Fae Brauer

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Fay (Fae) Brauer is Professor Emeritus of Art and Visual Culture at the Centre for Cultural Studies Research, University of East London and Associate Professor of Art History, and Honorary Associate Professor in Art History and Cultural Theory at the University of New South Wales. [1] [2] Her books include Picturing Evolution and Extinction: Regeneration and Degeneration in Modern Visual Culture; Rivals and Conspirators: The Paris Salons and the Modern Art Centre; The Art of Evolution: Darwin, Darwinism and Visual Culture, [3] and Art, Sex and Eugenics: Corpus Delecti. [4] [5] She is the author of many book chapters and journal articles investigating the interrelationship of art, visual culture, medicine and science, particularly in relation to the Anthropocene, the body, eugenics, genetics and alternative sciences such as "animal magnetism" and occultism. She has Honours Degrees from the University of London with an MA and PhD from The Courtauld Institute of Art, London.

The first Head of School of Art Theory at The University of New South Wales, Brauer chaired the team that instigated in 1991 the innovative B.Art Theory, its Honours programme, as well as its double degree with Arts and Social Sciences, Law, and Commerce. These new degrees were designed to provide students with interdisciplinary knowledge of art history, philosophy and cultural theory, particularly pertaining to contemporary art, as well as museum collections, gallery policies, exhibition curation and art publishing. She also chaired the team that instigated the M.Art Theory and PhD in Art Theory, while introducing 12 new undergraduate courses and four postgraduate ones. For her teaching and student supervision, Brauer has won numerous awards. Outstanding students include Dr Keren Hammerschlag, Senior Lecturer in Art History and Curatorship; ANU College of Arts and Social Sciences; Dr Laura Fan, PAD Art Writing Programme, Malaysia, and Alexei Glass-Kantor, Executive Director of Artspace, Sydney; Chair of Contemporary Art Organisations of Australia, Australian Centre for the Moving Image Curator, Adelaide Biennale, Parallel Collisions, Curator, Encounters for Art Basel | Hong Kong, dedicated to large-scale installations, and the instigator of opportunities for co-curated, artist-led projects with peer institutions in 14 countries.

For some forty years, Brauer has been researching and publishing as an interdisciplinary scholar on art, its histories, theories and exhibitions for which she has received numerous grants and residencies. Her research encompasses Modernism and Postmodernism, particularly intersections with art, science and medicine. It traverses the Anthropocene and Ecoaesthetics; Darwinian and Neo-Lamarckian evolution and eugenics, particularly the visual cultures of eugenics; the body, sexualities and the fitness imperative; neurology, hysteria and trauma; magnetism, mesmerism and occultist sciences; vitalism, the fourth dimension and the cultural politics of art institutions. Her books include Vitalist Modernism: Art, Science, Energy and Creative Evolution (2023); Picturing Evolution and Extinction: Regeneration and Degeneration in Modern Visual Culture (2015); Rivals and Conspirators: The Paris Salons and the Modern Art Centre (2013), The Art of Evolution: Darwin, Darwinisms and Visual Culture (2009), plus the award-winning Art, Sex and Eugenics: Corpus Delecti (2008). Forthcoming books include The Body in British Art, Science and Medicine during the long nineteenth-century; Regenerating and Regendering Bodies: Modernist Biocultures and Fitness Imperatives in the French Radical Republic; Feminizing Muscle: Body Trouble in Modern Visual Culture; and Symbiotic Species: The Art of Transformism in Solidarist France.

During the Covid pandemic over 2020/2021, she was involved in the exhibition at the Musée d’Orsay, l’Orangerie and Muséum de l’histoire naturelle, Les origines du monde : L’Invention de nature au siècle de Darwin, from 19 May to 18 July 2021—due to transfer to the Montréal Musée des Beaux-Arts—providing the catalogue essay, “The Sombre Face of Evolution: Devolution, Degeneration and Eugenics”: “La face sombre de l’évolution. Dégénérescence, regression et extinction”. For the exhibition at the Wallraf-Richartz Museum opening on 15 March 2024, Paris 1874: Revolution in der Kunst. Vom Salon zum Impressionismus, she provided the catalogue essay, “Die Unterdrückung des Impressionismus: Haussmannisierung, Kunst im Zweiten Kaiserreich unt die Salons des refusés”: “Suppressing Impressionism: Haussmannization, Empire Art and the Salons des Refusés”, A Revolution in Art: Paris 1863-1874. From Salon to Impressionism.

