Prostitution was one of the defining subjects of Impressionist painting, because it was one of the defining facts of nineteenth-century Paris. Sex work was legal and state-regulated - by 1810 the city licensed some 180 brothels - yet it remained taboo in polite society, so paintings that showed prostitutes frankly caused scandal. Edouard Manet's Olympia (1863) and Nana (1877) were denounced for their modern, unidealized women who returned the viewer's gaze; Edgar Degas filled sketchbooks and made some fifty brothel monotypes from 1876; Henri de Toulouse-Lautrec documented brothel routines in the Elles series (1896). The subject ranged from high courtesans to streetwalkers and treated the prostitute as a sign of modernity, where sex, class, power, and money met. As Baudelaire put it, 'What is art? Prostitution.' Art historian T. J. Clark later made the theme central to understanding modern painting.
Auteur(s): Neuville, Alphonse Marie de (Saint-Omer, 31–05–1835 - Paris, 19–05–1885), dessinateur Autre titre: Les Misérables, édition HuguesCC0 (credit: Alphonse de Neuville) · source
Defining characteristics
Candid, unidealized sex workers posed as modern working women rather than classical Venuses
Direct, self-possessed returned gaze that unsettled contemporary viewers
Interior settings: boudoirs, brothel lounges, dressing rooms, and drab medical inspections
Documentary attention to routine - waiting, resting, bathing, being examined
Flattened paint handling, strong outlines, and light tonalities critics dismissed as 'unfinished'
Contemporary Parisian dress (silk stockings, bodices, top hats) anchoring scenes in modern life
Key figures
Edouard Manet(1832-1883) — Painted the scandalous Olympia (1863) and Nana (1877)
Edgar Degas(1834-1917) — Made some fifty brothel monotypes and sketchbook illustrations, 1876-1890
Henri de Toulouse-Lautrec(1864-1901) — Recorded brothel daily life in the Elles lithographs (1896)