Edouard Manet, Berthe Morisot
|Artist:||Edouard Manet (1832 - 1883)|
|Image Size:||4 11/16 in x 3 1/8 in (11.9 cm x 7.9 cm)|
|Sheet Size:||10 3/4 in x 8 3/4 in (27.3 cm x 22.2 cm)|
|Framed Size:||25 in x 23 in (63.5 cm x 58.4 cm)|
|Edition:||According to J. Harris (1990), a 3rd state (of 3) impression, printed after cancellation (although the cancellation marks are very faint). This work was printed after the 1905 catalogue by Strölin.|
|Condition:||This work is in great condition, a fine dark impression with clear plate marks.|
Item # 3167
|Have One To Sell?|
Historical Description of this artwork
Jean C. Harris stated of this work, “…this etching comes from the oil portrait of Morisot of 1872, but is smaller in scale and the image is reversed as compared with that in the oil. In the etching, Manet rejects to some extent the varied vocabulary of strokes which he used in The Boy with Soap Bubbles of 1869 in favor of a more simplified rendering with long, uniformly fine, vertical lines…Many wispy shapes, the ribbons and the hair, break the simple contour. Yet these lines do not function as independent calligraphic accents, but retain their functions as delineators of the characteristic elements of Morisot’s appearance” (Harris 216). This intimate portrait of fellow Impressionist Berthe Morisot depicts the care and skill utilized by Manet in executing this piece. Dressed in a fine hat and clothes characteristic of the time period, Morisot’s expression appears confident and pleased to be seated on the other side of the easel.
According to J. Harris (1990), a 3rd state (of 3) impression, printed after cancellation (although the cancellation marks are very faint). This work was printed after the 1905 catalogue by Strölin.
Catalogue Raisonné & COA:
This work is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work).
1. Harris, Jean C., Edouard Manet: The Graphic Work, 1990, listed as cat no 75 on pgs 216 and 217.
2. A Certificate of Authenticity will accompany this work.
About the Framing:
This work is framed to museum-grade, conservation standards, presented in a complimentary moulding and finished with silk-wrapped mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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Black belongs to Edouard Manet. The French painter bridged the gap between 19th-century Realism and Impressionism with its focus on subjects from daily life and witty relation to classic masterpieces. Manet oil paintings, drawings and signed lithographs are works to love.
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Edouard Manet Biography
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.