Author of some 40 book chapters, most recently these include two chapters on two remarkable Jewish art dealers during the twentieth century, Alfred Flechtheim and Daniel-Henry Kahnweiler, drawing upon research stretching back to her time as a PhD student when granted a unique opportunity to access their archives. These book chapters are:

“Flamboyantly Gay, Jewish and Avant-Garde: Alfred Flechtheim’s Dealing with Transitional Aesthetics, Transsexualities and Antisemitism” Chapter 11, Modernist Aesthetics in Transition: Visual Culture in the Weimar Republic and Nazi Germany (Bloomsbury Academic, 2024)

“Exterminating Cubisms: Bochisme, L’Art Juif and the Vilification of Daniel-Henry Kahnweiler”, Jewish Art Dealers and the European Art Market, 1850-1940 (Bloomsbury Academic, 2024), the book arising from the conference on Jewish Dealers and the European Art Market at the Victoria and Albert Museum in 2021.

Other recent book chapters include the following:

“Composing Symmorphies: Chromatism, Astral Vision and the Music of the Spheres in František Kupka’s Cosmological Modernism”, Art, Music, and Mysticism at the Fin-de-Siècle: Seeing and Hearing the Beyond (Routledge Research in Art History, 2024)

“Exposing ‘The Venereal Peril’: Fournier’s Syphilography, Munch’s Heredo-Syphilitic, La Syphilis Arabe, and Picasso’s Prostitutes”, Contagion, Hygiene, and the European Avant-Garde, Chapter 4, Part II: ‘The Avant-Garde and Illness: Syphilis, The ‘Spanish Flu’, Tuberculosis’, Contagion, Hygiene, and the European Avant-Garde (Routledge Research in Art History, 2023)

“Vitalist Picasso: Bergson’s “Psychic States”, Phantasmatic Luminenscence and Occultist Cubism”, Chapter Five, Vitalist Modernism: Art, Science, Energy and Creative Evolution (Routledge, Taylor & Francis Group, 2023)

“Vitalist Cubisms: The Biocultures of Virility, Militarism and La Vie Sportive”, Sport and the European Avant-Garde (1900-1945) (Brill International Publishing: Avant-Garde Critical Studies, 2022)

“The Pasted Paper Devolution: The Dialogism of Degeneration and Regeneration in the Cubist Collages”, Of Modernism: Essays in Honour of Christopher Green (The Courtauld Institute of Art and Paul Holberton Publishing, 2020)

“Scientistic Magnetism and Hauntological Metarealism: The Phantasmatic Doubles of Duchamp and Durville”, Realisms of the Avant-Garde (European Avant-Garde and Modernism Studies, Walter de Gruyter, 2020)

“Capturing Unconsciousness: The New Psychology, Hypnosis and the Culture of Hysteria”, A Companion to Nineteenth Century Art (John Wiley & Sons, Inc., 2019)

“Mesmeric Modernism: František Kupka’s Art as a Magnetic Force Field” (Moscow: Russian State Institute for Art Studies, 2019)

“Dealing with Cubism: Daniel-Henry Kahnweiler's Perilous Internationalism”, Dealing Art on Both Sides of the Atlantic, 1860-1940 (Brill International Publishing, 2017)

Other Book Chapters • Magnetic Modernism: František Kupka's Mesmeric Abstraction and Anarcho-Cosmic Utopia” • Intimate Vibrations: Inventing the Dream Bedroom • Turquet's 'Turkey': Ending the Salon • Becoming Simian: Devolution as Evolution in Transformist Modernism • The Janus Face of Evolution: Degeneration, Devolution and Extinction in the Anthropocene • Wild Beasts and Tame Primates: “Le douanier” Rousseau’s Dream of Darwin’s Evolution • Framing Darwin: A Portrait of Eugenics • The Transparent Body: Biocultures of Evolution, Eugenics and Scientific Racism • The Stigmata of Abjection: Degenerate Limbs, Hysterical Skin and The Tattooed Body • One Friday at the French Artists’ Salon: Pompiers and Official Artists at the ‘Coup de Cubisme’ • Eroticizing Lamarckian Eugenics: The Body Stripped Bare during French Sexual Neoregulation • Making the Eugenic Body Delectable: Art, ‘Biopower’ and ‘Scientia Sexualis’ • Rationalizing Eros: The ‘Plague of Onan’, the Procreative Imperative and Duchamp’s Sexual Automatons • Dangerous Doubles: Degenerate and Regenerate Body Photography in the Eugenic Imagination • Dégénéréscence • Le duo dangereux: “L’homme normal” et le corps dégénéré • Dangerous Doubles: Degenerate and Regenerate Body Photography in the Eugenic Imagination • Commercial Spies and Cultural Invaders: The French Press, Pénétration Pacifique and Xenophobic Nationalism in the Shadow of War

