
This paper examines The Improvised Field Hospital--a portrait/genre painting in which Frédéric Bazille depicts his friend and fellow artist Claude Monet recuperating in bed from a leg injury. The picture is considered in relation to the ambiguities of Bazille’s sexuality as well as his famously fraught relationship with Monet. This paper also mobilizes concepts of the voyeuristic and fetishistic gaze developed in 20th-century film theory to account for the interplay of identification and desire in The Improvised Field Hospital and in Bazille’s portraits of men more generally