musée d'Orsay
5 April – 3 July 2011
Édouard Manet,Amazone / l'été[Woman in a Riding Habit, Full Face], 1882 Oil on canvas, 74 x 52 cm Madrid, Thyssen-Bornemisza Foundation © Museo Thyssen-Bornemisza, Madrid.
There has been no exhibition exclusively devoted toManet in France since 1983, the date of the memorable retrospective produced by Françoise Cachin and Charles S. Moffett. In the ensuing twenty-five years, however, there has been much valuable research and fruitful reflection. A rejection of formalism and a return to history, personal as well as collective, characterise the best of this work, whether documenting Manet’s life story or analysing his work, how it was exhibited and received. Our understanding of French painting from the period 1840 to 1880 has at the same time become more refined and freed from over-Manicheistic interpretations. From these two developments, in which the musée d'Orsay continues to be involved, a new image of Manet and his generation has appeared.
This exhibition aims to demonstrate this in a most clear and attractive way. More than just a strictly linear, monographic retrospective, it constructs its premise around some nine questions, each one closely related to the historical process from which Manet cannot be separated.
Simplifying his modernity to an iconographic register or bringing it down to a few stylistic elements comes, as we know, from a reductive approach. Manet is modern primarily because he embraces, as much as Courbet yet differently, the changes in the media that marked his era, and the unregulated circulation of images; secondly because imperial France, the backdrop to his developing career, was modern. And finally because the manner in which he challenged the masters of the Louvre was modern, extending beyond his militant Hispanism.
It is clear that the aesthetic he forged after 1860 demands a broader definition of realism than is normally ascribed to him. With this objective in mind, the exhibition aims to revisit the many links, visual, literary or political, between Manet’s art and Romantic culture. It will focus on the teaching of Thomas Couture, Baudelaire’s support and encouragement, the reform of religious art, erotic imageryand its unresolved issues, etc. But the originality of an artist as unpredictable as Manet cannot be reduced to the sum of the sources from which he distils his art.
Other sections of the exhibition try to throw light on the art of the fragment(ed), his relationship with women painters (Berthe Morisot, Eva Gonzalès), his decision to remain outside the main Impressionist movement and his complicity with Mallarmé at his darkest.
The final reminder of the exhibition at the Galleryde la Vie Moderne, the last one-man show, in 1880, of a painter obsessed by the Salon, raises the question of what “the freedom to create” meant to him. This means that “Manet, the Man who Invented Modernity” highlights later works that areless well known and, more importantly, little understood if regarded as simply a stage in the process towards “pure painting”.
Curator: Stéphane Guégan, curator, musée d'Orsay
Sections: - The Couture School - The Baudelaire Moment - On the Future of Christian Art - From the Prado to the Alma - “The Promises of a Face” - Impressionism trapped - 1879 - a turning point - Less is more? - The end of the Story.
Publication
Manet, the Man who invented Modernity, Exhibition catalogue by Stéphane Guégan, musée d'Orsay / Gallimard, 336 pages, 280 illustrations,
The Exhibition
There has been no exhibition exclusively devoted to Manet in France since 1983, the date of the memorable retrospective produced by Françoise Cachin and Charles S. Moffett. In the ensuing thirty years, however, there has been much valuable research and useful comment. We can no longer consider the painter’s “modernity” without a comprehensive approach that takes into account the diversity of his work, the versatility in his career and his active relationship with his own times. The “man of the world” that Zola praised in 1867, was “a painter inthe world”. The poetic and the political, in every sense that this republican gave these words, go hand in hand.
In a way, the exhibition came about through one painting,
Homage to Delacroix, that Fantin-Latour, one year after the great artist’s death, showed at the Salon in 1864.
In it, we can see Manet in good company, standing between Champfleury and Baudelaire. On the one hand, Courbet’s man; on the other, Delacroix’s champion: Manet was the troublemaker who brought Realism and Romanticism together and confused the issue. Fantin-Latour’s hypothesis onlyneeded some support.
This is what the nine sections of this exhibition propose to do by rescuing Manet from the unsound judgment of later generations. The reputed father of “Impressionism” or of “pure painting” is now an outdated idea. Manet’s dazzling success after 1860, his continued evolution until 1883, from militant Hispanism to unorthodox Naturalism, his determination to revolutionise history painting in the public space where it was meaningful, these perspectives are more relevant to the inventor of the “Modern”.
Manet was modern in the way he captured the life of his time in life-size images, brought the arsenal of the old masters up to date and exploited the resources of an era that profoundly redefined the distribution and commercial availability of images. A regular exhibitor at the Salon, no matter what, the Delacroix of “new painting” would have only one enemy, the old established concepts of form and the trivialisation of the senses.
The Choice of Couture
Édouard Manet Le jeune garçon à l'épée, 1861 Huile sur toile, 131, 1 x 93, 4 cm New York, Metropolitan Museum of Art © The Metropolitan Museum of Art, Dist. RMN / imageof the MMA
In order to emphasise his radical approach even more, Manet’s first supporters cut him off from his roots. According to them, therefore, he would not have learnt anything or retained anything from his six years (late 1849 to early 1856) with Thomas Couture, the painter of Romans of the Decadence. Having failed to get into the Naval College in Brest, the young Manet nonetheless enrolled with enthusiasm in this prominent studio. Couture was then regarded asthe heir to Veronese and Rubens, as well as to Ribera and Géricault, and furthermore, was Academic... This friend of Michelet was also an official artist of the Second Republic. When Manet joined him, Couture was striving to complete an enormous patriotic scene,
The Enrollment of the Volunteers of 1792. The realistic vitality of this painting enlivened the student’s studies even more. Manet also appreciated the all-encompassing sincerity of the portraitist. Of course, it was not just Couture. The copies of Delacroix and his Boy with a Sword revealed other ambitions.
The Baudelaire Moment
Édouard Manet Le déjeuner sur l'herbe, 1863 Huile sur toile, 208 x 264,5 cm Paris, Musée d'Orsay © Musée d'Orsay, dist. RMN / Patrice Schmidt
Manet and Baudelaire met around 1860. And a “strongaffinity” brought them together until the death of the author of theFlowers of Evil. Since his first articles on the Salon, Baudelaire had been trying to convert Romanticism into Modernity - he would be for the visual arts what Balzac had been for thenovel. It matters little in the end that Baudelaire never openly acknowledged Manet as “the painter of modern life”, the expression he applied to the illustrator ConstantinGuys. When Victorine Meurent suddenly appeared in his pictures, as a singer fallen on hard times or a shameless bather, Manet, the creator of Luncheon on the Grass found a way of painting in the present moment, of combining this new prosaicism ofsubject with the spontaneity of photography and the depth of classical painting. Animaginative world, and even a certain style of drawing, finally linked poet and painter. From Spanish dancers and the doomed woman to queens of the night, the continuity speaks for itself, and would stay with “the painter of the black cat” for a longtime.