Articles • Virilizing and Valorizing Homoeroticism: Eugen Sandow’s Queering of Body Culture before and after the Wilde Trials • L’Art Eugénique: Biopower and the Biocultures of Regeneration • Contesting “Le Corps Militaire”: Antimilitarism, Pacifism, Anarcho-Communism and 'Le Douanier' Rousseau's La Guerre • Rupturing Versailles: Joana Vasconcelos’s Disembodiment, Feminization and Kitsch • Moral Girls’ and ‘Filles Fatales’: The Fetishization of Innocence • The Sado-Masochism of Invention: Marcel Duchamp’s Ironic Inversions of Jules Amar’s Human Motor • Flaunting Manliness: Republican Masculinity, Virilized Homosexuality and the Desirable Male Body • “Bulging Buttocks”: Picturing Virile Homosexuality and the ‘Manly Man’ • Eradicating Difference: The Bioethics of Imaging ‘Degeneracy’ and Exhibiting Eugenics • Representing ‘Le Moteur Humain’: Chronometry, Chronophotography, ‘The Art of Work’ and the ‘Taylored Body • The Darwin/ist of Art History • The Darwin of Art History: E. H. Gombrich • Writing French Art Histories of Dissension in the Shadow of Vichy • Hegelian History, Wölfflinean Periodization and ‘Smithesque Modernism’ • Crossing Disciplines and Cubism • An Horizon is both pictorial and strategic: The Geopolitics of Land and Landscape • And love a fantasy breastfeeding our sexuality • The Art(s) of Political Correctness • In my art I try to give fear a face”: Paula Rego • The Sleep of Reason begets Monsters: Bonita Ely • Nature/Nurture/Culture: Janet Laurence • The Bricoleur - The Borderico - The Postcolonial Boundary Rider • BERLIN-BERLIN: The Art of Post-Unification Exchange

Contemporary Art Catalogues •The Art of Installation, Ivan Dougherty Gallery Catalogue, Sydney, March 1989; • “Inversion/Subversion”, The Viaduct Project, New South Wales Government Ministry for the Arts, 1995-1996; • “The Sublime and the Strange, Malcolm Poole’s Aerial Art”, Malcolm Poole: Paintings, Australia House Exhibition, London, May 2001. • “Forging a new ‘School of Paris’: Chez la Cité des Arts”, ‘Paris Days’ Exhibition, Ivan Dougherty Gallery, The University of New South Wales, March-April 2002; • “The Sexed Body: The Great Danger”, With and Without You: Revisitations of Art in the Age of AIDS, Ivan Dougherty Gallery, Sydney, October-November 2002; • Burnt Offerings, Galerie Baudoin Lebon, Paris, June 2006; • Four Seasons: Vivian Van Blerk, La galerie Beckel Odille Boïcos, Paris, June 2006; • The Cultures of Dissection: Kate Scardifield's Women Wielding the Knife, Exhibition, The Whole and the Sum of its Parts, Kate Scardifield, MOP Projects, 2010 (ISBN 978-1-921661-136); • Circulation and Respiration: Lisa Jones' Body Circuits and Breathing Cities, Exhibition, Lisa Jones, Invisible Cities, Conny Dietzschold Gallery, Sydney and Cologne, 2013 (ISBN 978-0--9803315-7-8); • Anthropocene, UEL AVA Exhibition, AVA Gallery, University of East London, Docklands Campus, April 2016; co-curator of exhibition; • “Naturyzacja Ewolucji: Kolonie Zwierzece, Drzewa Zycia I Modernizm, Miedzygatunkowy”, Superorganizm: Awangarda I Doswiadczenie Prysrody; • ‘Superevolution: Interspecies Modernism and the Naturization of Modernity’, Chapter Seven, Superorganism: The Avant-Garde and the Experience of Nature; Muzeum Sztuki, Lodz, Poland, 2017, pp. 149-184 (14 illustrations); ISBN 978-83-63820-53-4; • Earth, UEL Exhibition, AVA Gallery, University of East London, Docklands Campus, April 2018;

Contemporary Art, Theory and Polemics Contemporary Polemics Writer, Art Monthly UK, 1985-1992; Art Monthly, Australia and International, 1986-1992; Artscribe.

