By Lipton, Eunice; Manet, Édouard; Meurent, Victorine; Lipton, Eunice; Meurent, Victorine; Manet, Édouard
Eunice Lipton was once a fledging paintings historian while she first turned intrigued by means of Victorine Meurent, the nineteenth-century version who seemed in Edouard Manet's most renowned work, in basic terms to fade from background in a haze of degrading rumour. yet had this daring and lively attractiveness relatively descended into prostitution, drunkenness, and early death-or did her lifestyles, hidden from heritage, take a unique path altogether? Eunice Lipton's look for the reply combines the suspense of a detective tale with the revelatory strength of artwork, peeling off layers of lies to bare startling truths approximately Victorine Meurent-and approximately Lipton herself
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Additional info for Alias Olympia : a woman's search for Manet's notorious model & her own desire
I didn't want to be in Asnieres with my mother either. I was quite preoccupied with work, my lovelife, money-everything. It was the mid-1880s, there'd been a depression, money was tight. I had a hard time concentrating on my work. So in Asnieres, I was preoccupied. I'd get up in the morning, do my magazine illustrations-that's how I earned money-tend my mother, put the drawing aside about noon, planning to paint in the afternoon, and we would have what I expected to be a quick lunch, which never turned out quite that way.
He doesn 't know, but gives me the phone number of a woman in London whom I call. She says the papers are in New York, at the Pierpont Morgan Library, and don't I know that? This feels like an omen. Why are these papers in New York? I live in New York, Victorine Meurent didn't. And I am in Paris, where it is appropriate that I be. Then I remember that six of the nine paintings Manet did of Meurent are in America-two in New York, two in Boston, one near Hartford, one in Washington . Was there a secret admirer in the States who was behind the purchase of at least some of these paintings-perhaps, for example, Woman with a Parrot in the Metropolitan, which was bought in 1881?
We toiled long hours in the library, sitting alone or together at narrow tables. It seemed as if we'd be there forever, which was okay; we were learning. It was the most important thing we'd ever done. We read, and dreamed. We wrote with enormous effort, as if the words didn't belong to us. How hard writing was for each of us was a gauge of how serious we were. The longer it took you to write and the more anguished you were doing it, the smarter everyone thought you were. Providing, of course, you produced something.