- Charles Baudelaire, The Painter of Modern Life and Other Essays, trans. Jonathan Mayne (London: Phaidon, 1995), 1.
- Andrew Sayers, Aboriginal Artists of the Nineteenth Century (Melbourne and Canberra: Oxford University Press in association with National Gallery of Australia, 1994), 113.
- ‘Yackandandah's Official Website’, www.uniqueyackandandah.com.au.
- Andrew Sayers, Aboriginal Artists of the Nineteenth Century, 31–2.
- Ibid., 113.
- Fernando Ortiz, Cuban Counterpoint: Tobacco and Sugar, trans. Harriet De Onís (New York: Alfred A. Knopf, 1947), 97–8.
- In The Eighteenth Brumaire of Louis Napoleon (1852). Quoted in Walter Benjamin, Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, trans. Harry Zohn (London: Verso, 1976), 12.
- Charles Baudelaire, ‘Le Revenant’ (The Ghost), Fleurs du Mal.
- Charles Baudelaire, ‘Correspondences’, Fleurs du Mal.
- T.J. Clark, The Painting of Modern Life: Paris in the Art of Manet and His Followers (New York: Alfred A. Knopf, 1984); Ruth E. Iskin, ‘Selling, Seduction, and Soliciting the Eye: Manet's Bar at the Folies-Bergèré’, Art Bulletin 77, no. 1, March 1995: 25–44; Naomi Merritt, ‘Manet's Mirror and Jeff Wall's Picture for Women: Reflection or Refraction?’, Emaj, no. 4 (2009), http://emajartjournal.files.wordpress.com/2012/08/merritt.pdf
- Terry Smith, ‘The Provincialism Problem’, Artforum, September 1974: 54–9.
- Nicolas Bourriaud, Relational Aesthetics (Paris: Les Presses du Réel, 2002).
- See Pascal Blanchard, Gilles Boëtsch, and Nanette Jacomijn Snoep, ed., Human Zoos: The Invention of the Savage (Paris: Musée du Quai Branly, 2011).
- Therese Dolan, ‘Skirting the Issue: Manet's Portrait of Baudelaire's Mistress, Reclining’, Art Bulletin 79, no. 4, December 1997: 612.
- Baudelaire, The Painter of Modern Life and Other Essays, 6.
- Ibid., 8.
- Ibid., 9.
- Ibid., 26.
- Walter Benjamin, Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, 41.
- YVe-Alain Bois, ‘Painting: The Task of Mourning’, Endgame: Reference and Simulation in Recent Painting and Sculpture (Boston and Cambridge, MA: Institute of Contemporary Art and MIT Press, 1986), 35.
- James Clifford, The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art (Cambridge: Harvard University Press, 1988).
- Quoted in Elizabeth Willis, ‘Exhibiting Aboriginal Industry: A Story Behind a “Re-Discovered” Bark Drawing from Victoria’, Aboriginal History, no. 27, 2003: 39.
- See Carol Cooper and James Urry, ‘Art, Aborigines and Chinese: A Nineteenth Century Drawing by the Kwatkwat Artist Tommy McRae’, in Aboriginal History 5. no. 1 (1981): 87; Andrew Sayers, Aboriginal Artists of the Nineteenth Century, 47.
- Elizabeth Willis, ‘Exhibiting Aboriginal Industry’, 47–8.
- Quoted in Margueritte Murphy, ‘Becoming Cosmopolitan: Viewing and Reviewing the 1855 Exposition Universelle in Paris’, Nineteenth-Century Contexts: An Interdisciplinary Journal 31, no. 1 (2010): 31, 43.
- Ibid., 43.
- Ibid., 37.
- Charles Baudelaire, ‘The Exposition Universelle 1855’, in Art in Paris 1845–1862: Salons and Other Exhibitions Reviewed by Charles Baudelaire, ed. Jonathan Mayne (London: Phaidon, 1965), 121–2.
- Ibid., 123.
- Ihab Hassan, ‘Baudelaire's “Correspondences”: The Dialectic of a Poetic Affinity”, French Review 27, no. 6, May 1954: 439.
- Charles Baudelaire, ‘Correspondences’.
- Jonathan Mayne, ‘Introduction’, in Baudelaire, The Painter of Modern Life and Other Essays, xiii.
- Homi K. Bhabha, The Location of Culture (London: Routledge, 1994), 218–9.
- Presumably Duval was still visible when the painting was first exhibited. Courbet painted over Duval's features (her shadow is now clearly visible) supposedly at the request of Baudelaire in 1855, doubtless after he saw the painting at the Exposition. See Griselda Pollock, Differencing the Canon: Feminist Desire and the Writing of Art's Histories (London: Routledge, 1999), 264.
- Georges Boudailles, Gustave Courbet: Painter in Protest, 42.
