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Edouard Manet's paintings of working-class women reflect the dramatic social changes which occurred in Paris during the late nineteenth century. This thesis examines Manet's paintings which represent some of the sites of femininity within modern Paris: the home and garden, the prostitute's bedroom, and the new public sphere of the boulevards and cafes. With references to contemporary writings and social histories, the result of this study is a more profound understanding of how Modernism affected women's lives and the way in which they were represented in art.

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Edouard Manet, Edgar Degas and Mary Cassatt had unique visions of the Paris Opera House. Thus each artist perceived and portrayed the pageant of fashionable contemporary life at the Opera from diverse perspectives. Manet rendered a singular image of this world, that of a masked ball, which elicits an extraordinary insight into the manners and mores of an era. The focus by Degas on the dancers on stage invites a penetrating look into the spectacle of the performance from exceptional viewpoints. Mary Cassatt's depictions, exclusively of the female spectators in the audience, intimate a serious reflection of her earnest feminist attitudes. / From the costumed revellers in the foyer, to the brilliant presentation on stage to the elegant spectators in the loges, these images inspired by the Opera endure as remarkably distinctive.

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Acompanha anexo de ilustrações / Orientador: Jorge Coli / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-21T11:48:17Z (GMT). No. of bitstreams: 1 Alvim_PedrodeAndrade_M.pdf: 15600000 bytes, checksum: 2f6d6f815fc49b5f072ac053928a445d (MD5) Previous issue date: 1996 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Mestre em História