A Suspect Catholicism
Édouard Manet Le Christ aux anges, 1864 Huile sur toile, 179,4 x 149,9 cm New-York, Metropolitan Museum of Art © The Metropolitan Museum of Art, Dist. RMN / imageof the MM
In 1864, a year after the Salon des Refusés, there was another, more metaphysical shock : Manet exhibited his Dead Christ with Angels, and shook up the traditional practices of l'Art Saint-Sulpice,the art of the Catholic Church. He took his inspiration from Italy (Fra Angelico, Andrea del Sarto) and Spain (El Greco, Velazquez, Goya), following the example of Legros, a precocious rival. Baudelaire, a Catholic himself, as were they, supported their efforts in the more controlled genre of the female nude. In 1859, when speaking of Delacroix, the poet had written : “religion, being the highest fictionof the human spirit [...], requires the most vigorous imagination and the greatest effort from those who devote themselves tothe expression of its actions and its sentiments”. Manet, a friend of Abbot Hurel, took up this challenge : to reinvent, not revive, sacred art. Although not a pillar of the church, the painter of Olympiawas nonetheless respectful of the inviolable rights of individual faith and the teaching of the gospels. The 20thcentury would in the end find this religious phasesuspect, and would forget it ...
From the Prado to the Alma
.jpg)
Édouard Manet Le torero mort, 1864 Huile sur toile, 75,9 x 153,3 cm Washington, National Gallery © Widener Collection, Image courtesy National Gallery of Art, Washington
After the failure at the 1865 Salon of Jesus mocked by Soldiers and of Olympia, Manet went to Spain for the first time. His main aim was to see Velazquez’s paintings at the Prado. His direct encounter with the master sof the Golden Age, including El Greco and Goya, not to mention the wealth of Italian artists in Madrid, would affect him in a number of ways. In 1866, when
The Fife Player was rejected by the Salon jury, Zola noted the astonishing blend of sobriety and energy emanating from the paintings that Manet had produced on his return from Spain. With its harshness and dramatic tension, Dead Matador reached new heights. It is a fragment of a bullfighting scene that Manet had cut up in 1865. This was not an isolated case. Whether it was dissatisfaction or a desire to intensify the visual power of the paintings, this was a clever choice in view of the continual criticism from the press. Instead of producing ever more skilful compositions, Manet fragmented, telescoped and stimulated perception. His horse racing scenes acquired an unprecedented spirit and vitality.
“The Promises of a Face”
Édouard Manet Le balcon, entre 1868 et 1869 Huile sur toile 170 x 124,5 cm Paris, Musée d'Orsay © Photo musée d'Orsay / RMNBaudelaire commented on the interplay of desire and frustration running through the series of portraits of Berthe Morisot that started at the 1869 Salon with The Balcony. The model, a young woman who did not fit well into her upper class background, also a painter and future active member of the “Impressionist group”, spoke highly of this painting which reminded her of Guys and Goya : “His paintings, as always, create the impression of wild fruit, slightly unripe even. I really like them.” The Balcony is disturbing, as much for its suspension in space and colour contrasts as for the mystery and obstinate silence of the protagonists who ignore each other, looking outwards, disillusioned and fatalistic. Alongside Berthe Morisot, who sits like a fashion-plate model trapped in her own melancholy, Manet represented the violinist Fanny Claus and landscape artist Antoine Guillemet. Until 1874, when she married one of his brothers, the painter flirted with using different moods and settings to transform her image – an indication of how his art could make the illusory boundary between reality and fiction unstable and therefore visible.
The Trap of Impressionism
Édouard Manet La Seine à Argenteuil, 1874 Huile sur toile, 62,3 x 103 cm Londres, the Courtauld Gallery © Private Collection, on extended loan to the Courtauld Gallery, London
In May 1874, Manet distanced himself from the first exhibition of the Impressionists, according to a comment by one scornful critic. Some, such as Degas, deplored this and spoke of desertion. The press was astonished. The painter of Luncheon on the Grass, the supposed champion of plein air painting, was considered their “leader”. The fact remains that Manet’s artistic idiom had moved on after the end of the Franco-Prussian war and the Commune, two events that closely affected him. He lightened his palette and his style became more vibrant. It would be wrong to put this down purely to the influence of his friends Monet and Renoir. This chromatic and formal liberation had revealed itself in the mid 1860s in his seascapes, his most sober, and closest to Whistler. Rather than adopting the emerging aesthetic, Manet adapted it for his own purposes, for which the Salon remained the ideal place. During those years, Mallarmé, who like Manet was a frequent visitor to Nina de Callias’ salon, came into his social circle and his art. Two illustrated books, somewhere between fantasy and the fantastic, sealed a friendship that only death would end.
1879 – A Turning Point
Édouard Manet Au père Lathuille, 1879 Huile sur toile, 93,5 x 112,5 cm Tournai, musée des Beaux-Arts © Collection du Musée des Beaux- Arts de Tournai, Belgique
The change of direction was initially political after the election of Jules Grévy. The atmosphere of the Salon altered too. These new circumstances accelerated Manet’s development, in form and content. At Père Lathuille’s, which delighted Huysmans at the 1880 Salon, Manet avoided the rather obvious moralising of Zola whose novels he very much enjoyed. However he had never aspired to judge contemporary morals from above. But he did, however, cultivate a relationship with the friends of the publisher Charpentier, whose success had given him the financial means to launch La Vie Moderne, both an illustrated review and a gallery open to the new painting of Renoir, Monet and Manet himself. In April 1880, Manet exhibited around twenty paintings and pastels. As well as being a summary, it was, as the Portrait of Constantin Guys indicates, a kind of small-scale manifesto. The numerous scenes of brasseries and music halls impressed his contemporaries, as did the fashionably dressed society women and demi-mondaines: Manet revealed himself here “in a completely new light - a painter of elegant women” (Philippe Burty).
Less is more?
Édouard Manet Vase de pivoines sur piedouche, 1864 Huile sur toile, 93,2 x 70,2 cm Paris, Musée d'Orsay © Musée d'Orsay, dist. RMN/Patrice Schmidt
Although quite numerous, a fifth of his entire oeuvre, Manet did not consider his still lifes in the way we do today, in thrall to an absurd relativism that scarcely gives Olympia any more importance than the artist’s first idealised piece of asparagus. In truth, he would have reacted furiously at our indifference to the categories that governed his work: primacy of the senses, impact on the imagination and the compositional imperative.
His best still lifes held a modest position in this hierarchy. Their raison d'être was first and foremost a practical one: while his figures did not sell, he increased the images of flowers, fruits and “set tables”. More than just decorative virtuosity, a direct homage to the old masters or the delightful intrusion of the accidental, it is their dramatic quality that saves them from banality. Around 1880, he started to use closer framing and smaller canvases. When stripped down to the minimum, with a flash of brightness on the rich impasted surface, small, insignificant things, which amused the painter, attained an unprecedented expansiveness.
The
End of the Story...
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Manet was always a
history painter, a “universal” painter, from ambition and from a desire to
record the political situation of the time. The first work he presented under his
own name, in 1860, was a caricature of Émile Ollivier, published in Diogenes, a
liberal, anti-clerical journal run by Ernest Adam. This friend of the Manet
family, a young lawyer and republican parliamentary deputy, reminds us that
they and their friends opposed the Second Empire. That Édouard then painted
several controversial paintings, including the
Édouard Manet La bataille du S.S. Kearsarge et du C.S.S. Alabama, 1864
Huile sur toile, 134 x 127 cm Philadelphia, Museum of Art
© Photo The Philadelphia Museum of Art : John G. Johnson Collection, 1917
Battle of the Kearsarge and
The
Execution of Maximilian, came as no surprise. When the Radicals came to power
in 1879, it gave him a final boost. Decorative projects and portraits confirmed
his commitment. The establishment of 14 July as France’s national day and the
amnesty for the Communards prompted him to pay tribute to a "red", which
was echoed in December 1880 by Monet’s comment: “I saw Manet, in good enough health,
very much taken up with a sensational painting for the Salon - Rochefort
escaping in a rowing boat on the open sea.” (Monet). Destined for the Salon,
the unfinished canvas was both his
Barque of Dante (Eugene Delacroix)
and his Raft of the Medusa (Théodore Géricault).