- Letter to Champfleury, February-March 1850, in Gustave Courbet, Letters of Gustave Courbet, trans. Petra Ten-Doesschate Chu (Chicago: University of Chicago Press, 1992), 91.
- Letter to M. and Mme Francis Wey, 31 July 1850, in ibid., 98–9.
- This is also true of Indigenous art generally and especially of artworld interest in it. That interest is exemplified in the cabinets of curiosities fashionable after the renaissance and from the eighteenth century. I know only two artworld instances of such interest over this period. The first is Albrecht Dürer who had his own curiosity cabinet. He ‘marvelled at the subtle Ingenia of men in foreign lands’ when he saw the first Aztec art brought back to Europe in 1520, before much of it was melted for the gold. Albrecht Dürer, Diary of His Journey in the Netherlands 1520–1521 (London: Lind Humphries, 1970). The second is Goethe's response in 1772 to artefacts from Cook's voyage, when he declared Oceanic art ‘the only true art’ because of its ‘intuitive’ sense of rhythm and form. Johann Wolfgang von Goethe, ‘Of German Architecture’, in A Documentary History of Art vol. 2, ed. Elizabeth Gilmore Holt (Garden City, NY: Doubleday Anchor Books, 1958), 367.
- Charles Baudelaire, ‘The Exposition Universelle 1855’, 578.
- See Elizabeth Willis, ‘Exhibiting Aboriginal Industry’, 47.
- Charles Baudelaire, The Painter of Modern Life and Other Essays, 5.
- Elizabeth Willis, ‘Exhibiting Aboriginal Industry’, 55.
- Edward Ruhe (US collector of Arnhem Land barks), in a letter to Jim Davidson, 1 March 1982, in the Kluge Ruhe archives, University of Virginia.
- Philip Chauncy, ‘Notes and Anecdotes of the Aborigines of Australia’, Appendix A, in R. Brough Smyth, The Aborigines of Victoria with Notes Relating to the Habits of the Natives of Other Parts of Australia and Tasmania, vol. 2 (Melbourne and London: John Ferres Government Printer and Trübner and Co., 1878), 258.
- Philip Chauncy, ‘Notes and Anecdotes of the Aborigines of Australia’, Appendix A, in ibid., 257.
- Ibid., 1, 286.
- Ibid., 287.
- Sayers, Aboriginal Artists of the Nineteenth Century, 6.
- Ibid., 8.
- Ibid., 9.
- Ibid., 113.
- Ibid., 9.
- Fernando Ortiz, Cuban Counterpoint: Tobacco and Sugar, 103.
- Andrew Sayers, Aboriginal Artists of the Nineteenth Century, 71–2.
- Ibid., 64.
- Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures (New Haven: Yale University Press, 1985), 59.
- Andrew Sayers, Aboriginal Artists of the Nineteenth Century, 8.
- Bronislaw Malinowski, ‘Introduction’, in Fernando Ortiz, Cuban Counterpoint: Tobacco and Sugar, x.
- Andrew Sayers, Aboriginal Artists of the Nineteenth Century, 43.
- Carol Cooper, ‘Traditional Visual Culture in South-East Australia’, in Aboriginal Artists of the Nineteenth Century, ed. Andrew Sayers (Melbourne and Canberra: Oxford University Press in association with National Gallery of Australia, 1994), 108–9.
- Peter Cunningham, Two Years in New South Wales, vol. 2, 2nd ed. (London: Henry Colburn, 1827), 8.
- Ibid., 1, 41–2.
- Andrew Sayers, Aboriginal Artists of the Nineteenth Century, 64.
- Quoted in ibid.
- Michèle Martin, ‘Nineteenth Century Wood Engravers at Work: Mass Production of Illustrated Periodicals (1840–1880)’, Journal of Historical Sociology (DOI: 10.1111/johs.12005, 2012), 1.
- Charles Baudelaire, The Painter of Modern Life and Other Essays, 6.
- Ibid., 11.
- Ibid., 12.
- Ibid., 15.
- Ibid., 16.
- Ibid., 2.
- Charles Baudelaire, ‘The Exposition Universelle 1855’, 123.
- Andrew Sayers, Aboriginal Artists of the Nineteenth Century, 4.
- Sydney Ure Smith, ed., Art of Australia 1788–1941 (New York: Museum of Modern Art, 1941), 29, 61.
- Brian Crozier, ‘What Came before Namatiira?: Primitive Art in Grafton Discovery’, Sunday Herald, 4 February 1951: 7.
- Andrew Sayers, Aboriginal Artists of the Nineteenth Century, 11.
- Charles Baudelaire, The Painter of Modern Life and Other Essays, 12.
Australian and New Zealand Journal of Art
Volume 13, 2013 - Issue 1: Contact