REFERENCES

Bareau, J. W.1986. The hidden face of Manet: An investigation of the artist's working processes. London: Burlington Magazine.

BoggsJ. S.1958. Degas notebooks at the Biblioth�que Nationale II: Group B (1858–1861). Burlington Magazine100(June):196–205

Boime, A.1971. The Academy and French painting in the nineteenth century. London: Phaidon Press.

Boime, A.1980. Thomas Couture and the eclectic vision. New Haven and London: Yale University Press.

Brainerd, A.1988. The Infanta adventure and the lost Manet. Long Beach, Michigan City, Indiana: Reichl Press.

Fried, M.1996. Manet's modernism. Chicago: University of Chicago Press.

Hanson, A.1977. Manet and the modern tradition. New Haven: Yale University Press.

Hebborn, E.1991. Drawn to trouble: The forging of an artist. Frome, England, and London: Mainstream Publishing Projects.

Meller, P.2002. Manet in Italy. Burlington Magazine144(February):68–110

Reff, T.1964. Copyists in the Louvre. Art Bulletin46(December):552–59

Rouart, D., and D. Wildenstein 1975. Edouard Manet: Catalogue raisonn�. Lausanne and Paris: La Biblioth�que des Arts.

Saur, K. G.1995. Allgemeines K�nstler – Lexikon, vol. 10. Munich-Leipzig: K. G. Saur. 141.

Schjeldahl, P.2002. The Spanish lesson: Manet's gift from Vel�zquez. New Yorker, November 18:102–3 Manet/Vel�zquez: The French taste for Spanish painting, ed.G.Tinterow and G.Lacambre. New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2003

Thieme-Becker. 1909. Allgemeines Lexikon der bildenden K�nstler, vol. 3. Leipzig: E. A. Seemann. 512–13.

Wilson, M.1983. Manet at work. London: National Gallery.

FURTHER READING

MatheyJ. 1963. Graphisme de Manet. Vol. 2, Peintures r�apparues. Paris: F. De Nobele.

Moreau-N�laton, E.1926. Manet racont� par lui-m�me. Paris: H. Laurens.

Reff, T.1976. Manet: Olympia. New York: Viking Press.

Sandblad, N.1954. Manet: Three studies in artistic conception. Lund, Sweden: C. W. K. Gleerup.

AUTHOR INFORMATION

ALBERT BOIME earned his Ph.D. in art history from Columbia University in 1968. He specializes in the study of modern art and has made notable contributions to the understanding of art instruction in the 19th century. He is currently working on a multivolume Social History of Modern Art, the first two volumes of which have been published by University of Chicago Press.

ALEXANDER J. KOSSOLAPOV earned his M.S. in physics at Leningrad University, Russia, in 1970, and his Ph.D. in physics/engineering in 1980. In 1972–90 he was the head of the Laboratory for Scientific Examination of Works of Art in the Hermitage Museum, Leningrad. In 1990 he was senior research fellow in the Getty Conservation Institute, and in 1991–95 special Mellon fellow/senior research fellow/scientist at the Los Angeles County Museum of Art Conservation Center. In 1998–99, he held a position as senior fellow at the Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art, Washington, D.C. Since 1996 he has held the principal scientific museum position in Russia, as head of the scientific department of the State Hermitage Museum.