1865
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- | [[Image:Olympia (1863) by Édouard Manet.jpg|thumb|right|200px|''[[Olympia (painting)|Olympia]]'' by [[Édouard Manet]], painted in [[1863]], it stirred an [[uproar]] when it was first exhibited at the [[1865]] [[Paris Salon]]. Today, it is considered as the start of [[modern art]].]]{{Template}} | + | [[Image:Olympia (1863) by Édouard Manet.jpg|thumb|right|200px|''[[Olympia (painting)|Olympia]]'' by [[Édouard Manet]], painted in [[1863]], it stirred an [[uproar]] when it was first exhibited at the [[1865]] [[Paris Salon]]. Today, it is considered as the start of [[modern art]].]] |
+ | [[Image:Virgin of the Nile by Federico Faruffini.jpg|thumb|right|200px|''[[The Virgin of the Nile]]'' (1865) by [[Federico Faruffini]]]] | ||
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== Art and culture == | == Art and culture == |
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The hail of criticism included that of Jules Claretie, who in L'Artiste in May 1865 identified Olympia as "a courtesan no doubt" (une courtisane sans doute.) A few days earlier, Le monde illustré used the epigraphic poem by Zacharie Astruc to sardonically brand this "auguste jeune fille," a courtesan. A French dictionary published in 1873 describes a courtesan as "toute femmes de mauvaise vie qui est au-dessus des simple prostituées." (All women of vice who are above the simple prostitutes.) Cited in Alan Krell, "The Fantasy of Olympia," Connoisseur 195 (August 1977), p. 298.
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