Each year, thousands of pilgrims visit the celebrated New Orleans tomb where Marie Laveau is said to lie. They seek her favors or fear her lingering influence. "Voodoo Queen: The Spirited Lives of Marie Laveau" is the first study of the Laveaus, mother and daughter of the same name. Both were legendary leaders of religious and spiritual traditions many still label as evil.

The Laveaus were free women of color and prominent French-speaking Catholic Creoles. From the 1820s until the 1880s when one died and the other disappeared, gossip, fear, and fierce affection swirled about them. From the heart of the French Quarter, in dance, drumming, song, and spirit possession, they ruled the imagination of New Orleans.

How did the two Maries apply their "magical" powers and uncommon business sense to shift the course of love, luck, and the law? The women understood the real crime--they had pitted their spiritual forces against the slave system of the United States. Moses-like, they led their people out of bondage and offered protection and freedom to the community of color, rich white women, enslaved families, and men condemned to hang.

The curse of the Laveau family, however, followed them. Both loved men they could never marry. Both faced down the press and police who stalked them. Both countered the relentless gossip of curses, evil spirits, murders, and infant sacrifice with acts of benevolence.

The book is also a detective story--who is really buried in the famous tomb in the oldest "city of the dead" in New Orleans? What scandals did the Laveau family intend to keep buried there forever? By what sleight of hand did free people of color lose their cultural identity when Americans purchased Louisiana and imposed racial apartheid upon Creole creativity? "Voodoo Queen" brings the improbable testimonies of saints, spirits, and never-before printed eyewitness accounts of ceremonies and magical crafts together to illuminate the lives of the two Marie Laveaus, leaders of a major, indigenous American religion.

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The essays in this wide-ranging, beautifully illustrated volume capture the theoretical range and scholarly rigor of recent criticism that has fundamentally transformed the study of French Impressionist and Post-Impressionist art. Readers are invited to consider the profound issues and penetrating questions that lie beneath this perennially popular body of work as the contributors examine the art world of late nineteenth-century France - including detailed looks at Monet, Manet, Pissarro, Degas, Cezanne, Morisot, Seurat, Van Gogh, and Gauguin. The authors offer fascinating new perspectives, placing the artworks from this period in wider social and historical contexts. They explore these painters' pictorial and market strategies, the critical reception and modern criteria the paintings engendered, and the movement's historic role in the formation of an avant-garde tradition. Their research reflects the wealth of new documents, critical approaches, and scholarly exhibitions that have fundamentally altered our understanding of Impressionism and Post-Impressionism. These essays, several of which have previously been familiar only to scholars, provide instructive models of in-depth critical analysis and of the competing art historical methods that have crucially reshaped the field. Contributors of this title include: Carol Armstrong, T. J. Clark, Stephen F. Eisenman, Tamar Garb, Nicholas Green, Robert L. Herbert, John House, Mary Tompkins Lewis, Michel Melot, Linda Nochlin, Richard Shiff, Debora Silverman, Paul Tucker, and Martha Ward.

This 1986 bibliography provides a source for reviews of the state-sponsored Parisian exhibitions of painting and sculpture (salons) held during the Second Empire, 1852-70. It includes an extensive list of references each presented in a standard format, with titles, dates and ordering codes based on the holdings of the Bibliotheque Nationale in Paris. It is indexed by authors and by periodicals. The catalogued essays and articles are of fundamental importance in establishing a picture of contemporary reactions to art in mid-eighteenth-century France. Tourneux's standard work Salons et expositions d'art a Paris 1801-70 has long been out of print. By incorporating and correcting the relevant material from Tourneux, and adding many new references from unpublished and newspaper sources, the compilers have achieved a substantial increase in the amount and range of criticism available for analysis by cultural and literary historians.