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PRINT October 2019

THE MODERN WOMAN

Édouard Manet, Olympia, 1863, oil on canvas, 51 3⁄8 × 75 1⁄4".

“BLACK MODELS: FROM GÉRICAULT TO MATISSE,” on view this past spring and summer in Paris at the Musée d’Orsay, was a tripled-in-size version of “Posing Modernity: The Black Model from Manet and Matisse to Today.” That exhibition, which opened this past fall at Columbia University’s Wallach Art Gallery, was curated by Denise Murrell, based on her 2014 dissertation, “Seeing Laure: Race and Modernity from Manet’s Olympia to Matisse, Bearden and Beyond.” (A scaled-back version of the Paris show is now open through December 29 at the Mémorial ACTe in Pointe-à-Pitre, Guadeloupe.)

There were major differences between the versions in New York and Paris, where Murrell was joined by three additional curators: Cécile Debray, director of the Musée de l’Orangerie, and Stéphane Guégan and Isolde Pludermacher, both of the Musée d’Orsay. But the two shows can be considered part of a single project,

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