Gervex turns a literary morning-after scene into a psychological study of nudity, abandonment, moral guilt, exploitation, silence, and irreversible departure.
Norman Bryson connects psychoanalysis, discourse theory, visual rhetoric, ideology, and regimes of the gaze within a critical reconstruction of art-historical method.
Warburg and Panofsky connect visual form with cultural memory, historical symptoms, iconology, worldview, and the evidential limits of interpreting artworks within their historical worlds.
