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Salon caricature began with a few tentative lithographs in the 1840s and, within a few decades, no Parisian exhibition could open without appearing in warped, incisive, and hilarious miniature in the pages of the illustrated press.   Supported by ample primary sources, from Baudelaire and Champfleury, to Grand-Carteret and Duret, as well as archival material made available here for the first time, Laugh Lines explores not only 19th-century caricature but a larger history of reproductive image technologies, including photography, and their relation to painting during the period of modernist emergence.     In bringing to light this rich register of art criticism-in-pictures, Laugh Lines offers new material and methods for the study of 19th-century painting, modernism, and art historiography, notably repositioning Édouard Manet in relation to public laughter and comic press art. 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Now, decades later, when that professor contacts her out of the blue with an invitation to his retirement ceremony, Jean's long-standing malaise becomes an emotional crisis. Desperate to understand why this relationship derailed her life so completely, she begins rereading her old diaries and is shocked to realize that her own disastrous affair occurred during the summer of the Lewinsky scandal, yet she never saw the parallels.  In a frenzy of guilt and regret, Jean finds herself praying to Monica Lewinsky for forgiveness as if she were a secular saint, a figure of both suffering and sympathy. To Jean's shock, Saint Monica appears-powerful, radiant, wise, and witty-and guides Jean like the Ghost of Christmas Past back to the summer of 1998. Had Jean merely been naive and stupid, as she has told herself for so long? Was it sheer weakness that led her into the affair? 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