Madeleine Lemaire (1845–1928) might appear to be a typical “woman artist” of the Belle Époque, a painter of images of fashionable women, equally popular for her watercolor flowers and her skills as a salon hostess, with biographical sketches of her then and now assuming that if she had sex or romance, it was with men. However, a closer look has also revealed Lemaire to be potentially atypical. Unlike her women colleagues, she exhibited salacious nudes; her work was once described as having “a bit of the mustache”; and she generally dodged discussions of either her gender or her sexuality, even though her social group included those who openly flaunted their own non-conformities. Using archival materials, artworks, and contemporary theory to unpack the possibilities presented by Lemaire’s case, I also explore the gains for art history in reconsidering previously female-identified and straight-seeming artists in more fluid gender and sexual terms. What might we discover if we recognize ourselves as the constructors of a cisheteronormative past, reading into the archives the assumptions that our current culture’s binary norms enforce?

中文翻译：

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将 Cisheteronmativity 读入艺术历史档案

玛德琳·勒梅尔（Madeleine Lemaire，1845-1928）可能是一位典型的美好时代的“女艺术家”，一位以时尚女性形象为主题的画家，她的水彩花卉和沙龙女主人的技巧同样受到人们的欢迎，并附有她当时的传记草图。现在假设如果她有性行为或浪漫，那是和男人发生的。然而，仔细观察也发现勒梅尔可能不典型。与她的女同事不同，她展示了淫荡的裸体。她的作品曾被形容为“有点小胡子”；她通常会回避有关她的性别或性取向的讨论，尽管她的社交群体中包括那些公开炫耀自己不合规矩的人。利用档案材料、艺术品和当代理论来揭示勒梅尔案例所呈现的可能性，我还探讨了艺术史在以更流动的性别和性术语重新考虑以前的女性身份和看似异性恋的艺术家方面所取得的成果。如果我们认识到自己是一个非规范过去的建构者，将我们当前文化的二元规范所强制执行的假设读入档案，我们会发现什么？