Contemporary Art Guest Lectures Feminisms and "Femmage": Miriam Schapiro, Lecture in Honour of Simone de Beauvoir, Art Gallery of New South Wales, April 1986. The Commodification of Art: Blue Poles, Power Institute of Fine Art, University of Sydney, April 1986. The Spectacle of the Venice Biennale, RMIT and University of Melbourne, October 1988. Gender, Otherness and the Museum: The Politics of Representation, Queen Mary College, University of London, July 1996. “Spectacular Bodies: Dissecting Art, Science and Medicine”, The Best of COFA Lecture Series, 20 April 2010, The University of New South Wales College of Fine Arts (see website, UNSWTV: Faculty of Fine Arts). “Artists as Geneticists: Evolutionism, Transspeciation and Transgenic Art”, Art Talk: Critical Dialogue, Convenor Simeon Lockhart Nelson, University of Hertfordshire School of Creative Arts, Hatfield, 26 November 2014. “Becoming Simian: Modernism’s Challenge to the Anthropocene”, Culture, Memory and Extinction, The Natural History Museum, Flett Theatre, 11 December 2015. “Primate Visions: Modernist Monkey Business and Interspecies Relationality”, New Research in Art History and Visual Culture, University of Bristol Postgraduate Guest Lecture Programme, Convenor, Professor Dorothy Price, 26 April 2016.

Conferences Convening 10 Conferences, Brauer has also convened 24 Conference Sessions.

Personal She is married to the playwright, Justin Fleming, has two children, Marcus and Lara and two grandchildren, Jura and Olieve. She resides in London, Paris, and Sydney.


Related Research Articles

<span class="mw-page-title-main">Modernism</span> Philosophical and art movement

Modernism was an early 20th-century movement in literature, visual arts, and music that emphasized experimentation, abstraction, and subjective experience. Philosophy, politics, architecture, and social issues were all aspects of this movement. Modernism centered around beliefs in a "growing alienation" from prevailing "morality, optimism, and convention" and a desire to change how "human beings in a society interact and live together".

<span class="mw-page-title-main">Cubism</span> 20th-century avant-garde art movement

Cubism is an early-20th-century avant-garde art movement begun in Paris that revolutionized painting and the visual arts, and influenced artistic innovations in music, ballet, literature, and architecture. Cubist subjects are analyzed, broken up, and reassembled in an abstract form—instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent the subject in a greater context. Cubism has been considered the most influential art movement of the 20th century. The term cubism is broadly associated with a variety of artworks produced in Paris or near Paris (Puteaux) during the 1910s and throughout the 1920s.

An art movement is a tendency or style in art with a specific art philosophy or goal, followed by a group of artists during a specific period of time, or, at least, with the heyday of the movement defined within a number of years. Art movements were especially important in modern art, when each consecutive movement was considered a new avant-garde movement. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. By the end of the 19th century many artists felt a need to create a new style which would encompass the fundamental changes taking place in technology, science and philosophy.

<span class="mw-page-title-main">Jean Metzinger</span> French painter and writer (1883–1956)

Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote the first theoretical work on Cubism. His earliest works, from 1900 to 1904, were influenced by the neo-Impressionism of Georges Seurat and Henri-Edmond Cross. Between 1904 and 1907, Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works.

<span class="mw-page-title-main">Salon d'Automne</span> Annual art shown in Paris, started in 1903

The Salon d'Automne, or Société du Salon d'automne, is an art exhibition held annually in Paris. Since 2011, it is held on the Champs-Élysées, between the Grand Palais and the Petit Palais, in mid-October. The first Salon d'Automne was created in 1903 by Frantz Jourdain, with Hector Guimard, George Desvallières, Eugène Carrière, Félix Vallotton, Édouard Vuillard, Eugène Chigot and Maison Jansen.

