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UID:20250913T101259EDT-4645veURGp@132.216.98.100
DTSTAMP:20250913T141259Z
DESCRIPTION:The Department of Art History and Communication\nStudies welcom
 es Marni Kessler\, Associate Professor\,\nUniversity of Kansas\, to speak 
 at our annual lecture series (follow\nthis link for a complete list of thi
 s year's\nspeakers).\nTitle: 'Edgar Degas' Family Gaze: Re-reading Le\nPéd
 icure'\nAbstract: In Le Pédicure of 1872-73\, Edgar\nDegas depicts his nin
 e-year-old American niece Joe slumped\nimpassively on a chintz banquette w
 hile her toe is examined by a\nbalding chiropodist. Contradiction and ambi
 guity permeate this\nseemingly benign painting. Joe’s alarmingly unanimate
 d body\,\ncombined with the bandage-like effect of the white cloth that li
 es\nacross it\, promotes a scene of ill health. But the chemise that\nwink
 s from between the cloth and Joe’s cadaverously pale shin lends\nthe pictu
 re an unexpected crackle. The lace bonnet to the girl’s\nright\, which res
 embles a grown woman’s corset\, alludes to\nundergarments\, highlighting e
 ven more the unclothed body we do not\nsee. Further driving the image into
  an unexpected realm of undress\,\nthe child’s discarded dress lifelessly 
 lies across the top of the\nbanquette. To be sure\, Degas forces us to thi
 nk about Joe’s\nundressed body\, to consider its vulnerability\, especiall
 y in\nrelation to the clothed man who works on her toe. Misinterpreted by
 \nothers as a representation of the luxurious lifestyles and healthy\nhygi
 ene practices of the wealthy\, Le Pédicure is anything but.\nNeither neatl
 y unequivocal nor proper\, this painting traffics in\nwhat is surprisingly
  disturbing. In my paper\, I will explore the\nfrictions that Degas parses
  between dress and undress\, youth and\nage\, unconsciousness and activity
  in order to begin to redress our\nunderstanding of this curious painting.
 \nBiography: Professor Kessler specializes in\nnineteenth-century European
  art and visual culture\, and is also\ninterested in art historical theory
  and methodology\, critical\ntheory\, fashion studies\, and gender and vis
 ual representation. In\nher research\, as in her teaching\, she combines c
 lose visual\nanalysis of objects with social/historical context and a vari
 ety of\ntheoretical frameworks. She has published articles and book\nchapt
 ers on Manet\, Degas\, Caillebotte\, Morisot\, and Haussmann’s\nParis. Kes
 sler’s most recent publication\, on the uncanny in Antoine\nVollon’s Mound
  of Butter\, represents her evolving interest\nin still life painting\, fo
 od culture\, materiality\, and the\npsychoanalytic. 
Her book\, Sheer Pres
 ence: The Veil in Manet’s\nParis\, published in December 2006 by the Unive
 rsity of\nMinnesota Press\, examines the visual/historical/cultural\nsigni
 ficance of the veil in late nineteenth-century French visual\nculture. Kes
 sler is currently at work on her second book\,\ntentatively titled “Edgar 
 Degas’s Family Album\,” that examines the\nvisual construction of family\,
  memory\, and trauma in Edgar Degas’s\nNew Orleans paintings.\n
DTSTART:20110106T223000Z
DTEND:20110106T223000Z
LOCATION:Arts Building\, CA\, QC\, Montreal\, H3A 0G5\, 853 rue Sherbrooke 
 Ouest
SUMMARY:AHCS Speaker Series: Marni Kessler 'Edgar Degas' Family Gaze: Re-re
 ading Le Pédicure'
URL:/channels/event/ahcs-speaker-series-marni-kessler-
 edgar-degas-family-gaze-re-reading-le-p%C3%A9dicure-170111
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