Anna Green is Lecturer in Art History at the University of East Anglia, and at Department of Art History, Norwich University College of the Arts, UK

'Green deals systematically with the emerging categories of childhood and youth, examined according to variables of gender and class. Never content with easy cultural and art historical clichés, she shows throughout a refreshing penchant for turning the tables and complicating expected revisionist readings. Her intelligent, original, and well-written and researched book makes an extremely important contribution to our field.' Norma Broude, American University 'Starting with the bold and convincingly argued thesis that childhood was as critical a sign of modernity as other better known tropes, Anna Green moves skillfully between images and texts. Her book is conceptually sophisticated and deeply researched, both in terms of contemporary theoretical writings and historical material'. Susan Sidlauskas, Rutgers University, USA ’... [a] rigorous, provocative study... Throughout French Paintings of Childhood and Adolescence, Green clearly demonstrates that although later nineteenth-century Paris has been heavily mapped and minutely charted by art historians, the city and the period have had their areas of scholarly neglect. While adding to the interpretations of works by familiar painters such as Manet and Renoir, she also brings forward the works of countless lesser-knowns. In doing so, she avoids an art history that cleaves artists into modernist or reactionary figures, and the breadth of her approach is such that the boundaries between the two groups often lose clear-cut demarcation. In some cases, works by canonical modernists prove to have their reactionary elements, while images by dust-bin reactionaries prove to be informed by modernist attitudes. This is yet one more aspect of Green’s study that makes it such a valuable read.’ Caa.Reviews

• Contents: Introduction; Manet's Music in the Tuileries Gardens: childhood - modernity - Paris; Working children, dangerous children; Spectacular girls: young Parisiennes of the streets and stage; 'Good little girls': 'eternal immaturity'; 'To make men of her sons': constructs of masculinity; Boys will be boys: childhood, sex, and adolescence; 'Inside the dark continent': hysterical pleasures; Conclusion: 'the child is father of the man'; Bibliography; Index.

Anna Green is Lecturer in Art History at the University of East Anglia, and at Department of Art History, Norwich University College of the Arts, UK

'Green deals systematically with the emerging categories of childhood and youth, examined according to variables of gender and class. Never content with easy cultural and art historical clichés, she shows throughout a refreshing penchant for turning the tables and complicating expected revisionist readings. Her intelligent, original, and well-written and researched book makes an extremely important contribution to our field.' Norma Broude, American University 'Starting with the bold and convincingly argued thesis that childhood was as critical a sign of modernity as other better known tropes, Anna Green moves skillfully between images and texts. Her book is conceptually sophisticated and deeply researched, both in terms of contemporary theoretical writings and historical material'. Susan Sidlauskas, Rutgers University, USA ’... [a] rigorous, provocative study... Throughout French Paintings of Childhood and Adolescence, Green clearly demonstrates that although later nineteenth-century Paris has been heavily mapped and minutely charted by art historians, the city and the period have had their areas of scholarly neglect. While adding to the interpretations of works by familiar painters such as Manet and Renoir, she also brings forward the works of countless lesser-knowns. In doing so, she avoids an art history that cleaves artists into modernist or reactionary figures, and the breadth of her approach is such that the boundaries between the two groups often lose clear-cut demarcation. In some cases, works by canonical modernists prove to have their reactionary elements, while images by dust-bin reactionaries prove to be informed by modernist attitudes. This is yet one more aspect of Green’s study that makes it such a valuable read.’ Caa.Reviews

• Contents: Introduction; Manet's Music in the Tuileries Gardens: childhood - modernity - Paris; Working children, dangerous children; Spectacular girls: young Parisiennes of the streets and stage; 'Good little girls': 'eternal immaturity'; 'To make men of her sons': constructs of masculinity; Boys will be boys: childhood, sex, and adolescence; 'Inside the dark continent': hysterical pleasures; Conclusion: 'the child is father of the man'; Bibliography; Index.

Anna Green is Lecturer in Art History at the University of East Anglia, and at Department of Art History, Norwich University College of the Arts, UK

'Green deals systematically with the emerging categories of childhood and youth, examined according to variables of gender and class. Never content with easy cultural and art historical clichés, she shows throughout a refreshing penchant for turning the tables and complicating expected revisionist readings. Her intelligent, original, and well-written and researched book makes an extremely important contribution to our field.' Norma Broude, American University 'Starting with the bold and convincingly argued thesis that childhood was as critical a sign of modernity as other better known tropes, Anna Green moves skillfully between images and texts. Her book is conceptually sophisticated and deeply researched, both in terms of contemporary theoretical writings and historical material'. Susan Sidlauskas, Rutgers University, USA ’... [a] rigorous, provocative study... Throughout French Paintings of Childhood and Adolescence, Green clearly demonstrates that although later nineteenth-century Paris has been heavily mapped and minutely charted by art historians, the city and the period have had their areas of scholarly neglect. While adding to the interpretations of works by familiar painters such as Manet and Renoir, she also brings forward the works of countless lesser-knowns. In doing so, she avoids an art history that cleaves artists into modernist or reactionary figures, and the breadth of her approach is such that the boundaries between the two groups often lose clear-cut demarcation. In some cases, works by canonical modernists prove to have their reactionary elements, while images by dust-bin reactionaries prove to be informed by modernist attitudes. This is yet one more aspect of Green’s study that makes it such a valuable read.’ Caa.Reviews

• Contents: Introduction; Manet's Music in the Tuileries Gardens: childhood - modernity - Paris; Working children, dangerous children; Spectacular girls: young Parisiennes of the streets and stage; 'Good little girls': 'eternal immaturity'; 'To make men of her sons': constructs of masculinity; Boys will be boys: childhood, sex, and adolescence; 'Inside the dark continent': hysterical pleasures; Conclusion: 'the child is father of the man'; Bibliography; Index.