Well, without content, and for a blog, there is nothing.  Therefore,  this is all about content and what it says, implies, and doesn’t say.  Since what was so extraordinary about the showing of Manet’s Olympia was its aggressive and almost archetypal reaction by the viewing public and art critics of the Paris Salon in 1865.  Critical to this blog is the running commentary, the amount of criticisms, satire, and caricature, the actions taken against it, the seeming insurmountable heaps of criticisms and yet beyond criticisms – almost a hysteria against an image that certainly challenged the traditional 19th century nude but in many ways was less risque than the accepted Courbet’s peasant nudes?  That seeming hysteria, the verbosity of is heaped upon her is something to analyze, to communicate what is going on in society.  It is a telling mark and so incredibly interesting.

Therefore, what is needed are the actual comments, criticisms, observations, critiques, newspaper write ups, letters regarding the response to Olympia’s showing in the 1865 Paris Salon.

One of the drawbacks is that I do not understand French and the primary source material is in French.  Also the primary source material is archived or in books, less than a handful of critical articles.

Therefore, the chief objective is to collect this primary source material, what can be found in English, or translated from French.

T.J. Clark, The Painting of Modern Life: Paris in the Art of Manet and his Followers.

Absolutely, the primary material that will be used is T.J. Clark’s masterpiece of modernity: The Painting of Modern Life: Paris in the Art of Manet and his Followers.  Absolutely mind-blowing as well as being a primo seminal work in art and social history is his Chapter Two: Olympia’s Choice.