<span class="mw-page-title-main">Albert Gleizes</span> French painter (1881-1953)

Albert Gleizes was a French artist, theoretician, philosopher, a self-proclaimed founder of Cubism and an influence on the School of Paris. Albert Gleizes and Jean Metzinger wrote the first major treatise on Cubism, Du "Cubisme", 1912. Gleizes was a founding member of the Section d'Or group of artists. He was also a member of Der Sturm, and his many theoretical writings were originally most appreciated in Germany, where especially at the Bauhaus his ideas were given thoughtful consideration. Gleizes spent four crucial years in New York, and played an important role in making America aware of modern art. He was a member of the Society of Independent Artists, founder of the Ernest-Renan Association, and both a founder and participant in the Abbaye de Créteil. Gleizes exhibited regularly at Léonce Rosenberg's Galerie de l’Effort Moderne in Paris; he was also a founder, organizer and director of Abstraction-Création. From the mid-1920s to the late 1930s much of his energy went into writing, e.g., La Peinture et ses lois, Vers une conscience plastique: La Forme et l’histoire and Homocentrisme.

<span class="mw-page-title-main">Synchromism</span> Art movement

Synchromism was an art movement founded in 1912 by American artists Stanton Macdonald-Wright (1890–1973) and Morgan Russell (1886–1953). Their abstract "synchromies," based on an approach to painting that analogized color to music, were among the first abstract paintings in American art. Though it was short-lived and did not attract many adherents, Synchromism became the first American avant-garde art movement to receive international attention. One of the difficulties inherent in describing Synchromism as a coherent style is connected to the fact that some Synchromist works are purely abstract while others include representational imagery.

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<span class="mw-page-title-main">Czech Cubism</span> Avant-garde art movement in Czech Republic

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<span class="mw-page-title-main">Ukrainian avant-garde</span> Avant-garde movements in 20th-century Ukraine

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<i>The Bathers</i> (Gleizes) Painting by Albert Gleizes

The Bathers {French: Les Baigneuses) is a large oil painting created at the outset of 1912 by the French artist Albert Gleizes. It was exhibited at the Salon des Indépendants in Paris during the spring of 1912; the Salon de la Société Normande de Peinture Moderne, Rouen, summer 1912; and the Salon de la Section d'Or, autumn 1912. The painting was reproduced in Du "Cubisme", written by Albert Gleizes and Jean Metzinger the same year: the first and only manifesto on Cubism. Les Baigneuses, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form and multiple perspective characteristic of Cubism at the outset of 1912. Highly sophisticated, both in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or group. Gleizes deploys these techniques in "a radical, personal and coherent manner". Purchased in 1937, the painting is exhibited in the permanent collection of the Musée d'Art Moderne de la Ville de Paris.

<span class="mw-page-title-main">Proto-Cubism</span> Phase in art history

Proto-Cubism is an intermediary transition phase in the history of art chronologically extending from 1906 to 1910. Evidence suggests that the production of proto-Cubist paintings resulted from a wide-ranging series of experiments, circumstances, influences and conditions, rather than from one isolated static event, trajectory, artist or discourse. With its roots stemming from at least the late 19th century, this period is characterized by a move towards the radical geometrization of form and a reduction or limitation of the color palette. It is essentially the first experimental and exploratory phase of an art movement that would become altogether more extreme, known from the spring of 1911 as Cubism.

<i>Man on a Balcony</i> Painting by Albert Gleizes

Man on a Balcony, is a large oil painting created in 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). The painting was exhibited in Paris at the Salon d'Automne of 1912. The Cubist contribution to the salon created a controversy in the French Parliament about the use of public funds to provide the venue for such 'barbaric art'. Gleizes was a founder of Cubism, and demonstrates the principles of the movement in this monumental painting with its projecting planes and fragmented lines. The large size of the painting reflects Gleizes's ambition to show it in the large annual salon exhibitions in Paris, where he was able with others of his entourage to bring Cubism to wider audiences.

<i>Woman with Phlox</i> Painting by Albert Gleizes

Woman with Phlox is an oil painting created in 1910 by the French artist Albert Gleizes. The painting was exhibited in Room 41 at the Salon des Indépendants in the Spring of 1911 ; the exhibition that introduced Cubism as a group manifestation to the general public for the first time. The complex collection of geometric masses in restrained colors exhibited in Room 41 created a scandal from which Cubism spread throughout Paris, France, Europe and the rest of the world. It was from the preview of the works by Gleizes, Jean Metzinger, Henri Le Fauconnier, Robert Delaunay, and Fernand Léger at the 1911 Indépendants that the term 'Cubism' can be dated. La Femme aux Phlox was again exhibited the following year at the Salon de la Section d'Or, Galerie La Boétie, 1912. La Femme aux Phlox was reproduced in The Cubist Painters, Aesthetic Meditations by Guillaume Apollinaire, published in 1913. The same year, the painting was again revealed to the general public, this time in the United States, at the International Exhibition of Modern Art, New York, Chicago, and Boston. The work is now in the Museum of Fine Arts, Houston, Gift of the Esther Florence Whinery Goodrich Foundation in 1965.

