“Who is Vladimir Nabokov then, Xavier?” Sebastian’s voice rang out next to me, and my heart sank as I realized that Xavier had been talking about the question he had asked me and not about our night of passion.
“You do not know, Sebastian?” Xavier tilted his head. “And before people ask questions—yes, Sebastian Van Romerius is my brother.”
“Unfortunately,” Sebastian spoke up and the class laughed—me included.
Xavier stared at me with narrowed eyes as I laughed, and I made sure to laugh loudly as I defiantly looked back at him.
“Lolita, seducer, nymph, whisperer of men’s fantasies, forbidden love, dark love, taboo.” Xavier’s voice boomed as he spoke, and I felt my skin going cold as I avoided his glance. “That is what Vladimir Nabokov wrote about when he wrote Lolita. But this is not a literature class.” He smiled widely as he laughed gently. “I do suggest to everyone to read the book, though. It’s a great piece of literature. But let us continue with the class. Lolita, you may answer the question now.” He grinned at me, and my face flushed.
“It’s Lola, not Lolita.”
“Ah, my dear, my apologies. I got caught up in the moment. Something I’m sure you know about?”
“Manet, Monet, Cezanne, Degas, Renoir, Pissarro. They are all Impressionist painters.” I ignored his earlier comment. “I can tell you some more if you want.”
“No, no.” His eyes flashed with something akin to respect. “I see you know your Impressionist painters. Good, good.” He turned away and turned on the projector at the front of the class, and all I could think about was what a patronizing jerk he was. He walked over to the wall and turned the lights off.
“Spooky,” someone called out when as the room went extremely dark right before the projector lights came on. An image of a painting was now on the front wall.
“Does anyone know the name of this painting or its significance to our conversation?”
“The lady in the painting is a ho,” a voice called out.
“Why do you say that?” Xavier responded back.
“She’s sitting there naked with two men.”
“If there had been one man, would she still be a whore?”
“Yes. She’s naked.”
“So then we equate nakedness with whores?”
“She’s naked in public.”
“So a woman who is naked in public is a whore? How many people agree with that?”
Several hands shot up, but I kept my arms at my side, not sure why we were talking about whores in an art history class.
“I see. What if she had been naked inside a hotel room?” He looked around the room. “With one man. But she didn’t know him. What would you think?”
“I’d want to know if she was hot and how much she costs” Jason called out, and a gaggle of girls around him laughed.
I shook my head and rolled my eyes, I wasn’t sure why Anna always seemed to be interested in the worst guys. Not that I had a better track record. Shit, the last guy I had slept with was in the front of the class about to publicly out me for something that wasn’t even true.
“Would you pay?” Xavier’s tone grew serious. “What would that make you if you were paying for sex?”
“A man who doesn’t want to be bothered with a girlfriend but still wants to get laid,” the kid retorted, and Xavier laughed.
“Touché.” He sat on the desk, stretched his long legs out, and looked out at all of us students.
Everyone in the room was staring at him in amazement. He certainly knew how to draw attention to himself. The only two people who didn’t seem completely captivated by him were Sebastian and myself.
“Le Dejeuner sur l’herbe, originally titled Le Bain, is considered one of Manet’s most shocking pieces of art or, I should say, it was considered a shocking piece of art when he exhibited it in 1863.” He pointed towards the screen at the back. “Can you imagine living in the 1800s and seeing this? The shock value of a nude woman sitting casually and lunching with two men was too much for many at the time, and it was rejected by the Salon jury, a rejection that Manet used to his advantage.”
I leaned forward, mesmerized by Xavier’s voice and obvious intellect when it came to art. When he spoke, the painting behind him seemed to come alive. I felt my body humming with excitement. This was why I had come to London—this feeling of really learning and being around others who loved art as much as I did. Even if the professor was someone I had never wanted to see again.
“‘Le dejeuner sur l’herbe’ means ‘the luncheon on the grass,’ so you can see that the title of the painting is quite literal.”
“So she’s not a ho?” the guy at the back of the class called out again, and everyone, including Xavier, laughed.
“But what is a whore?” Xavier smiled. “Many believe the park depicted in the painting is the Bois de Boulogne, a large park in the western outskirts of g*y Paris. A park that is well known for illicit sex and prostitution.” His tongue darted out of his mouth again and he looked at me. “So what is to be believed? Is she a whore or is she not?”
“Why do we think she’s a whore?” I shouted out. “Why are we judging her when we don’t even know her?”
“She’s naked,” someone cried out. “She wants to get some.”
“Maybe she is just comfortable with her body, with her femininity. Why should she be ashamed of that? Even if she wanted to have sex with one or both of the guys, why would that make her a whore? Don’t guys do that all the time? If it were a naked guy with two girls, no one would be calling him a gigolo.” I huffed out.
“Such a visceral reaction, Lola.” Xavier’s expression changed to one of humor. “You talk as if you know the lady in the painting. You defend her as if she were family.”
“Maybe Lola just wants to have a threesome,” Justin called out and laughed.
I stared at him with disgust. “I don’t want to have a threesome, not that it’s any of your business. But look at the painting carefully. Her pose isn’t provocative. The men don’t look aroused or in lust. They all look as if they are they’re just enjoying a picnic and she just happens to be naked. She is beautiful and unashamed.”
Xavier nodded and then started talking. “She is so unashamed that she stares at the viewer as if to say, ‘And? And so what of my nakedness?’ But for many, it was not just the subject matter that turned them off of the painting. It was also the technique that Manet used. A technique that differed from the customary Neoclassicist lines. A technique that other artists admired. And Manet became their leader and carried them through the Impressionist revolution.”