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VOL. 30 Rutgers Art Review Rutgers Art Review The Journal of Graduate Research in Art History VOL. 30 Rutgers Art Review The Rutgers Art Review (RAR) is an annual journal produced by graduate students in the Department of Art History at Rutgers University. The journal is dedicated to presenting original research by graduate volume the editors convene an editorial board made students in Art History and related fields. For each up of students from the department and review all new submissions. The strongest papers are then sent to established contribute to existing scholarship. Articles appearing scholars in order to confirm that each one will in RAR are abstracted and indexed online in America: History and Life, ARTbibliographies Modern, the Avery Index to Architectural Periodicals, BHA (Bibliography of the History of Art), Historical Abstracts, and the Wilson Art Index. The journal is distributed by and public libraries in North America and Europe. subscription to many of the finest university, museum, to printed volumes before Vol. 30, visit: For more information about RAR or to suscribe RAR.Rutgers.edu Cover Image: Ellsworth Kelly, Colors for a Large Wall, 1951, oil on canvas, sixty-four joined panels, 94 1/2 x 94 1/2 inches (240 x 240 cm), Museum of Modern Art, New York, gift of the artist 1969. © Ellsworth Kelly. Staff &Thanks Editors Special Thanks Heather Cammarata-Seale Alexis Jason-Mathews for your dedication and guidance in producing the Ksenia Nouril secondTo our faculty digital advisor,issue of TatianaRutgers Flores,Art Review. thank you Assistant Editors To our editorial board, thank you for your enthusiasm and perseverance. Hurricane Sandy tried to keep us Isabel Bartolome down, but because of your determination we were able to read a record number of submissions and fashion a fantastic issue. AllisonErin Fitterer Leigh KirstenJeff Fraiman Marples To our outside readers, thank you for taking the Hannah Shaw time from your busy schedules to read and review our submissions. Your comments, edits, and insights were invaluable. To contact the staff at Rutgers Art Review, email: To our graphic designer, Susannah Hainley, thank you for your creativity and patience. [email protected] To our authors, thank you for sharing your research with us and the Rutgers Art Review audience. It is always thrilling to learn from of our peers. In This Issue Degas’s Portrait of Mademoiselle of Modern Life 4 FiocreMARY MANNINGand the Orientalism Ellsworth Kelly’s 20 CHristOPHER KetcHAM Ornamental Spaces Transformation in Jan Brueghel's 36 Food,The Allegory Alchemy, of andTaste ELIZABETH MCFADDEN Amateur Painting: Honoré 57 Daumier’s ‘Homage to ElizabetH SAARI BROWNE Fragonard’ and the Rococo Reality and Simulacra in Andy Warhol’s Shadows 74 JENNIFER WATSON 4 Degas’s Portrait of he had also completed the Portrait of Mlle Fiocre in the Ballet “La Source” (Fig. 1), a rather curious Mademoiselle Fiocre and the Orientalism adepiction landscape of neitherone of the clearly Paris onstage Opéra’s nor star dancers, of Modern Life objectivelyEugénie Fiocre, real. wearingThe Portrait a Georgian of Mademoiselle costume in Fiocre, now in the Brooklyn Museum, was one MARY MANNING of his immediate family and social circle,3 as of Degas’s first attempts at portraiture outside addressedwell as his asfirst either painting of these of a subjects.scene related It is, to the however,ballet, and the yet closest this painting Degas would cannot ever be sufficiently come to rientalist harem and bath interiors, Eastern landscapes, and legends of alluring favor in the Salons of the period. Thus, I argue femme fatales and violent warriors exist thatthe kind the Portraitof Orientalist of Mademoiselle harem fantasy Fiocre that may held be century painting. Seemingly decoupled from of Degas into the world of portraying the ballet, constraintsprolifically withinof modern the course time, these of nineteenth- images embrace best interpreted not as a meaningful first step tropes and stories with which a large number of artists, both the unabashedly clichéd and the but as a depiction of “the Orientalism of modern highly respected, would engage. When younger dealtlife.” Prior with toperceptions portraying of Fiocre, his own Degas heritage explored as he painters began to grapple with modernizing other, more traditional Orientalist subjects and old genres and styles in the second half of the these two processes of discovery motivated his Onineteenth century, any attempts to update constructiontraveled to Italy of the and Portrait New Orleans. of Mademoiselle I contend that Fiocre as an overt display of the puzzling metropolitan audiences may have seemed to defeatOrientalism the nostalgic, to keep paceidyllic with raison the d’êtrechanging of the embodied in