Chronology
of Édouard Manet
Extract
from the exhibition album, The Danger of Manet, by Stéphane Guégan, Musée d'Orsay
/ Gallimard
1832
23 January, Édouard Manet is born in Paris into an affluent middle class
family. His father, Auguste, is a high-ranking official in the Ministryof
Justice; his mother, Eugénie-Désirée, also wealthy, a goddaughter of the King
of Sweden (Bernadotte), is the daughter of a diplomat. Two brothers are born
after him, Eugène (1833)
and Gustave (1835).
1844-1848
After studying at the Poiloup Institute in Vaugirard, he enters the Collège
Rollin (nowadays the Lycée Jacques-Decour), where he meets Antonin Proust (
1832-1905).
Manet’s maternal uncle, Édouard Fournier, apparently takes him to visit the
Musée du Louvre for the first time.
1848
22-25 February : revolutionary days. Proclamation of the Second Republic.
1848-1849
Rather than study law, Manet, chooses to go into the navy. However he fails the
entrance exam for the Naval Academy. In December
1848,
just before the election of Louis-Napoleon Bonaparte as first president of the
French Republic, he sets sail on a training vessel heading for Rio de Janeiro.
During the voyage, he produces drawings and caricatures. On his return, he
fails once more to be accepted into the Naval Academy. His parents allow him to
take up a career in art.
1850
Manet joins the studio of Thomas Couture (1815-1879),
in rue Laval. He stays there for almost six years. Suzanne Leenhof (1830-1906),
his brothers’ piano teacher, becomes his mistress.
1851
2 December : coup d’etat by Louis-Napoleon Bonaparte. Manet seems to have
already demonstrated his opposition to the “gravedigger of the Republic”.
1852
29 January : Suzanne Leenhoff gives birth to an illegitimate son, Léon-Édouard
Koëlla, called Leenhoff (1852-1927).
Is he the painter’s son or half-brother? The question remains open. 2 December:
proclamation of the Second Empire. Louis-Napoleon Bonaparte becomes Napoleon
III.
1852-1853
Manet makes a number of trips. He travels to Holland, Germany, Austria and
Italy. In Venice and Florence he becomes friendly with Émile Ollivier (1825-1913),
a young Republican lawyer whose father has been exiled. Copies the masters.
1855
Gustave Courbet sets up his Pavilion of Realism outside the Universal
Exhibition.
1856
After leaving Couture, Manet moves into a studio inrue Lavoisier with the
painter Albert de Balleroy (1828-1872).
1857-1859
Another trip to Italy. Manet meets Henri Fantin-Latour (1836-1904)
and Degas (1834-1917).
1861
Manet moves into his studio in rue Guyot, in the vicinity of the Plaine
Monceau. At the Salon he shows Portrait of Mr. and Mrs M[anet]and The Spanish
Singer, which earns him an “honourable” mention. Starts exhibiting at the
Martinet Gallery, 26 boulevard des Italiens.
1862
Manet exhibits some prints in Alfred Cadart’s gallery, 66 rue de Richelieu. Is
one of the founder members of the Société des Aquafortistes (Society of
Etchers) that aims to revive etching. First articles by Charles Baudelaire in
which he mentions his friend Manet.
1863
March : exhibits fourteen paintings at the MartinetGallery, including Boy with
a Sword, The Street Singer, The Gypsies and Lola de Valence, a work that includes
a quatrain by Baudelaire. May : opening of the Salon des Refusés. Luncheon on
the Grass [Le Déjeuner sur l’herbe], arouses the indignation of the critics
with very few exceptions. August: Manet attends Delacroix’s funeral with
Baudelaire. October: Manetmarries Suzanne Leenhoff.
1864
Fantin-Latour exhibits Homage to Delacroix at the Salon, with Manet in the
centre. Manet himself exhibits The Angels at Christ’s Tomb (Dead Christ with
Angels) and Episode from a Bullfight, the bottom part of which would become The
Dead Man (The Dead Matador) after it was cut up. Moves to 34 boulevard des
Batignolles. Paints The Battle of the ‘Kearsarge’ and the ‘Alabama’.During the
summer makes his first visit to Boulogne-sur-Mer.
1865
At the Salon, Manet exhibits Olympia andJesus mocked by the Soldiers, which
cause a scandal. Stays in Madrid for the summer. The Velazquez paintings in the
Prado have a huge impact on him.
1866
The Fife Playerand The Tragic Actor are refused by the Salon. Émile Zola (
1840-1902)
defends the painter with unusual vehemence. Manet moves to 49, rue de
Saint-Pétersbourg. Frequents the Café Guerbois, in what is now the avenue de
Clichy, a meeting place for writers and artists. Meets Paul Cézanne (1839-1906)and
Claude Monet (1840-1926).
1867
Aiming to take advantage of the Universal Exhibition, Manet has a pavilion
built near the Pont de l’Alma, where he displays fifty of his paintings and
prints. As part of a collective strategy, Fantin-Latour exhibits his portrait
of Manet, and Zola publishes a vitriolic brochure. However, there are few
positive responses. September: Manet attends Baudelaire’s funeral. 29
1868
Exhibits his Portrait of Émile Zolaat the Salon. The writer dedicates his novel
Madeleine Férat to Manet. Manet meets Berthe Morisot (1841-1895)
and her sister, as well as Léon Gambetta (1838-1882).
1869
January-February : Manet is informed that he cannot exhibit The Execution of
Maximilian or publish the lithograph taken from it. Zola denounces these two
acts of censorship in the press. The Balcony,first appearance of his friend
Berthe Morisot, andLunch in the Studio are presented at the Salon.
1870
May : exhibits the portrait of his pupil Éva Gonzalès at the Salon. 4
September: after the defeat at Sedan and the fallof Napoleon III, the Third
Republic is proclaimed. The Prussians are at the gates of Paris. The siege
begins. Manet joins the National Guard. After two months he leaves the artillery
to join the general staff.
1871
January-February : ceasefire and preliminary negotiations for a catastrophic
peace treaty resulting in a severe war indemnity for France, andthe loss of
Alsace and Lorraine. Manet rejoins his family in Oloron-Sainte-Marie in the Pyrénées.
March-May: The Paris Commune. Manet returns just after the “Bloody Week” (21-28
May). He would later create a permanent reminder of the event.
1872
Durand-Ruel buys twenty-four of Manet’s paintings. Manet once again exhibits The
Battle of the ‘Kearsarge’ and the ‘Alabama’.Visits Holland (Haarlem and
Amsterdam). The painter moves into his new studio at 4, rue de Saint-Pétersbourg,
near the railway. He frequents the Café de La Nouvelle-Athènes, place Pigalle,
along with Degas, Renoir, Monet and Pissarro.
