NOTESPROLOGUED. Coole 2015, “From Within the Midst of Things: New Sensibility, New Alchemy, and the
Renewal of Critical Theory,” in C. Cox, J. Jaskey, and S. Malik, eds., Realism Materialism
Art (Berlin: Sternberg), 41; G. Harman 2015, “Art and Objecthood,” in C. Cox, J. Jaskey, and
S. Malik, eds., Realism Materialism Art (Berlin: Sternberg), 108.
- R. Kendall 1998, Degas and the Little Dancer (New Haven: Yale University Press), 45.
- C. Millard 1976, The Sculpture of Edgar Degas (Princeton: Princeton University Press), 47.
- At this time, theories of eugenics advocated that one’s likelihood to commit crimes
could be seen in recurring facial traits. - Kendall 1998:7.
- A.Vollard, “Degas: An Intimate Portrait,” cited in R. Kendall, ed. 1994, Degas by Him-
self: Drawings, Prints, Paintings, Writings (New York: Chartwell), 21. - The original wax sculpture of Little Dancer is exhibited at the National Gallery in
Washington, DC. - Kendall 1998:32.
- J. Claretie, cited in Charles S. Moffett, ed., 1986, The New Painting: Impressionism
1874–1886 (San Francisco: Fine Arts Museum of San Francisco), 341. - Kendall 1998:45. Kendall reports that in Joris-Karl Huyusmans’s essay “L’exposition des
independants en 1881,” in L’art Moderne (Paris, 1883), 225–257, the wig might have been
made of horse or unidentified animal hair. - Kendall 1998:41.
- Ibid., 87.
- Ignotus, “Le bilan du crime,” Le Figaro, August 18, 1880, 1, quoted ibid.
- Hegel, quoted in L. Nochlin 1971, Realism (London: Penguin), 14.