Naturalism’s Imaginary Museum, French Art, and the Eclectic Nineteenth Century examines one of the most revered art historical narratives of Western art: the famous turning point for painting and sculpture usually emblematized by the works of Édouard Manet and then the Impressionists.

Instead of the usual revaluation of this turning point, Sara Pappas argues for the importance of the failure to find a cohesive story for the art world in the period itself, a difficulty that carries forward to galleries today. In order to demonstrate the importance of incongruity and disorder, Pappas brings together two worlds that may seem incompatible: nineteenth-century literary writers involved in naturalism and the organization of permanent collections of later nineteenth-century French art in today’s museums. Drawing on the art novels and art criticism of these writers, the book provides optimal access to the questions that continue to haunt the categorization and display of nineteenth-century art.

Naturalism’s Imaginary Museum, French Art, and the Eclectic Nineteenth Century examines one of the most revered art historical narratives of Western art: the famous turning point for painting and sculpture usually emblematized by the works of Édouard Manet and then the Impressionists.

Instead of the usual revaluation of this turning point, Sara Pappas argues for the importance of the failure to find a cohesive story for the art world in the period itself, a difficulty that carries forward to galleries today. In order to demonstrate the importance of incongruity and disorder, Pappas brings together two worlds that may seem incompatible: nineteenth-century literary writers involved in naturalism and the organization of permanent collections of later nineteenth-century French art in today’s museums. Drawing on the art novels and art criticism of these writers, the book provides optimal access to the questions that continue to haunt the categorization and display of nineteenth-century art.