se presente dans un ciel opiace, a un fumeur Chappuis has deciphered the lines written in ink !59 d'opium. Cette apparition d'un peu de chair rose beneath the watercolor and subsequently blotted Notes et nue que pousse devant lui, dans le nuageux em- out by the artist with a brush (the last word of the to Pages pyree, une espece de demon, ou s'incube, comme first line being cut off)." In Venturi (1936) it is no. 19-27 m une vision voluptueuse, ce coin de paradis ar- 884, dated 1875 — 77; Venturi (1978) the author tificiel, a suffoque les plus braves, il faut le dire, et revised the date to 1872-74.1 am following the M. Cezanne n'apparait plus que comme une es- most up-to-date scholarship - Rewald, Cezanne pece de fou, agite en peignant du delirium tre- Watercolors, no. 137 - in dating it ca. 1880. (This mens. L'on a refuse de voir, dans cette creation poem sounds about as bad as the one by Zacharie inspiree de Baudelaire, un reve, une impression Astruc that Manet appended to his Olympia in the causee par les vapeurs orientales et qu'il fallait Salon of 1865.) rendre sous la bizarre ebauche de 1'imagination. 56. Although modernist artists have been granted L'incoherence n'est-elle pas la nature, le caractere de facto immunity from such (contaminating) particulier du sommeil laudatif ? Pourquoi cher- ideas in the normative literature on nineteenth- cher une plaisanterie indecente, un motif de scan- century French art, some scholars have attempted dale dans L'Olympia? Ce n'est en realite qu'une to point out that, on the plane of ideology, van- des formes extravagantes du haschisch empruntee guard artists have not been any more progressive a 1'essaim des songes drolatiques qui doivent en- about female sexuality than their (ostensibly) less core se cacher dans de 1'hotel Pimodan" (Marc de inventive male contemporaries. See, for example, Montifaud [Marie-Amelie Chartroule de Mon- Nochlin, "Courbet's Real Allegory," pp. 31-41, tifaud], "Exposition du boulevard des Capucines," 224-26. In literary studies, see Susan Rubin Su- L'Artiste, May i, 1874; reprinted in Centenaire de leiman, "Pornography, Transgression, and the rimpressionnisme, pp. 235, 267). Avant-Garde: Bataille's Story of the Eye," in The 52. Corbin, Les Filles de noce, p. 249; and see Poetics of Gender, Nancy K. Miller (ed.), New my discussion in chap. 4, "Mutual Desire in the York, 1986, pp. 117—36. And I put Henri Gervex's New Nightspots." Rolla into contact with Edgar Degas's brothel 53. Two of Cezanne's earlier watercolors also monotypes in my "Avant-Garde and Pompier Im- use a black cat in a context of sexual love. In both ages of Nineteenth-Century French Prostitution: of them, the cat joins a naked reclining woman The Matter of Modernism, Modernity and Social and man who are waited on by a servant bear- Ideology," in Modernism and Modernity: The Van- ing food. In Rewald's catalog of the watercolors, couver Conference Papers, Benjamin H. D. Buchloh, Cezanne's Watercolors, they are identified as: Serge Guilbaut, and David Solkin (eds.), Halifax, no. 34, Le Punch au rhum, 1866-67, and no. 35, 1983, pp. 43-64. L 'Apres-midi a Naples, 1870-72. 54. There are two of these, one oil on canvas (the work reproduced here) and one watercolor. Chapter 2: In the Brothel The oil on canvas version of UEternel feminin, Venturi (Cezanne, 1936), no. 247, is dated 1875 — i. The key catalogs of the monotypes are Eu- 77. The watercolor version, also titled L'Eternel genia Parry Janis, Degas Monotypes: Essay, Cata- feminin, is Rewald, Cezanne Watercolors, no. 57, logue and Checklist, Greenwich, Conn., 1968; dated 1877. It is Venturi (1936), no. 895, dated Jean Adhemar and Francoise Cachin, Degas: The 1875 — 77; Venturi (Cezanne, 1978), revised the Complete Etchings, Lithographs and Monotypes, date to ca. 1877. Simone de Beauvoir (The Second New York, 1975; Degas Monotypes, Arts Council Sex, p. 168) reminds us that Cezanne's title is of Great Britain, 1975; and Jean Sutherland Boggs, taken from the last lines of Goethe's Faust: "The Douglas W. Druick, Henri Loyrette, Michael Eternal Feminine/Beckons us upward." Pantazzi, and Gary Tinterow, Degas, New York, 55. "Quand elle sort du bain, la servante 1988, pp. 296-302. [zelee?]/sur son rafraichi versera les parfums./ Janis (p. xix) provides this essential information: Et, les seins palpitants, la tete renversee,/elle vit "Degas depicted prostitutes in brothel settings sans souci des regards importuns." According to only in monotype. It is the only subject in Degas's Rewald (Cezanne Watercolors, p. 118), "[Adrien] work which is limited to one medium." Degas