1873
Exhibits Le Bon Bock, a patriotic allegory, at the Salon. At the home of Nina
de Callias, he meets Stéphane Mallarmé (
1842-
1898),
with whom he would develop a long friendship.
1874
The Salon jury only accepts The Railwayand the watercolour Polichinelle, a
caricature of Mac-Mahon. They refuse The Swallows and Masked Ball at the Opera.
Mallarmé responds to the insult in an article in La Renaissance Artistique et
Littéraire. First ‘Impressionist’ exhibition, in which Manet chooses not to
participate. During the summer he visits Monet, and does several portraits of
him.
1875
Exhibits Argenteuilat the Salon. He arouses the anger of the press who label
him the leader of the Impressionist school in a derisive and provocative
gesture. Manet illustrates Stéphane Mallarmé’s French translation of Edgar
Allen Poe’s The Raven.Travels to Venice in October with his wife Suzanne and
James Tissot (
1836-1902).
1876
In April, after his paintings are refused at the Salon, Manet displays his
works in his studio. Another retaliatory article by Mallarmé, whose poemL’Après-midi
d’un fauneManet had just illustrated.While staying with Ernest Hoschedé in the
summer, Manet paints a large portrait of Carolus-Duran.30 Édouard Manet J-B Faure
dans le rôle d'Hamlet,
1877
Huile sur toile, 196 x 129 cm Essen, Folkwang Museum © Museum Folkwang, 2011 31
1877
Yet another affront: only Faure as Hamlet is accepted at the Salon. As Nanais
refused, it is displayed in the window of the art dealer Giroux, in the
boulevard des Capucines. Huge success and very enthusiastic article by
Huysmans.
1879
New studio at 77, rue d’Amsterdam, enormous, luxurious and much frequented.
Exhibits Boating and In the Greenhouse at the Salon. Critical reception to his
work is improving. Manet, suffering from locomotor ataxia, a conditionassociated
with syphilis, leaves for a rest cure in Bellevue, near Meudon.
1880
Private exhibition in the galleries of La Vie Modernein April. A real critical
success. Exhibits Portrait of Mr.Antonin Proustand At Père Lathuille’s, at the
Salon. Manet’s health deteriorates. Another cure at Bellevue, where he paints
the portrait of the singer Émilie Ambre who had organised the exhibition ofThe
Execution of Maximilianin New York and Boston at the end of 1879.
1881
Exhibits Portrait of Mr.Pertuiset andPortrait of Henri Rochefortat the Salon,
where he is awarded a second-class medal. In early summer, the artist leaves to
convalesce in Versailles. November-December: Antonin Proust is appointed Minister
of Fine Arts, and Manet is made a Chevalier de la Légion d’Honneur.
1882
Exhibits Jeanneand A Bar at the Folies-Bergèreat the Salon. September: as his
state of health is deteriorating,Manet draws up his will, appointing Suzanne as
his sole legatee and Léon as his heir, after the death of his mother.
1883
Exhibits at the École des Beaux-arts in Paris, Lyon, New York and Boston. After
having his left leg amputated, Manet dies on 30 April. He is buried in the
cemetery in Passy.
List of works
Section
1.The choice of couture
Henri
Fantin Latour
Hommage
à Delacroix,
1864, huile sur toile, 160 x 250 cm
Paris,
musée d'Orsay
Édouard Manet
La
Barque de Dante,
d'après Delacroix, 1854, huile sur toile , 38,1 x
48
cm, Lyon, Musée des Beaux Arts de Lyon
Édouard Manet
,
La
Barque de Dante
,
vers 1859, huile sur toile, 33 x 41 cm
New
York, Metropolitan Museum of Art
Édouard
Manet
,
Le
Petit Lange
,
1861-62, huile sur toile, 115 x 72 cm
Karlsruhe,
Staatliche Kunsthalle Karlsruhe
Édouard
Manet
,
Le
Jeune garçon à l'épée
,
1861, huile sur toile, 131.1 x 93.4 cm
New
York, Metropolitan Museum of Art
Thomas
Couture
,
Portrait
de Henri Didier
,
1843, huile sur toile, 202 x 117 cm,
Compiègne,
Musée Antoine Vivenel
Thomas
Couture
,
Portrait
de Henri Didier (tête)
,
1844, huile sur toile
Marseille,
Musée des Beaux Arts
Thomas
Couture
,
Portrait
de Henri Didier (tête)
,
1844, crayon noir, 33 x 27 cm
Paris,
Collection Prat
Thomas
Couture
,
Portrait
d'Amédée Berger
,
1852, huile sur toile, 55 x 46 cm
Rouen
, Musée des Beaux Arts
Thomas
Couture
,
Prince
S. T.
,
1852, huile sur toile, 52 x 43 cm
Bordeaux,
Musée des Beaux Arts
Édouard
Manet
,
Portrait
d'homme
,
1855-56, huile sur toile, 56 x 47 cm
Prague,
National Gallery
Édouard
Manet
,
Portrait
de Roudier
,
vers 1860-1863, sanguine, 19,7 x 15,7 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Portrait
de Roudier
,
1860, huile sur toile, 61,4 x 50,4 cm
Otterlo,
Kröller Müller Museum
Thomas
Couture
,
Esquisse
pour L'Enrôlement des volontaires de 1792
,
1848
huile
sur toile, 21 x 37 cm, Beauvais, Musée départ
emental
de l'Oise
33
Thomas
Couture
,
Deux
volontaires : le noble et l'ouvrier
,
1848, huile sur bois, 100,5
x
83 cm, Beauvais, Musée départemental de l'Oise
Thomas
Couture
,
Cavalier
au cheval cabré
,
entre 1815 et 1879, huile sur toile, 84 x
75
cm, Beauvais, Musée départemental de l'Oise
Thomas
Couture
,
Homme
vu de dos
,
entre 1815 et 1879, huile sur toile, 81 x 75 cm,
Beauvais,
Musée départemental de l'Oise
Édouard
Manet
,
Tête
d'homme étendu,
mine
de plomb, 21,7 x 26,9 cm
Paris,
musée d'Orsay
Thomas
Couture
,
Étude
en pied pour Mme Bruat
,
1856, huile sur toile, 65 x 81 cm
Compiègne,
Musée national du château de Compiègne
Édouard
Manet
,
Main
gauche avec deux alliances,
crayon
et craie blanche, 18,2 x
26,9
cm, Paris, musée d'Orsay
Édouard
Manet
,
Guerrier
tenant une lance,
mine
de plomb, aquarelle, 28,9 x 21,1
cm,
Paris, musée d'Orsay
Édouard
Manet
,
Figure
debout
,
drapée,
tenant glaive,
mine
de plomb, 28,9 x 21,1
cm,
Paris, musée d'Orsay
Édouard
Manet
,
Figure
debout, drapée portant deux vases
,
vers 1852-1858,
sanguine,
29,8 x 21,9 cm, Paris, Musée d'Orsay
Édouard
Manet
,
Homme
debout, drapé
,
vers 1852-1857, sanguine, 28,9 x 21,9 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Chrysippos
,
vers 1862, sanguine, 22,8 x 14,2 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Deux
personnages debout, en pied, dont l'un drapé,
non
daté
sanguine
et pierre noire, 28,9 x 21,1 cm, Paris Mus
ée
d'Orsay
Édouard
Manet
,
Monsieur
et Madame Auguste Manet
(Portrait
des parents de
Manet),
1860, huile sur toile, 110 x 90 cm, Paris,
musée
d'Orsay
Édouard
Manet
,
Portrait
du père de l'artiste
,
eau-forte
Paris,
Bibliothèque Nationale de France
Édouard
Manet
,
Portrait
des parents de Manet
,
1859-1860, sanguine, 31 x 25 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Portrait
