BY REMY JACOBS

In chapter two of Richard Brettell's Modern Art 1851-1929, the author examines art museums, lithography, and photography. He specifically addresses how the artists adapted to the change. 

In the middle of the chapter, art museums are becoming more popular. In the beginning, art museums were built for political reasons, rather than aesthetic ones.  If a country has several art museums it gave them a sense of political and national power. In addition, the museums brought a steady flow of revenue. Museums also gave artists a chance to showcase their art. People of the royal status often had museums in their homes, making them look like they where the best there is. 

Towards the end of the chapter, photography becomes prevalent and takes the art world by storm. People started to prefer photographs over paintings because it's cheaper, faster, and it was different. In 1888, the Kodak camera was invented, and you could take a picture with the click of a button. As time went on, people stopped caring about paintings. With that being said, in the modern world, most people see reproductions of art rather than the original. 

Édouard Manet is regarded as being one of the founders of modernism. Emile Zola was a French novelist, playwright, and journalist. Manet met Zola through landscape artist, Antoine Guillemet, in February of 1866. Manet painted this portrait of Zola to show thanks for the support. About two years later it was showcased at the 1868 Salon.  With all that being said, this painting reminded me of when we read Walter Benjamin's "Art in the Age of Mechanical Reproduction."