Henry M. Sayres Value in Art: Manet and the Slave Trade is an impressive, insightful, and thoroughly persuasive work. Impeccably researched and wide-ranging in its breadth of discussion, Sayres highly perceptive analysis centers on Manet but proceeds outward with masterful expertise and nuance, incorporating poetry, music, fiction, prose, French and American history and culture, politics, andnaturallyart. With sensitivity and imagination, with balance and tact, Sayre employs floating signifiers to track the insidious path of colonialism and slavery that underlie modernist art and culture. What he reveals of this depraved heart of darkness inspires the reader to new modes of understanding about the complexity of modernist representationboth its achievements and its shame. * Geoffrey Green, San Francisco State University * Value is a difficult art historical term, too often reduced to questions of price or hue. In Value in Art: Manet and the Slave Trade, Sayre achieves an eye-opening feat, namely, the unveiling of the terms true political economy. Focused on Édouard Manets key 1860s paintings, Sayre articulates the periods commodification of the black and female bodythrough slavery and prostitutionas the true subject of early modernist painting in France. This is indispensable reading for all scholars of Manet, the 1860s, and the politics of representation, as well as modernisms fraught relationship to the history of slavery. * André Dombrowski, University of Pennsylvania * "The art historian Henry Sayre promises to reveal the politics that define the art of Édouard Manet in this analysis of the French artists famous painting Olympia (1863), which shows a white prostitute and her black maid bringing her flowers. . . . Sayre explains in the preface: 'Almost all textbooksand almost all art teachers, for that matterrefer to the light reflective nature (high or low) of light and dark colours in terms of their relative value, and I decided to look at the history of this usage.'" * The Art Newspaper *