du Tintoret par lui-même
,
1854, huile sur toile, 64 x 50 cm
Dijon,
Musée des Beaux Arts de Dijon
Section
3. A suspect catholicism ?
Édouard
Manet
,
Silentium
,
2e état (état définitif), Planche n°10 de l'album
Ed.Manet
Trente
eaux-fortes, ed.A strölin, 1905, eau forte,
20,8
x 15,5 cm (coup de planche)
Paris,
Institut National d'Histoire de l'Art INHA
Édouard
Manet
,
Moine
de profil
,
1853-1857, dessin à la sanguine, 34,5 x 22 cm
(boîte
écu), Paris, Bibliothèque Nationale de Franc
e
Édouard
Manet
,
Deux
religieux agenouillés : saint Jean Gualberto e
t
saint Pierre
martyr
,
mine de plomb, 28,9 x 21,1 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Moine
agenouillé, tenant un livre dans les bras : s
aint
Bernard
mine
de plomb, 28,9 x 21,1 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Étude
pour le Christ jardinier
,
vers 1863, sanguine sur papier à
filigranes,
34 x 24 cm, Paris, Collection Prat
Alphonse
Legros
,
La
vocation de saint François
,
1861, huile sur toile, 138 x 196 cm
Alençon,
Musée des Beaux Arts et de la Dentelle
Édouard
Manet
,
Un
Moine en prière
,
1865, huile sur toile, 146,4 x 115 cm
Boston,
Museum of Fine Arts
Édouard
Manet
,
Le
Christ aux anges
,
1864, aquarelle, 32,5 x 27 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Le
Christ aux anges
,
1864, huile sur toile, 179,4 x 149, 9 cm
New
York, Metropolitan Museum of Art
Édouard
Manet
,
Jésus
insulté par les soldats
,
1864, encre, 26,8 x 20,9 cm
Boston,
Museum of Fine Arts
Édouard
Manet
,
Tête
de Christ
,
1865, huile sur toile, 46,7 x 38,7 cm
San
Francisco, The Fine Arts Museum of San Francisc
o
Édouard
Manet
,
Le
Christ insulté par les soldats
,
1865, huile sur toile, 190, 8 x 148,
3
cm, Chicago, The Art Institute of Chicago
38
Section
4. From the Prado to the Alma
Édouard
Manet
,
Angelina
,
1865, huile sur toile, 92 x 73 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Le
Buveur d'eau
(
3e
fragment des Gitans)
,
1862-1872, huile sur
toile,
61,8 x 54,3 cm, Chicago, The Art Institute o
f
Chicago
Édouard
Manet
,
Un
fragment des Gitans : Le Bohémien
,
vers 1861-62 découpé en
1867,
huile sur toile, 90,5 x 53,3 cm, Paris, Agenc
e
France-Muséums
Édouard
Manet
,
Un
fragment des Gitans : Nature morte au cabas et à
l'ail
,
vers
1861-62
découpé 1867, huile sur toile, 27 x 35 cm,
Paris,
Agence France-Muséums
Édouard
Manet
,
Gitane
à la cigarette
,
1862, huile sur toile, 92 x 73,5 cm
Princeton,
Princeton University Art Museum
Édouard
Manet
,
Le
Fifre,
1866,
huile sur toile, 161 x 97 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Les
Bulles de savon
,
1867, huile sur toile, 100,5 x 81,4 cm
Lisbonne,
Musée Calouste Gulbenkian
Édouard
Manet
,
Émile
Zola
,
1868, huile sur toile, 146,5 x 114 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Portrait
de Théodore Duret
,
1868, huile sur toile, 46,5 x 35,5 cm
Paris,
Petit Palais – Musée des Beaux-Arts de la Vi
lle
de Paris
Édouard
Manet
,
Combat
de taureaux
,
1865-1866, huile sur toile, 90 x 110,5 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Le
Toréro mort
,
1864, huile sur toile, 75,9 x 153,3 cm
Washington
National Gallery
Édouard
Manet
,
Courses
à Longchamp
,
1866, huile sur toile, 43,9 x 84,5 cm
Chicago,
The Art Institute of Chicago
Édouard
Manet
,
Courses
à Longchamp
,
1867, aquarelle, 19,6 x 27 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Femmes
aux courses
,
1866, huile sur toile, 42,2 x 32,1 cm
Cincinnati,
Cincinnati Art Museum
Henri
Fantin Latour
,
Portrait
de Manet
,
1867, huile sur toile, 117,5 x 90 cm
Chicago,
The Art Institute of Chicago
Édouard
Manet,
La
lecture,
entre
1848 et 1883, huile sur toile, 60,5 cm x 73,5
cm
Paris,
musée d'Orsay
39
Section
5. The promises of a face
Édouard
Manet
,
Le
Balcon
,
1868-1869, huile sur toile, 170 x 124,5 cm
Paris,
musée d'Orsay
Édouard
Manet,
Berthe
Morisot au bouquet de violettes
,
1872, huile sur toile, 55,5 x
40,5
cm, Paris, musée d'Orsay
Édouard
Manet,
Portrait
de Berthe Morisot à la voilette
,
1872, huile sur toile , 61,5 x
47,
5 cm, Genève, Petit Palais, Musée d'Art Moderne
Édouard
Manet,
Berthe
Morisot à l'éventai
l,
1872, huile sur toile, 60 x 45 cm
Paris
musée d'Orsay
Édouard
Manet,
P
ortrait
de Berthe Morisot à l'éventail
,
1874, huile sur toile, 61 x
50,5
cm, Lille, Musée des Beaux Arts de Lille
Édouard
Manet,
Madame
Manet au piano
,
1868, huile sur toile, 38 cm x 46,5 cm
Paris,
musée d'Orsay
Section
6. The trap of Impressionism
Édouard
Manet,
Sur
la plage de Boulogne
,
1868, huile sur toile, 32,4 x 66 cm
Richmond,
Virginia Museum of Fine Arts
Édouard
Manet,
Bateaux
en mer. Soleil couchant
,
1869-1873, huile sur toile, 42 x
94
cm, Le Havre, Musées des Beaux Arts André Malrau
x
Édouard
Manet,
Clair
de lune sur le port de Boulogne
,
1869, huile sur toile, 82 cm x
101
cm, Paris, musée d'Orsay
Édouard
Manet,
Le
Port de Calais
,
1864-1865, huile sur toile, 81,5 x 100,7 cm
Genève,
Collection Alain Tarica
Édouard
Manet
,
Sur
la plage
,
1873, huile sur toile, 59,5 x 73 cm
Paris,
musée d'Orsay
Édouard
Manet
,
La
Partie de croquet
,
1873, huile sur toile, 72.5 x 106 cm
Francfort,
Stäedel Museum
Édouard
Manet,
Le
chemin de Fer, la Gare Saint Lazare
,
1873-74, réhaussée
d'aquarelle,
18 x 22 cm, Genève, Collection Particu
lière
Édouard
Manet
,
La
Seine à Argenteuil
,
1874, huile sur toile, 62,3 x 103 cm
Londres,
Courtauld
40
Édouard
Manet
,
Portrait
de Nina de Callias
,
vers 1873-1874, gouache, bois, rehauts
à
la mine de plomb, 9,5 x 7 cm, Paris, musée d'Orsa
y
Édouard
Manet,
Portrait
de Théodore de Banville
,
encre noire, lavis gris, plume,
18,4
x 11,9 cm, Paris musée d'Orsay
Stéphane
Mallarmé et Edouard Manet,
Quatre
planches pour
Le
Corbeau, poème
d'Edgar
Poe, traduit par Stéphane Mallarmé, illustr
é
de cinq dessins de Manet
ouvrage,
Vulaines-sur-Seine, Musée départemental St
éphane
Mallarmé
Stéphane
Mallarmé
,
L'Après-midi d'un faune
,
éd. Originale, Paris, Alphonse
