Thomson, Richard, 250n71, 251n73
Thoré, Théophile, 245n25
Tiepolo, Giovanni Battista, 16
Tiersten, Lisa, 223
Tinterow, Gary, 240n98, 99, 241n128
Tissot, James, 255n59
Le Demoiselle de magasin, 88
toilette, fashionable, 64, 66, 67, 70, 82, 86, 87,
91
top hats, 70
top-hatted men, 69, 116, 121, 124, 142
Touche, Gaston La, 51
Toulouse-Lautrec, Henri de, 226n29,
246n44
tourist resorts, visiting, 3
Tucker, Paul Hayes, 201
Turbigo, rue, 123
Turpitudes Sociales (Pissarro), 157
umbrellas, 12, 67, 88, 116, 117–19, 122, 124, 125,
184, 185, 186. See also accessories: parasols
upper-middle class. See bourgeois
urban. See city
urban masses. See public, modern
Uzanne, Octave, 190–91, 192, 197–98
Vallotton, Félix, Le Bon Marché, 88, 110,
112
Varnedoe, Kirk, 236n21, 245n39, 248n110
Veblen, Thorstein, 146, 248n117
vegetables, 150, 151, 153, 168–69, 170, 176
vendors, 150, 161, 170, 174, 177, 182
Ventre de Paris, Le (Zola), 1, 6, 148–54, 168, 176,
179–81, 193–94
Vie de Paris, La (Frébault), 135
viewpoints, spectatorial, 4, 41, 54, 98, 102, 104,
143, 165, 176, 177, 235n88, 241n120, 249n7,
250n71, 251n73
distanced, 116, 117, 143–147
observer/participant, 170, 171
participatory, 4, 29
See also spectators, spectatorship
village markets, 1, 6, 99, 148, 149, 151, 154–67,
176, 182, 250n58
peasants attending, 168. See also vendors
villagers, 162, 182
Violet Perfumery, The (La Parfumerie Violet) (Nittis),
117, 121, 132, 133
Viollet-le-Duc (architect), 179
Virot, Madame, 104
vitrines. See shop window
Vogüé, Eugène-Melchior de, 218–219
Voice of the Crowd, The (Voix de la foule)
(anonymous), 69, 69
Vollard, Ambrose, 237n24, 242n148
wallpaper, 12, 246n43
Ward, Martha, 226n33, 231n7, 238n42
Weber, Eugen, 194
Weiss, Jeffrey, 247n86
Williams, Rosalind, 2
Wilson-Bareau, Juliet, 137, 247n66
window displays. See shop windows
Woman with a Parasol, turned to the left (Monet),
203
Woman with a Pearl Necklace in a Loge (Cassatt), 30,
32, 33, 34, 230n112
Woman with Parasol (Monet), 197, 198
women, 2, 5, 24, 44, 217, 229n98
active role in creating fashionable appearances,
81, 86, 186–87, 189, 196
addressing modern, 21–25
and agency, 3, 21, 23, 24, 27, 32, 57, 79, 83,
214, 222
bourgeois, 4, 7, 21, 22, 23, 24, 28, 67, 69, 70,
76, 80–81, 82, 226n30
changing roles of, 3, 36
and collecting art, 22, 23
consumers, 5, 17, 23, 58, 66, 83, 186, 223
displayers of French fashion, 223
and fashion, 6, 17, 33, 35, 36, 37, 40, 50, 57, 65,
66, 81, 86, 87, 88, 91, 97, 119, 124, 185, 186,
192, 193–94, 198, 199, 201, 207, 209, 210,
211, 218, 219, 257n109
flânerie, 91
and gazes of modern, 3, 45–51
Greek woman, 199, 214, 217, 224
influence of French fashions on foreign,
192–93, 194, 195
objectification and sexualization of, 3, 23, 81,
83, 86, 201, 232
participation in public space, 4, 23, 24, 25, 28,
32, 33, 46, 47
petit bourgeois, 193
282
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producers, 23, 86
provincial, 194, 195
public gaze of, 25. See also gaze
as spectacle, 12, 46, 56, 57, 83, 84
as spectators/consumers, 46, 57, 58
type of the Second Empire, 223
type of the Third Republic, 224
as workers, 3, 5, 46, 164
See also Parisienne; femme français
Women in the Garden (Monet), 7, 9, 64, 65, 81,
201
Women on the Terrace of a Café in the Evening
(pastel; Degas), 140–43 141
work, 23, 77, 168, 170, 233n49
men and women working together, 170,
233n49
workers, 23, 162, 252n120
agricultural, 157, 164, 167, 168, 169, 170, 171
172
market women, 164, 165. See also vendors;
producers
millinery, 71–78
women market, 164, 165. See also vendors;
producers
working class, 46, 72, 78, 87, 164, 166, 168, 193,
198, 218
men, 127, 134, 166, 246n53
women, 46, 61, 76–77, 82, 98, 193, 198, 218,
233n48
“The Work of Art in the Age of Mechanical
Reproduction” (Benjamin), 52
workshops. See ateliers
World Exposition (1900; Paris). See
expositions
Worth, Charles Frederick, 210, 217, 241n114
House of Worth, Fitting the Wedding Gown,
219
Young Woman Reading an Illustrated Journal
(Renoir), 3, 5
Zola, Emile, 2, 4, 8, 12–13, 16, 19, 20, 33, 35,
37, 40, 44, 52, 53, 79, 80, 81, 85, 88, 89, 99,
105, 121, 141, 153–54, 166, 168–69, 181,
201, 202–3, 234nn74, 78, 239n69,
252n118
Au bonheur des dames, 19, 20, 36, 44–45, 46, 76,
78, 79, 89, 93, 100–1, 105, 124, 193, 231n9,
239n67, 246n44
La Curée, 233n52
“Edouard Manet,” 227n40
Nana, 50, 133
L’Oeuvre (The Masterpiece), 15, 16, 90,
124
representation of modernist artists,
15
Le ventre de Paris, 1, 6, 148–54, 168, 176,
179–81, 193–94
283
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