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Having reviewed over 1200 books on this blog, I have now written two myself. Motherdarling is a story about a search for a missing Will which reveals long-hidden family secrets. The Kids of God is a thriller set in a dystopia ruled by fascist paramilitaries. Both are available as paperbacks and on Kindle through Amazon. I live in Canterbury, England. I lived for more than thirty years in Bedford. Having retired from teaching; I became a research student at the University of Bedfordshire researching into Liminality. I achieved my PhD in 2019. I am now properly retired. I love reading! I enjoy in particular fiction (mostly great and classic fiction although I also enjoy whodunnits), biography, history and smart thinking. Follow me on twitter: @daja57

Tuesday, 10 November 2015

"The Judgement of Paris" by Ross King

This is a book about Meissonier, the highest paid artist in the world in the 1860s, whom almost no one knows now, and Manet, who sold almost nothing in the 1860s but is now regarded as the father of Impressionism. It is set in Paris between the years 1863 and 1873 and most of the action revolves around the attempts by the Parisian artists to exhibit their work in the annual Salon, the equivalent of the Royal Academy Summer Exhibition in London.

Whch makes the book sound dry as dust. But the genius of Ross King is that he can take this tiny little bit of history and weave a story which incorporates so many other things. Because this was the Paris of the Second Empire when Emperor Napoleon III ruled over a city which had been transformed by the Boulevards of Baron Haussman; the Paris of cafes, artists, prostitutes (one in six Parisians was a sex worker) and the demi-monde; the Paris of the Universal Exposition, of glamour and glitter and industrialisation; the Paris of the secret police, of censorship, of political repression. And in 1871 it was the Paris which was beseiged as France lost the Franco-Prussian war and the Emperor fled; it was the Paris of the Commune.

This was a fascinating time, a revolutionary time, and art underwent its own revolution. But, as always, the opponents in the revolution were so much more interesting than their stereotypes.

Meissonier painted tiny oil paintings of incredible and exacting detail. He had made his fortune with pictures of Bonhommes (a bit like the Laughing Cavalier) but he longed to do more heroic work. He toiled for years over (slightly) larger works depicting the glories (and the tragedies) of the first Napoleon. He was a studio painter who rarely painted outdoors but his preparations and research were meticulous. He attended the Battle of Solferino for research and he had a train track laid in his garden so that he could move alongside galloping horses and study them precisely.

Manet really wasn't an impressionist and he certainly shouldn't be confused with Monet, who was. Manet's inspiration came from the old masters. His controversial Dejeuner sur l'Herbe featured a riverscape inspired by a Titian in the Louvre, a female nude inspired by Rubens and a clothed man who reclines in the same position as Adam on the Sistine chapel ceiling, albeit reversed. His even more controversial Olympia was a copy of another Titian. But both paintings owed much of their daring and their notoriety from the clever visual hints added by Manet (such as a black cat with an erect tail hinting at pussy); even the name Olympia hinted that the woman was a prostitute and the position of the left hand suggests that she isn't just being modest (and did you know that our word pudenda for female genitalia comes from the Latin pudens which means shame).

Manet must have been a resilient man with enormous self-belief. Year after year he exhibited to howls of derision. People laughed at his paintings, they said he was useless. It must have been hard for his models. Victorine posed naked for Dejeuner sur l'Herbe; many horrible comments were made about her ugliness; it was assumed she was a prostitute; she was laughed at. Next year she posed again, naked again, as Olympia (clearly a prostitute), and again was on the receiving end of ridicule and scorn. It wasn't even as if the pay was good and Manet took hours and hours over his models!

I learned so much from this book, from the controversial career of Napoleon III (two failed coups before he came to power including escaping from a French prison by dressing as a workman and walking out of the door with a plank across his shoulders) to the derivation of pompous (the French called the overblown toga-and-sandals paintings of David and fellows 'pompiers' because the helmets of the heroes resembled the helmets of French firemen) to Baudelaire, notorious author of Fleur du Mal, who so courted notoriety that on a visit to Belgium he pretended that he had killed and eaten his step-father to Whistler who had been expelled from West Point by Robert Lee to Manet who failed his naval training (proved by the fact that on one seascape the flags and sails of one of the boats are being blown in opposite directions) to the fact the landscape painting only really took off after oil paints began to be available in metal tubes rather than the much less wieldy pig's bladders ....

Written in 38 short chapters, this is a very easy read. It is so packed with characters and incidents that it never flags. It is brilliant and deserves a wide readership.

Ross King also wrote (reviewed in this blog):

This is one of a selection of books I am reading to help me understand more about art. Others reviewed on this blog include:




  • Seven Days in the Art World by Julia Thornton: a look at the institutions of the art world such as an auction, a fair, a magazine and the Biennale.
  • Think Like an Artist by Will Gompertz which includes such insights as 'artists think big picture and fine detail' and 'artists steal'
  • Ways of seeing by John Berger which is particularly good at sexism in art
  • How art made the world by Nigel Spivey  which proposes that art has changed the way we think and altered our civilisations
  • The Story of Art by E F Gombrich, a fascinating historical tour through art


November 2015; 374 pages

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