Derenne,
exemplaire d'Edmond Bonniot, Paris, 1876,
ouvrage,
28 x 19,5 cm
(intérieur)
Vulaines-sur-Seine,
Musée départemental Stéphane Ma
llarmé
Édouard
Manet
,
Stéphane
Mallarmé
,
1876, huile sur toile, 27,5 x 36 cm
Paris,
musée d'Orsay
Édouard
Manet,
La
dame aux éventails
,
1873, huile sur toile, 113,5x166, 6 cm
Paris,
musée d'Orsay
Édouard
Manet,
L'Acteur
tragique
,
1866, eau forte et aquatinte, 36,7 x 21,8 cm
Paris,
Institut National d'Histoire de l'Art INHA
Delacroix
,
Hamlet
tuant Polonius
,
1834, dessin, 22 x 22 cm
Paris
Collection Prat
Édouard
Manet,
Portrait
de Faure dans le rôle d'Hamlet
,
1877, huile sur toile, 194 x
131,5
cm, Essen, Folkwang Museum
Édouard
Manet
,
Portrait
de Faure
,
1882-83, huile sur toile, 59,1 x 49,5 cm
New
York, Metropolitan Museum of Art
Édouard
Manet
,
Carolus-Duran
,
1876, huile sur toile, 191,8x172, 7 cm
Birmingham,
Barber Institute of Fine Arts, Universi
ty
of Birmingham
Édouard
Manet
,
Portrait
d'Albert Wolff
,
1877, huile sur toile, 92 x 73 cm
Zurich
Kunsthaus Zürich
Section
7. 1879 a turning point
Henri
Gervex
,
Madame
Valtesse de la Bigne
,
1889, huile sur toile, 200 x 122 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Au
Père Lathuille
,
1879, huile sur toile, 93,5 x 112,5 cm
Tournai,
Musée des Beaux Arts de Tournai
41
Édouard
Manet,
Portrait
d'Isabelle Lemonnier, vers 1880, aquarelle
,
20 x 10,4 cm
Paris,
musée d'Orsay
Édouard
Manet
,
6
lettres ornées à Isabelle Lemonnier
,
aquarelles
Paris,
musée d'Orsay
Édouard
Manet
,
Deux
moitiés d'amande décorant une pièce autographe
avec
L
’inscription Philippine
,
vers 1880, aquarelle, Paris, musée d'Orsay
La
vie moderne
,
n°17 du 17 avril 1880, document
Paris
Bibliothèque Nationale de France
Édouard
Manet
,
Liseuse
,
1879-1880, huile sur toile, 61,2 x 50,7 cm
Chicago,
The Art Institute of Chicago
Édouard
Manet,
Portrait
d'Irma Bruner
,
vers 1880, pastel sur toile et châssis, 53,5 x
44,1
cm, Paris, musée d'Orsay
Édouard
Manet
Portrait
d'Irma Brunner (ou la Viennoise)
,
vers 1880
Pastel,
53,5 x 44,1 cm
Paris,
musée d'Orsay
©
Musée d'Orsay, dist. RMN/Patrice Schmidt
42
Édouard
Manet,
La
serveuse de bocks
,
1878-1879, huile sur toile, 77,5 x 65 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Claude
Monet dans son atelier
,
1874, huile sur toile, 106,5 x 135
cm,
Stuttgart, Staatsgalerie Stuttgart
Édouard
Manet
,
Portrait de Claude Monet
,
vers 1880, dessin et plume, 13,6 x 11,5
cm,
Paris Collection Particulière
Édouard
Manet
,
Portrait
de Madame Emile Zola
,
vers 1879, pastel sur toile et
châssis,
55,7 x 46 cm, Paris, musée d'Orsay
Édouard
Manet
,
La
blonde aux seins nus
,
vers 1878, essai décoratif (huile sur toile),
62,5
x 52 cm, Paris, musée d'Orsay
Édouard
Manet
,
Le
Tub
,
1878, pastel sur toile, 54 x 45 cm
Paris,
Musée d'Orsay
Édouard
Manet,
Jeune
femme blonde aux yeux bleus
,
vers 1877, pastel sur papier
beige,
60 x 50 cm, Paris, Musée d'Orsay
Édouard
Manet,
Trois
têtes de femme
,
1880, aquarelle, 19 x 12 cm
Dijon,
Musée des Beaux Arts de Dijon
Édouard
Manet
,
Deux
chapeaux
,
1880, aquarelle, 20 x 12,4 cm
Dijon,
Musée des Beaux Arts de Dijon
Édouard
Manet
,
Au
café, étude de jambes (Deux jambes avec bottines
sous
une
jupe
rouge, devant un guéridon)
,
1880, aquarelle, 18,6 x 12 cm
Paris,
Musée d'Orsay
Édouard
Manet
,
Homme
debout sur une scène (Chanteur de café avec o
rchestre)
,
vers
1880, crayon, 18,5 x 29,3 cm, Paris, Musée d'O
rsay
Édouard
Manet
,
Scène
de café-concert (Groupe de personnages assis,
de
dos)
,
vers
1880, crayon, 14,1 x 18,6 cm, Paris Musée d'Or
say
Édouard
Manet,
Un
bar aux Folies-Bergères,
1881-1882,
huile sur toile, 47 x 56 cm
Londres,
Pyms Gallery
Édouard
Manet,
La
Petite Polonaise
,
vers 1878, encre et crayon, 32 x 27 cm
Paris,
Collection Françoise Cachin
Édouard
Manet,
Femme
en robe de soirée,
1880,
huile sur toile, 180 x 85 cm
New
York, Solomon R.Guggenheim Museum
Édouard
Manet,
Émilie
Ambre dans le rôle de Carmen
,
1879-1880, huile sur toile,
91,5
x 73,5 cm, Philadelphie, Philadephia Museum of
Art
43
Édouard
Manet,
Chez
la modiste
,
1881, huile sur toile, 85,1 x 73,7 cm
San
Francisco, The Fine Arts Museum of San Francisc
o
Mary
Cassatt
,
Portrait
de Mademoiselle C Lydia Cassatt
,
1880, huile sur toile, 92,5 x
65,5
cm, Paris, Petit Palais – Musée des Beaux-Arts
de
la Ville de Paris
Berthe
Morisot
,
L'Eté
,
1878-1879, huile sur toile, 76 x 61 cm
Montpellier,Musée
Fabre
Édouard
Manet,
L'Automne
,
1881, huile sur toile, 75 x 51 cm
Nancy,
Musée des Beaux Arts
Édouard
Manet,
Amazone
,
c.1882, huile sur toile, 73 x 52 cm
Madrid,
Museo Thyssen-Bornemisza
Édouard
Manet,
Jeanne
(le printemps) : version noir et blanc,
illustration,
18,4 x 24,9
cm,
Paris, Bibliothèque Nationale de France
Ernest
Hoschédé
,
Impressions
de mon Voyage au Salon de 1882,
plaquette
2e
état,
Paris, Bibliothèque Nationale de France
Section
8. Less is more
Édouard
Manet
,
Vase
de pivoines sur piédouche
,
1864, huile sur toile, 93,2 x 70,2
cm,
Paris, Musée d'Orsay
Édouard
Manet
,
Branche
de pivoines blanches et sécateur
,
1864, huile sur toile, 31
x
46,5 cm, Paris Musée d'Orsay
Édouard
Manet
,
Tige
de Pivoines et sécateur
,
1864, huile sur toile, 57 x 46 cm
Pari,
musée d'Orsay
Édouard
Manet
,
Anguille
et Rouget
,
1864, huile sur toile, 38 x 46,5 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Nature
morte, fruits sur une table
,
1864, huile sur toile, 45 x 73,5
cm,
Paris, musée d'Orsay
Édouard
Manet
,
L'Asperge
,
1880, huile sur toile, 16,5 x 21,5 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Le
Citron,
1880,
huile sur toile, 14 x 22 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Fleurs
dans un vase de cristal,
1882,
huile sur toile, 54,6 x 35,2 cm
Paris,
musée d'Orsay
44
Édouard
Manet
,
Fleurs
dans un vase de cristal (Oeillets et clémati
te
dans un vase
de
cristal)
,
1882, huile sur toile, 56 x 35,5 cm, Paris, musée
d'Orsay
Section
9.The end of a story?
