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Email to FriendEdouard Manet, Wood Engraving, La Parisienne (Mme. De Callias), 1910  |
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| Artist: | Manet, Edouard (1832 - 1883) |
|---|---|
| Title: | La Parisienne (Mme. De Callias), 1910 |
| Medium: | Original Wood Engraving |
| Image Size: | 3.9 in x 5.8 in (10 cm x 14.8 cm) |
| Sheet Size: | 7 in x 10.5 in (17.8 cm x 26.7 cm) |
| Framed Size: | 22 3/4 in x 22 in (57.79 cm x 55.88 cm) |
| Signed: | The work is signed in the plate by the artist and printer. “A Prunaire sc” appears in the left-hand corner and Manet appears in the right-hand corner |
| Edition: | From an edition published in 1910 in Theodore Duret's Manet and the French Impressionists |
| Condition: | This work is in extremely good condition, a fine dark impression! |
| Gallery Price: Item# 2016 | Sorry, this item is sold. Please visit the rest of our Manet fine art collection |
| Historical Description: | |
|---|---|
This engraving represents a portion of a painted portrait of Nina de Callias entitled Woman with the Fans, which is housed at the Louvre Museum. Created in 1874, this work is from the second state of two and was printed by Prunaire. The printer’s and artist’s signatures appear in the plate in the lower left and lower right. This woodcut is from an edition published in Manet and the French Impressionists by Duret in 1910, and is the second version of two with an added fan in the background. Through the use of varying tones, patterns and composition, the artist’s captures the sitter’s attitude of repose. However with her smart attire, delicate features and penetrating dark eyes, the young female figure commands the attention of the viewer. This seeming contradiction causes the viewer to further explore the work creating a personal connection with the subject. Jean C. Harris stated of this work: ‘This wood engraving appeared in ‘La Revue du Monde Nouveau’ as an accompaniment to a poem by Charles Cros entitled ‘Scene in the studio (‘scène d’atelier’) . The poem describes Nina posing for Manet at the end of 1873…As in the portraits of Berthe Morisot, Manet made use of the device of juxtaposing areas of sharply contrasting value in order to focus attention upon the silhouette. There is little modeling or textural variation within the silhouette and only three values, black, white, and gray, are used. The drawing of form is restricted to a few bold areas so that only the image as a whole is emphasized.’ (Harris 221) Catalogue Raisonné & COA: 1) Harris, Jean C., Edouard Manet: The Graphic Work, 1990, listed as plate 78. About the Framing: |
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Biography of Edouard Manet
Edouard Manet (1832 - 1883)
Edouard Manet was born on January 23, 1832, in Paris. While studying with Thomas Couture from 1850 to 1856, he drew at the Académie Suisse and copied the Old Masters at the Musée du Louvre. After he left Couture’s studio, Manet traveled extensively in Europe, visiting Belgium, the Netherlands, Germany, Austria, and Italy. In 1859 he was rejected by the official Paris Salon, although Eugène Delacroix intervened on his behalf. In 1861, Edouard Manet paintings were accepted by the Salon and received favorable press, and he began exhibiting at the Galerie Martinet in Paris. During the early 1860s his friendships with Charles Baudelaire and Edgar Degas began. The three paintings Manet sent to the Salon of 1863, including Le Déjeuner sur l’herbe, were relegated to the Salon des Refusés, where they attracted the attention of the critic Théophile Thoré.
In 1865 Manet’s Olympia and Christ Mocked were greeted with great hostility when shown at the Salon. That year the painter traveled to Spain, where he met Théodore Duret. He became a friend of Emile Zola in 1866, when the writer defended him in a controversial article for the periodical L’Evènement. In 1867 Zola published a longer article on Manet, who that year exhibited his work in an independent pavilion at the Paris World’s Fair. The artist spent the first of several summers in Boulogne at this time. In 1868 two of his works were accepted by the Salon but were not shown to advantage.
The dealer Paul Durand-Ruel began buying his work in 1872. That same year The Battle of the Kearsarge and the Alabama was shown at the Salon, and Manet traveled to the Netherlands for the second time. The poet Stéphane Mallarmé, who met the artist in 1873, wrote articles about him in 1874 and 1876 and remained a close lifelong friend. Manet declined to show with the Impressionists in their first exhibition in 1874. That summer he worked at Gennevilliers and Argenteuil with Claude Monet and the following year he visited Venice. In 1876 he exhibited Olympia and two paintings rejected that year by the Salon at his own studio. From 1879 to 1882 Manet participated annually at the Salon. In 1880 he was given a solo exhibition at Georges Charpentier’s new gallery, La Vie Moderne, Paris. In 1881 Manet, then ailing, was decorated with the Légion d’Honneur. He died on April 30, 1883, in Paris. A memorial exhibition of his work took place at the Ecole des Beaux-Arts the following year.
