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N Late Nineteenth-Century France 2809286849 REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree Year 2 o 0 1 Name of Author U o*rsrre£- COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting the thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOAN Theses may not be lent to individuals, but the University Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: The Theses Section, University of London Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the University of London Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The University Library will provide addresses where possible). B. 1962 - 1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975 - 1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D. In I This copy has been deposited in the Library----------------------------- of LA 6 u This copy has been deposited in the University of London Library, Senate □ House, Malet Street, London WC1E 7HU. Bound By Blissett Bookbin 020 8992 396 www.blissetts.c Collecting Bodies: Art, Medicine and Sexuality in late Nineteenth-Century France Mary Hunter PhD Thesis History of Art University College London 1 UMI Number: U592101 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592101 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis examines the interconnected discourses of art and medicine during the late nineteenth century in Paris by exploring the effects the ‘medicalization’ of society had on visual culture and, concurrently, the effects that artistic styles and conventions had on medical iconography. It investigates how artists and doctors worked together to produce realistic representations of bodies, diseases and sexualities. By concentrating on the portraits of three men of science and medicine (Louis Pasteur, Jules Emile Pean and Jean- Martin Charcot) exhibited at the 1887 Salon in Paris, as well as the many images and objects that these men collected, commissioned and created, this thesis explores how artists appropriated, and sought to imitate, the scientific model in order to construct representations of bodies that were considered as real and truthful as possible. By examining the competing claims to truth made by different mediums, stylistic practices and professions, this thesis questions realist claims to objectivity and sincerity, and explores realisms’ multiple roles and guises. 2 Table of Contents Abstract 2 List of Illustrations 4 Acknowledgements 21 Introduction 23 1 The Making of a Scientific Hero: Portraiture and Louis Pasteur 39 Portraiture at the 1886 Salon 40 Men at Work: Realism and Portraiture 43 Head Shots: Photographic Portraits of Pasteur and other Scientists 53 Pasteur’s Body: Aging, Illness and Vision 63 Showing Off: Portraiture, Nationalism, and Commerce 71 “Doctor Pasteur”: Gsell’s Portrait of Pasteur at the 1887 Salon 83 Representing the Vaccinated Other: Pasteur’s Patients 88 Conclusion: A Final Portrait 103 2 The Sleep of Reason: Doctor Plan’s Collection of Bodies in Wax and in Paint 105 Gervex’s realist portrait at the 1887 Salon 106 Front Row Seats: Identity, Republicanism and Spectatorship in Group Portraiture 112 Libidinal Looking: The Artist/Doctor/Client and his Model/Patient/Prostitute 125 Pean’s Spectacular Theatre: Competing Constructions of Reality 134 Realism beyond Reason: Sleeping Beauties 141 Pean’s collection of wax body parts 156 Conclusion: “Effroyable realisme” 163 3 Hysterical Realisms: Representing Reality at the Salpetriere 166 Hysteria Beyond Construction and Rebellion 170 Visual Borrowing: Charcot’s Clinic, Books and Commissions 174 “Elle ne confond pas la fantaisie avec la science”: Realism and Light 187 Brouillet’s Construction of Heroic Men and Sick Women: 192 Precedents in Paint and Photography Photography at the Salpetriere: Scientific Pictures and Procedures 202 Frenzied Realisms: Competing Claims to Truth 210 In the Bedroom: Touching the Hysterical Body 217 “From the moment she is hypnotized she belongs to us”: Hypnosis as Realist Performance 223 Electrotherapy as Realist Brush 233 Conclusion: “Triste archives de Thumanite souffrante” 237 Conclusion 239 Illustrations 241 Bibliography 328 3 List of Illustrations 1. Illustration from “Le Virus Pictural”, La Revue Illustree, I, 1887, p.337. 2. Leon Bonnat, Pasteur et son petite fille Camille, 1886, oil on canvas, approx. 