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The painting is a feminist work: it presents a powerful woman, offered for male inspection, but not objectified; the model's challenging stare meets the viewer's gaze in a way that thwarts desire. They will say that she was a prostitute and an alcoholic who Prostitutes Colombes young. From Wikipedia, the free encyclopedia.

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After all, Manet's inner circle seems to have recognised her importance. The artist's close friend Antonin Proust noted in his memoirs that Prostitutes Colombes was Manet's favourite model she posed for nine of his canvases ; Jacques-Emile Blanche, who also knew the painter, was moved to ask, "How often does a chance meeting between a painter Prostitutes Colombes a model decisively influence the personality of his works?

But while Meurent's contribution was Prostitutes Colombes by Manet's friends, her willingness to pose naked made Prostitutes Colombes a notorious figure to the general public, undermining her hopes of being taken seriously. In 18th- and 19th-century art, female nudes were highly appreciated, as long as they represented goddesses or mythical figures. And they weren't idealised goddesses; several critics commented that Meurent's body was far from perfect.

He is 30, rich, aristocratic, and a painter.

The painting is a feminist work: it presents a powerful woman, offered for male inspection, but not objectified; the model's Prostitutes Colombes stare Prostitutes Colombes the viewer's gaze in a way that thwarts desire. The female figure is disconcerting, exploding the stereotype of an anonymous, passive woman.

The challenging nature of the Meurent portraits was not immediately appreciated by the public, and at a time when poor women were often forced to sell themselves, a woman whose naked body could be seen in Prostitutes Colombes - albeit in an oil painting - was straight-forwardly perceived as a prostitute.

Men would hurry their wives and children past the painting, only to return later to Prostitutes Colombes at it alone. The critical reception was no different to that of the public.

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Meurent acquired notoriety and became known by name, unusual for a model at the time. Writing in the Prostitutes Colombes, Manet's biographer, Adolphe Tabarant, acknowledged that Meurent exhibited at the Salon, but remained as judgmental of her private life as his Prostitutes Colombes predecessors.

He wrote that by the age of Prostitutes Colombes she was a wreck, that she had been selling her drawings to her "companions of the night", and had fallen into drunkenness and depravity, before disappearing.

What we know of Meurent's life is fragmented, but the reality is probably quite different from Tabarant's portrait. Born in Paris inMeurent came from a working-class family - her father is thought to have Prostitutes Colombes an engraver and her mother to have owned a Prostitutes Colombes shop.

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We know that she started modelling for Manet inbut accounts vary as to Prostitutes Colombes they met. It might Prostitutes Colombes been at Thomas Couture's studio, where she apparently worked as a model, or through Victorine's father.

In the early s, she is believed to have travelled to America, perhaps engaged by an art dealer to accompany some paintings. Her self-portrait Prostitutes Colombes shown at the Salon inand after that her work Prostitutes Colombes there inand Despite this success, Meurent struggled for recognition, and never had Prostitutes Colombes privilege of proper training - women were not admitted to the teaching studios until the late s.

Yet she was ambitious and financially independent. For the final 20 Prostitutes Colombes of her life, she shared a house with Marie Dufour, a piano teacher, in Colombes, just outside Paris.

What we know of Meurent's life is fragmented, but the reality is probably quite different from Tabarant's portrait.

In Augustfour months after Manet's death, Meurent asked his widow for financial help. She claimed that years earlier he had promised her a small gratuity, which she had refused, Prostitutes Colombes the understanding that she would remind him of his offer if she ever needed Prostitutes Colombes.

Madame Manet, who had inherited most of her husband's paintings and was in the process of organising a sale, ignored the Prostitutes Colombes.

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It provides tangible proof that Meurent, marginalised because of her gender, was much more than just a woman with no clothes on. Manet's favourite model, Victorine Meurent, has often been dismissed as a drunk and a prostitute.