Édouard
Manet,
Caricature
d'Emile Ollivier
Paris,
Bibliothèque Nationale de France
Édouard
Manet,
L'Exécution
de Maximilien
,
1867, huile sur toile, 195,9 x 259,7 cm
Boston,Museum
of Fine Arts
Édouard
Manet,
La
Bataille du Kearsarge et de l’Alabama
,
1864, huile sur toile, 134
x
127 cm, Philadelphie, Philadephia Museum of Art
Édouard
Manet,
La
barricade
,
1871, lavis et aquarelle, 46,2 x 32,5 cm
Budapest,
Svepmüvészeti Múzeum
Édouard
Manet
,
La
barricade
,
1871, lithographie, 46,5 x 33,4 cm
Paris,
Bibliothèque Nationale de France
Édouard
Manet
,
L'Exécution
de Maximilien,
1867,
lithographie
Paris,
Galerie Prouté
Édouard
Manet,
Guerre
civile,
1871,
lithographie
Paris,
Galerie Prouté
Édouard
Manet
,
Bazaine
devant le conseil de guerre
,
1873, mine de plomb
Rotterdam,Musée
Boymans van Beuningen
Édouard
Manet,
La
Rue Mosnier au drapeau
,
1878, huile sur toile, 65,4 x 80,6 cm
Los
Angeles J. Paul Getty Museum
Édouard
Manet,
Vive
l'amnistie (Deux drapeaux française décorant u
ne
lettre à
Isabelle
Lemonnier)
,
vers 1880, aquarelle, 18 x 11,2 cm, Paris, musée
d'Orsay
Alphonse
Le Gros
,
Léon Gambetta
,
1873, huile sur toile, 66,5 x 54,5 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Georges
Clémenceau
,
1879-1880, huile sur toile, 94,5 x 74 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Portrait
de Georges Clémenceau à la tribune
,
1879-1880
huile
sur toile, 116 x 94 cm, Fort Worth,Kimbell Ar
t
Museum
Édouard
Manet
,
Antonin
Proust
,
1880, huile sur toile, 130 x 96 cm
Toledo
, Toledo Museum of Art
45
Eduardo
Manet
,
Portrait
d'Antonin Proust
,
1877, huile sur toile, 183x 110 cm
Montpellier,Musée
Fabre
Édouard
Manet
,
Henri
Rochefort
,
1881, huile sur toile, 81,5 x 66,5 cm
Hambourg,Hamburger
Kunsthalle
Giovanni
Boldini
,
Henri
Rochefort
,
vers 1882, huile sur toile, 61 x 50 cm
Paris,
musée d'Orsay
Édouard
Manet
,
L'évasion
de Rochefort
,
vers 1881, huile sur toile, 80 x 73 cm
Paris,
musée d'Orsay
49
Édouard
Manet
Chez
la modiste (At the Milliner's)
,
1881
Huile
sur toile, 85,1 x 73,7 cm
San
Francisco, Fine Arts Museum
©
Fine Arts Museums of San Francisco
Édouard
Manet
Stéphane
Mallarmé
,
1876
Huile
sur toile, 27,5 x 36 cm
Paris,
musée d'Orsay
©
Musée d'Orsay, dist. RMN / Patrice Schmidt
46
6.
Publications
I.
Exhibition Catalogue
Gallimard
Édouard
Manet,
the
Man who invented Modern Art
Edited
by Stéphane Guégan
Contents
-
Foreword,
Guy
Cogeval
-
1983:
reasons for an exhibition,
Françoise
Cachin
-
Introduction,
Stéphane
Guégan
Essays
-
Manet in the Public Eye, Manet in Full View
,
Stéphane Guégan
-
Painting in Pieces,
Laurence
des Cars
-
What was Manet’s Market?
Simon
Kelly
-
Manet’s Social World,
Nancy
Locke
-
Manet’s
Parisian Women,
Helen
Burnham
-
Manet, the Aesthetic and Function of Drawing,
Louis
Antoine Prat
-
The Rebirth of Manet
,
discussion Philippe Sollers / Stéphane Guégan
Format
:
Number
of pages:
336
pages
Number
of illustrations:
280
ill.