160 x 130 cm, Paris, Musee Pasteur. 3. Albert Edelfelt, Louis Pasteur, 1885, oil on canvas, 158 x 130 cm, Paris, Musee d’Orsay. 4. Lucien Laurent-Gsell, Le Laboratoire de M. Pasteur, 1886, oil on canvas, 91 x 78 cm, Vannes, Musee de Vannes. 5. F. Pirondon after Lucien Laurent-Gsell, La vaccine de la rage au laboratoire de M. Pasteur, lithograph, 1887, 39.9 x 46.5 cm, London, The Wellcome Institute Library. 6. Henri Gervex, Avant Voperation: le Docteur Pean ensignant a I’hopital Saint-Louis sa decouverte du pincement des vaisseaux, 1887, oil on canvas, 242 x 188 cm, Paris, Musee d’Orsay. 7. Andre Brouillet, Une legon clinique a La Salpetriere, 1887, oil on canvas, 300 x 425 cm, Paris, Musee d’Histoire de la Medecine. 8. Edouard Manet, Zola, 1868, oil on canvas, 146 x 114 cm, Paris, Musee d’Orsay. 9. William Sharp after Sir Joshua Reynolds’ painting of 1786, John Hunter , 1788, line engraving, 51 x 38.3 cm, London, National Portrait Gallery. 10. Alexis Lemaistre, “M. Pasteur”, from L ’institut de France et nos grands etablissements scientifiques, (Paris, 1896). 11. Alexis Lemaistre, “L ’inoculation a L’institut Pasteur”, from L ’institut de France et nos grands etablissements scientifiques , (Paris, 1896). 12. Alexis Lemaistre, “La trepanation du lapin”, from L ’institut de France et nos grands etablissements scientifiques, (Paris, 1896). 13. “Louis Pasteur” from Vanity Fair, 8 January 1887. 14. Gilbert-Martin, “L ’Ange d’Inoculation”, from Le Don Quichotte, 14 March 1886. 15. Alexis Lemaistre, “La table des microbes”, from L ’institut de France et nos grands etablissements scientifiques, (Paris, 1896). 16. Alexis Lemaistre, “Le cours de medecine”, from L ’institut de France et nos grands etablissements scientifiques, (Paris, 1896). 4 17. After Lucien Laurent-Gsell, “Study for Le Laboratoire de M. Pasteur”, from the “Salon de 1886” issue of L ’Art, engraving, 1886, Paris, Musee Pasteur. 18. Ecole de medecine, Paris 2005. 19. Felix Nadar, Jules Michelet , 1856-9, photograph, Paris, Musee Carnavalet. 20. Leon Bonnat, Christ en croix, oil on canvas, 1874, Paris, Palais de Justice. 21. Pierre Petit, Pasteur, early 1860s, lithograph on paper, London, The Wellcome Institute Library. 22. Felix Nadar, Pasteur, c. 1878, photograph. 23. Felix Nadar, Pasteur, c. 1878, carte de visite. 24. Felix Nadar, Pasteur, c. 1878, photograph given by Nadar to Doctor Roux in 1886, Paris, Musee Pasteur. 25. Alphonse Bertillon, 1888, Bertillon system card, London, University College London. 26. Alphonse Bertillon, “Identite individuelle avec dissemblance physionomique”, c. 1888, Bertillon system card, Paris, Prefecture de Police. 27. Felix Nadar, Pasteur, c. 1878, photograph. 28. Pasteur’s photograph of Henri Etienne Saint-Claire Deville c. 1881, Paris, Musee Pasteur. 29. Pasteur’s photograph of Henri-Victor Regnault, late nineteenth century, Paris, Musee Pasteur. 30. Robert Walker, Portrait of John Evelyn , 1648, oil on canvas, 87.9 x 64.1 cm, London, National Portrait Gallery. 31. Mary and Thomas Black, Messenger Monsey , 1764, oil on canvas, 127 x 101.5 cm, London, Royal College of Surgeons. 32. Albrecht Durer, Melancolia /, 1514, engraving, 24.1 x 18.8 cm, New York, Metropolitan Museum of Art. 33. Studio Dornac et Cie, Pasteur, c. 1888, photograph, London, The Wellcome Institute Library. 34. Blanquart-Evrard Louis-Desire, Portrait de Jean-Baptiste Biot, calotype photograph, 1847, Paris, Musee Pasteur. 35. Victor Regnault, The chemist Thomas Graham , c. 1851, modern print from paper negative, 20.1 x 16.4 cm, Paris, Societe Fransais de Photographie. 36. After a photograph by Pierre Petit, “Blessure produite par la morgue d’un loup enrage”, from La Nature, engraving, 29 May 1886, p. 401. 37. Louis Pasteur, Portrait ofM. Pasteur, 1842, pastel, Paris, Musee Pasteur. 38. Leon Bonnat, Portrait d ’Adolphe Thiers , 1876, oil on canvas, 115 x 92 cm, Versailles, Musee National du Chateau de Versailles. 39. Cartoon published in LeRire, 1895. 40. J.J. Henner, Portrait of Pasteur’s Daughter, oil on canvas, Paris, Musee Pasteur. 41. J.J. Henner, Portrait of Louis Pasteur, oil on canvas, Paris, Musee Pasteur. 42. Paul Dubois, Louis Pasteur, 1880, bronze bust, Paris, Musee Pasteur. 43. Peder Severin Kr0yer, Le Comite de I’Exposition frangaise a Copenhague 1888 preside par L.
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