Book DescriptionMANET'S TWO PAINTINGS, LE BAIN AND OLYMPE, opened up a new phase of modern art. Picasso's Demoiselles d'Avignon closed that phase while opening yet another onto the twentieth century. Having dealt at length with Picasso's seminal picturein his book, Picasso's brothel, in this book Andersen takes up Manet's two most original paintings: one depicting a picnic, the other a prostitute, finding links between them beyond the fact that a single model, Victorine Meurent, posed for both pictures. Anderson?s approach is original while generally informative. His ideas may be dazzling and some will meet with resistance. Yet, one cannot deny the need to answer Andersen?s question as to why the two junctures of the nineteenth-century art ? at its start with Manet?s Olympia, and its close with Picasso?s Demoiselles ? feature prostitutes. Does this have to do with both artists and prostitutes being outside the pale? Alienated from...

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