Think of Alias Olympia as a Canterbury Tale; a life-story told on a pilgrimage. It is an exploration in a dizzying variety of senses, from her laborious attempt to unearth the real life of her subject to reflections on her own childhood and career to the igniting effect of the feminist movement to musings on the fact that Victorine and Eunice have a common etymology, both signifying 'triumph.' Alias Olympia stands for part of the truth... but its humanity is entire.

The elegance and clarity of Lipton's prose make Alias Olympia a joy to read.... Significantly advances our knowledge about lesbians in the visual arts.

Scholarly research-as-usual is converted into a cliffhanger... a pioneering attempt to fashion a counter—or post-academic self in print.... Alias Olympia will Liptonize art historians in the popular imagination.

In this wonderfully digressive blend of art history and autobiography, Eunice Lipton chronicles her search for Victorine Meurent, the model for two of Edouard Manet's most famous paintings, 'Olympia' and 'Dejeuner sur l'Herbe.' In the end, and much to the reader's delight, Lipton has done what she set out to do: rescue Victorine Meurent from history. It is a marvelous recovery.

Beautifully written—brisk, poignant and humorous. A witty critique of the art historical profession and a sexy, sad memoir with a happy ending. Alias Olympia is the most original art book to emerge from my feminist art generation.

A rare alchemy. A melding of art history and autobiography.