modernity. style. However, for Edgar Degas (1834-1917), contradictions between artifice and reality who experimented intensely with academically In the Portrait of Mlle Fiocre in the Ballet “La sanctioned genres, such as history painting, early Source,” three women rest on the shore of a life”1 was perhaps a challenge that could not be landscape. The woman to the far left, wearing ignored.in his career, In formulating finding an “Orientalismsuch a category, of modern the visual anreflecting orange pooldress, of plays water a inmusical the middle instrument of a rocky and looks to her left as her hair falls into her of capturing contemporary feeling would require face. At the far right, the woman in red sits at substantialdemands of negotiation. the subject matter and the difficulty the waterfront and gazes into the pool. A live horse stands in the center and bows its head to By 1866, Degas had begun to trade his early drink the water, looking down and away from experiments in history and genre painting for the viewer’s gaze like the peripheral women. modern life scenes. He increasingly painted In the center sits the eponymous Mademoiselle portraits of his friends and family, as well as images of horse races and other leisure activities, she leans melancholically on a stack of luxurious and by 1868, he had registered for the last time pillows.Fiocre, who She gazeswears up a blue and andout ofwhite the canvasstriped as as a copyist at the Louvre.2 By that same year, robe, fastened at the waist by an ornate red Degas’s Portrait of Mademoiselle Fiocre and the Orientalism of Modern Life 5 Fig. 1 Edgar Degas, Portrait of Mlle Fiocre in the Ballet "La Source" (Portrait de Mlle...E[ugénie] F[iocre]: à propos du ballet "La Source"), ca. 1867–1868, oil on canvas, 51 1/2 x 57 1/8 inches (130.8 x 145.1 cm), Brooklyn Museum, gift of James H. Post, A. Augustus Healy, and John T. Underwood, 21.111, image courtesy of the Brooklyn Museum. sash that matches the rectangular headdress on the ballet’s rehearsals or is meant as something of a painted fantasy, the lack of clarity in Degas’s left hand. There is a startling disparity between representational choices demands further analysis. her head and the flowers that droop from her uncertainty of their surroundings,4 but between The 1866 premiere of the ballet La Source the horse’sclarity of legs, the nearfigures the and shoulder the dreamlike of the woman occasioned a grand celebration that was attended in red, one extraordinary clue remains: a pair of discarded ballet shoes. Whether the Portrait of Jean-Auguste-Dominique Ingres.5 Indeed, the Mademoiselle Fiocre actually portrays a break in balletby no lesswas thana fairytale the Orientalist pretext to academic stage an ornatelymaster Degas’s Portrait of Mademoiselle Fiocre and the Orientalism of Modern Life 6 scene that perhaps mimics the forest setting princess,6 of Giselle while it also exposes the standard travelsexotic production. veiled in a caravan It told the of womenstory of tothe meet Georgian her backdrop of the photographic studio. In another future husband, Nouredda the Khan.(danced The by caravan Fiocre), stops who image, posed as Cupid, the role in Némea that at a spring, where Nouredda meets a young originally made her famous, she assumes a variant hunter, Djemil, who falls immediately in love of the pudica pose — an indication of modesty with her. Though Nouredda rejects him, he vows to marry her, and Naila, the spirit of La Source or “the spring,” agrees to help Djemil by foiling that likely signifies more about the complicated, Nourreda’s plans to marry the Khan. Naila and sexualized expectations of Fiocre as a cultural Djemil go together to the Khan’s palace, where exhibitingfigure than dramatic those for aspects her role of as the a playful characters Cupid. she Naila appears and dances for the Khan, convincing Even so, these images markedly show Fiocre him to take her as his wife instead. She thereby settings — an environment Degas would retain frees Nourreda to return the love of the hunter indanced his portrait but in entirelyof the dancer and obviously and one whichartificial no and provides the lovers with a happy ending. by Parisian audiences. doubt contributed to the fetishization of Fiocre aAlthough disproportionate Fiocre received amount second of attention. billing,7 after the Yet, before he painted the Portrait of Mademoiselle Italian dancer playing Naila, critics paid Fiocre Fiocre, Degas attempted two other Near Eastern subjects, Semiramis Building Babylon from 1861 hourri ever to and Young Woman with Ibis from 1860-62. These haveIn his worn review the of bonnet the ballet, and Théophilecorset of pearls Gautier in the works betray an artistic project-in-process, but Mohammedancalled Fiocre, “the paradise.” prettiest8
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