Edouard Vuillard is said to have dwelled in a “saturated feminine world,” yet there are striking and unexplained anomalies in his early representations of that world. This paper locates the radical figurations of Vuillard's 1890s paintings of his mother and sister in a larger social, theoretical, and historical framework. The early discourses on decoration and abstraction are mined to illuminate an objectification of the female body that was simultaneously pictorial, psychological, and sexual, the implications of which have been obscured by Vuillard's long-standing reputation as a feminine painter.
All Science Journal Classification (ASJC) codes
- Visual Arts and Performing Arts