Review "...[Lebensztejn] elegantly reveals how artists have repeatedly used our queasiness in the face of bodily functions to transgress narrow-minded cultural norms."--Alexxa Gotthardt "Artsy""amusing, memorable books"--Jonathon Sturgeon "Artnet""A curious journey through art history and one that's worth the trip."--Hrag Varnatnian "Hyperallergic""In the book Pissing Figures - an academic volume with an aptly deep-orange cover - art historian Jean-Claude Lebensztejn unpacks the complexities of urination in Western art."--Staff "032c""The book, in a rangy, fluent translation from Jeff Nagy, is a record of what Lebensztejn calls our 'diuretic fantasies'?of the lore and lust surrounding urine, sacred and profane."--Dan Piepenbring "The New Yorker""The books in the series seem designed to slip into your back pocket - slim, spartan, and compact, sporting uniform covers consisting solely of typeface in black or white, with a matching horizontal bar across the top, against a solid color." --Thomas Micchelli "Hyperallergic" Product Description Lebensztejn is one of France’s best - kept secrets. A world - class art historian who has lectured and taught at major universities in the United States, his work has remained almost entirely in French, his American audience limited to a sma ll but dedicated group of cognoscenti. First introducing the Manneken Pis ― the iconic little boy whose stream of urine supplies water to this famous fountain and is also the logo for a Belgian beer company ― the author takes the reader through a semi - scatological maze of cultural history. The earliest example is a fresco scene loc ated directly above Cimabue’s Crucifixion from around 1280 at the Basilica of Saint Francis of Assisi, in which Lebensztejn’s careful eye locates an angel behind a pillar urinating through a hole in his garment. He continues to navigate expertly through cu ltural twists and turns, stopping to discuss Pier Paolo Pasolini’s 1968 film Teorema , for example, and Marlene Dumas’s 1996 – 1997 homage to Rembrandt’s pissing woman. At every moment, Lebensztejn’s prose is lively, his thinking dynamic, and his subject matt er entertaining. In this short and poignant cultural history, readers will not only find the care for detail that has made Lebensztejn into one of the greatest European art historians, but also the rebelliousness that makes him one of the most interesting intellectuals of our time. From the Back Cover Lebensztejn is one of France’s best - kept secrets. A world - class art historian who has lectured and taught at major universities in the United States, his work has remained almost entirely in French, his American audience limited to a sma ll but dedicated group of cognoscenti. First introducing the Manneken Pis ― the iconic little boy whose stream of urine supplies water to this famous fountain and is also the logo for a Belgian beer company ― the author takes the reader through a semi - scatological maze of cultural history. The earliest example is a fresco scene loc ated directly above Cimabue’s Crucifixion from around 1280 at the Basilica of Saint Francis of Assisi, in which Lebensztejn’s careful eye locates an angel behind a pillar urinating through a hole in his garment. He continues to navigate expertly through cu ltural twists and turns, stopping to discuss Pier Paolo Pasolini’s 1968 film Teorema , for example, and Marlene Dumas’s 1996 – 1997 homage to Rembrandt’s pissing woman. At every moment, Lebensztejn’s prose is lively, his thinking dynamic, and his subject matt er entertaining. In this short and poignant cultural history, readers will not only find the care for detail that has made Lebensztejn into one of the greatest European art historians, but also the rebelliousness that makes him one of the most interesting intellectuals of our time. About the Author Jean-Claude Lebensztejn is a French art historian, critic, and honorary professor of the University of Paris 1 Panthéo