Joint
publication
:
Musée d’Orsay / Gallimard
Price
:
approx. €42
Press
Services
French
Press:
Béatrice
Foti, ++33 (0)1 49 54 42 10, beatrice.foti
@gallimard.fr
Assisted
by francoise.issaurat@gallimard.fr
Regional
/ International Press:
Pierre
Gestede, +33 (0)1 49 54 42 54,
pierre.gestede@gallimard.fr
Édouard
Manet,
La
serveuse de bocks
,
1878-1879, huile sur toile, 77,5 x 65 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Claude
Monet dans son atelier
,
1874, huile sur toile, 106,5 x 135
cm,
Stuttgart, Staatsgalerie Stuttgart
Édouard
Manet
,
Portrait de Claude Monet
,
vers 1880, dessin et plume, 13,6 x 11,5
cm,
Paris Collection Particulière
Édouard
Manet
,
Portrait
de Madame Emile Zola
,
vers 1879, pastel sur toile et
châssis,
55,7 x 46 cm, Paris, musée d'Orsay
Édouard
Manet
,
La
blonde aux seins nus
,
vers 1878, essai décoratif (huile sur toile),
62,5
x 52 cm, Paris, musée d'Orsay
Édouard
Manet
,
Le
Tub
,
1878, pastel sur toile, 54 x 45 cm
Paris,
Musée d'Orsay
Édouard
Manet,
Jeune
femme blonde aux yeux bleus
,
vers 1877, pastel sur papier
beige,
60 x 50 cm, Paris, Musée d'Orsay
Édouard
Manet,
Trois
têtes de femme
,
1880, aquarelle, 19 x 12 cm
Dijon,
Musée des Beaux Arts de Dijon
Édouard
Manet
,
Deux
chapeaux
,
1880, aquarelle, 20 x 12,4 cm
Dijon,
Musée des Beaux Arts de Dijon
Édouard
Manet
,
Au
café, étude de jambes (Deux jambes avec bottines
sous
une
jupe
rouge, devant un guéridon)
,
1880, aquarelle, 18,6 x 12 cm
Paris,
Musée d'Orsay
Édouard
Manet
,
Homme
debout sur une scène (Chanteur de café avec o
rchestre)
,
vers
1880, crayon, 18,5 x 29,3 cm, Paris, Musée d'O
rsay
Édouard
Manet
,
Scène
de café-concert (Groupe de personnages assis,
de
dos)
,
vers
1880, crayon, 14,1 x 18,6 cm, Paris Musée d'Or
say
Édouard
Manet,
Un
bar aux Folies-Bergères,
1881-1882,
huile sur toile, 47 x 56 cm
Londres,
Pyms Gallery
Édouard
Manet,
La
Petite Polonaise
,
vers 1878, encre et crayon, 32 x 27 cm
Paris,
Collection Françoise Cachin
Édouard
Manet,
Femme
en robe de soirée,
1880,
huile sur toile, 180 x 85 cm
New
York, Solomon R.Guggenheim Museum
Édouard
Manet,
Émilie
Ambre dans le rôle de Carmen
,
1879-1880, huile sur toile,
91,5
x 73,5 cm, Philadelphie, Philadephia Museum of
Art
43
Édouard
Manet,
Chez
la modiste
,
1881, huile sur toile, 85,1 x 73,7 cm
San
Francisco, The Fine Arts Museum of San Francisc
o
Mary
Cassatt
,
Portrait
de Mademoiselle C Lydia Cassatt
,
1880, huile sur toile, 92,5 x
65,5
cm, Paris, Petit Palais – Musée des Beaux-Arts
de
la Ville de Paris
Berthe
Morisot
,
L'Eté
,
1878-1879, huile sur toile, 76 x 61 cm
Montpellier,Musée
Fabre
Édouard
Manet,
L'Automne
,
1881, huile sur toile, 75 x 51 cm
Nancy,
Musée des Beaux Arts
Édouard
Manet,
Amazone
,
c.1882, huile sur toile, 73 x 52 cm
Madrid,
Museo Thyssen-Bornemisza
Édouard
Manet,
Jeanne
(le printemps) : version noir et blanc,
illustration,
18,4 x 24,9
cm,
Paris, Bibliothèque Nationale de France
Ernest
Hoschédé
,
Impressions
de mon Voyage au Salon de 1882,
plaquette
2e
état,
Paris, Bibliothèque Nationale de France
Section
8. Less is more
Édouard
Manet
,
Vase
de pivoines sur piédouche
,
1864, huile sur toile, 93,2 x 70,2
cm,
Paris, Musée d'Orsay
Édouard
Manet
,
Branche
de pivoines blanches et sécateur
,
1864, huile sur toile, 31
x
46,5 cm, Paris Musée d'Orsay
Édouard
Manet
,
Tige
de Pivoines et sécateur
,
1864, huile sur toile, 57 x 46 cm
Pari,
musée d'Orsay
Édouard
Manet
,
Anguille
et Rouget
,
1864, huile sur toile, 38 x 46,5 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Nature
morte, fruits sur une table
,
1864, huile sur toile, 45 x 73,5
cm,
Paris, musée d'Orsay
Édouard
Manet
,
L'Asperge
,
1880, huile sur toile, 16,5 x 21,5 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Le
Citron,
1880,
huile sur toile, 14 x 22 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Fleurs
dans un vase de cristal,
1882,
huile sur toile, 54,6 x 35,2 cm
Paris,
musée d'Orsay
44
Édouard
Manet
,
Fleurs
dans un vase de cristal (Oeillets et clémati
te
dans un vase
de
cristal)
,
1882, huile sur toile, 56 x 35,5 cm, Paris, musée
d'Orsay
Section
9.The end of a story?
Édouard
Manet,
Caricature
d'Emile Ollivier
Paris,
Bibliothèque Nationale de France
Édouard
Manet,
L'Exécution
de Maximilien
,
1867, huile sur toile, 195,9 x 259,7 cm
Boston,Museum
of Fine Arts
Édouard
Manet,
La
Bataille du Kearsarge et de l’Alabama
,
1864, huile sur toile, 134
x
127 cm, Philadelphie, Philadephia Museum of Art
Édouard
Manet,
La
barricade
,
1871, lavis et aquarelle, 46,2 x 32,5 cm
Budapest,
Svepmüvészeti Múzeum
Édouard
Manet
,
La
barricade
,
1871, lithographie, 46,5 x 33,4 cm
Paris,
Bibliothèque Nationale de France
Édouard
Manet
,
L'Exécution
de Maximilien,
1867,
lithographie
Paris,
Galerie Prouté
Édouard
Manet,
Guerre
civile,
1871,
lithographie
Paris,
Galerie Prouté
Édouard
Manet
,
Bazaine
devant le conseil de guerre
,
1873, mine de plomb
Rotterdam,Musée
Boymans van Beuningen
Édouard
Manet,
La
Rue Mosnier au drapeau
,
1878, huile sur toile, 65,4 x 80,6 cm
Los
Angeles J. Paul Getty Museum
Édouard
Manet,
Vive
l'amnistie (Deux drapeaux française décorant u
ne
lettre à
Isabelle
Lemonnier)
,
vers 1880, aquarelle, 18 x 11,2 cm, Paris, musée
d'Orsay
Alphonse
Le Gros
,
Léon Gambetta
,
1873, huile sur toile, 66,5 x 54,5 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Georges
Clémenceau
,
1879-1880, huile sur toile, 94,5 x 74 cm
Paris,
musée d'Orsay
Édouard
Manet
,
Portrait
de Georges Clémenceau à la tribune
,
1879-1880
huile
sur toile, 116 x 94 cm, Fort Worth,Kimbell Ar
t
Museum
Édouard
Manet
,
Antonin
Proust
,
1880, huile sur toile, 130 x 96 cm
Toledo
, Toledo Museum of Art
45
Eduardo
Manet
,
Portrait
d'Antonin Proust
,
1877, huile sur toile, 183x 110 cm
Montpellier,Musée
Fabre
Édouard Manet,
Henri
Rochefort,
1881, huile sur toile, 81,5 x 66,5 cm
Hambourg,Hamburger
Kunsthalle
Giovanni Boldini,
Henri
Rochefort, vers 1882, huile sur toile, 61 x 50 cm
Paris,
musée d'Orsay
Édouard Manet,
L'évasion
de Rochefort,
vers 1881, huile sur toile, 80 x 73 cm
Paris,
musée d'Orsay