<i>Passy, Bridges of Paris</i> Painting by Albert Gleizes

Passy, Bridges of Paris, also called Les ponts de Paris (Passy), or Paysage à Passy, is a painting created in 1912 by the French artist, theorist and writer Albert Gleizes. The work was exhibited at the Salon de la Société Normande de Peinture Moderne, Rouen, 1912 (titled Passy); the Salon de la Section d'Or, Galerie La Boétie, Paris, 1912 (titled Passy); Manes Moderni Umeni, Vystava, Prague, 1914 (titled Paysage à Passy); and Galerie Der Sturm, Berlin, July, 1914.

<span class="mw-page-title-main">Société Normande de Peinture Moderne</span> Collective of avant-garde artists from the early 20th century

The Société Normande de Peinture Moderne, also known as Société de Peinture Moderne, or alternatively, Normand Society of Modern Painting, was a collective of eminent painters, sculptors, poets, musicians and critics associated with Post-Impressionism, Fauvism, Cubism and Orphism. The Société Normande de la Peinture Moderne was a diverse collection of avant-garde artists; in part a subgrouping of the Cubist movement, evolving alongside the so-called Salon Cubist group, first independently then in tandem with the core group of Cubists that emerged at the Salon d'Automne and Salon des Indépendants between 1909 and 1911. Historically, the two groups merged in 1912, at the Section d'Or exhibition, but documents from the period prior to 1912 indicate the merging occurred earlier and in a more convoluted manner.

<i>Danseuse</i> (Csaky) Sculpture by Joseph Csaky

Danseuse, also known as Femme à l'éventail, or Femme à la cruche, is an early Cubist, Proto-Art Deco sculpture created in 1912 by the Hungarian avant-garde sculptor Joseph Csaky (1888–1971). This black and white photograph from the Csaky family archives shows a frontal view of the original 1912 plaster. Danseuse was exhibited in Paris at the 1912 Salon d'Automne, an exhibition that provoked a succès de scandale and resulted in a xenophobic and anti-modernist quarrel in the French National Assembly. The sculpture was then exhibited at the 1914 Salon des Indépendants entitled Femme à l'éventail ; and at Galerie Moos, Geneva, 1920, entitled Femme à la cruche.

<i>Woman with a Fan</i> (Metzinger, 1912) Painting by Jean Metzinger

Woman with a Fan is an oil painting created in 1912 by the French artist and theorist Jean Metzinger (1883–1956). The painting was exhibited at the Salon d'Automne, 1912, Paris, and De Moderne Kunstkring, 1912, Amsterdam. It was also exhibited at the Musée Rath, Geneva, Exposition de cubistes français et d'un groupe d'artistes indépendants, 3–15 June 1913. A 1912 photograph of Femme à l'Éventail hanging on a wall inside the Salon Bourgeois was published in The Sun, 10 November 1912. The same photograph was reproduced in The Literary Digest, 30 November 1912.

<span class="mw-page-title-main">Michael Tombros</span> Greek sculptor

Michael Tombros was a Greek sculptor who was influential in introducing avant-garde styles into Greece.

References

  1. ↑ "Professor Fay (Fae) Brauer - University of East London (UEL)". www.uel.ac.uk. Retrieved 10 September 2017.
  2. ↑ "Associate Professor Fay (Fae) Brauer - National Institute for Experimental Arts". www.niea.unsw.edu.au. Retrieved 10 September 2017.
  3. ↑ Gordon, RaeBeth (10 September 2017). "Review of The Art of Evolution: Darwin, Darwinisms, and Visual Culture". Nineteenth-Century French Studies. 39 (3/4): 344–346. doi:10.1353/ncf.2011.0006. JSTOR   23538521. S2CID   194053047.
  4. ↑ Marziliano, Nicola (1 January 2011). "Visual arts and genetics: lessons from the past". European Journal of Human Genetics. 19 (1): 122. doi:10.1038/ejhg.2010.155. PMC   3039516 .
  5. ↑ "Sight matters". ProQuest .


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