ABSTRACT The language of putrefaction, often applied through a culinary analogy, appeared consistently in the critical reception of modern-life and Impressionist painting. For example, two critics used the term faisandé, referring to well-hung meat, to describe Manet’s nude figure of Olympia in 1865. The analogies that they posed between morgue bodies, female figures, meat, and fleshy paint material became central modes of denigrating Impressionist paintings of women in the ensuing decades. Gustave Caillebotte’s Veal in a Butcher’s Shop (c. 1882), depicting anthropomorphized, gendered, and sexualized animal flesh, can be considered in this context. In my reading, the painting enacts the critical responses to his colleagues’ figures, foregrounding the violent operations through which bodies might be reduced to meat, whether literal or metaphorical. In their comparisons to rotting flesh, nineteenth-century critics expressed a visceral reaction to works of art that Veal in a Butcher’s Shop demands.

中文翻译：

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绘画的肉体：卡耶博特的现代奥林匹克运动会

摘要腐败的语言通常通过烹饪类比来应用，在现代生活和印象派绘画的批判性接受中始终如一地出现。例如，两名评论家使用faisandé一词，指的是挂肉，用以描述马奈（Manet）在1865年的奥林匹亚裸体形象。他们在太平间，人体，肉类和多肉的涂料之间进行类比，成为central毁的主要方式。在随后的几十年中，女性印象派绘画。在这种情况下，可以考虑用古斯塔夫·卡耶伯特（Gustave Caillebotte）的肉店里的小牛肉（c。1882）来描述拟人化，性别化和性别化的动物肉。在我的阅读中，这幅画对他的同事的形象做出了批判性的回应，强调了暴力行动，通过这种行动，人们可以将尸体变成肉，无论是字面的还是隐喻的。