![]() ![]() "Celle que fu 'l'Olympia'." Bulletin de la vie artistique 2 (May 15, 1921), p. en toréador" and identifies it as a portrait of V. 134, remarks that Manet used the same costume for "The Spanish Singer" (MMA 49.58.2). "Französische Bilder in amerikanischem Privatbesitz II." Kunst und Künstler 9 (December 1910), p. "Französische Bilder in Amerikanischem Privatbesitz, Part 1." Kunst und Künstler 9 (November 1910), ill. Manuscrit de l'œuvre d'Édouard Manet, peinture et pastels. 37, identifies the model as Victorine Meurend. Histoire d'Édouard Manet et de son œuvre. Ma, remarks that this picture was on exhibition at the Durand-Ruel galleries and describes it, noting that the same model was used for the "Olympia" and "Déjeuner sur l'herbe" (both Musée d'Orsay, Paris). "Édouard Manet: Souvenirs." La revue blanche 12 (February–May 1897), pp. 518, notes that it was exhibited by Durand-Ruel in 1896. Charles Cottet, Gauguin, Edouard Vuillard, et d'Edouard Manet." La revue blanche 11 (December 1, 1896), p. "Les oeuvres de Manet." Le temps (January 16, 1884), p. "Le procédé de Manet d'après l'exposition de l'Ecole des Beaux-Arts." L'artiste 1 (February 1884), pp. Paris, 1880, calls Manet's pictures the most remarkable at the 1863 Salon des refusés. , records that it was sold for Fr 4,000 to Durand-Ruel. Memorandum of Paintings Sold to Durand-Ruel. Manet par Bracquemond, et d'une eau-forte d'Éd. Manet: Etude biographique et critique, accompagnée d'un portrait d'Éd. 53, 56, notes that Manet did not travel to Spain until 1865, three years after this work was completed. "Une nouvelle manière en peinture: Édouard Manet." Revue du XIXe siècle, 8e sér., 4 (January 1, 1867), pp. "Un Etranger au Salon." Le Figaro (July 16, 1863), p. ![]() 1863, praises the drapery, but notes that the figure needs to have more expression and greater solidity. en costume d'Espada" and notes the influence of Spanish paintings. 41–42, refers to it as a portrait of "Mademoiselle V. 76, criticizes Manet's modeling of forms in his three paintings on view in Paris 1863 and notes the artist's absence of conviction and lack of sincerity. "Salon des refusés." L'artiste 4 (August 15, 1863), p. 16, comments that the figure is in a circus, praises it highly, and notes the influence of Giorgione. Jahrhunderts aus dem Metropolitan Museum of Art," June 1–October 7, 2007, unnumbered cat. "The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920," February 4–May 6, 2007, no. "Manet/Velázquez: The French Taste for Spanish Painting," March 4–June 29, 2003, no. "Manet/Velázquez: La manière espagnole au XIXe siècle," September 16, 2002–January 12, 2003, no. "Origins of Impressionism," September 27, 1994–January 8, 1995, no. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, 1993, no. "From Delacroix to Matisse," June 10–July 30, 1988, no. "From Delacroix to Matisse," March 15–May 10, 1988, no. "The Impressionist Epoch," December 12, 1974–February 10, 1975, not in catalogue. "Old Mistresses: Women Artists of the Past," April 17–June 18, 1972, no catalogue. "Art Treasures of the Metropolitan," November 7, 1952–September 7, 1953, no. "The Classical Contribution to Western Civilization," April 21–September 5, 1949, not in catalogue. "The Classical Contribution to Western Civilization," December 15, 1948–January 31, 1949, not in catalogue. "Honderd Jaar Fransche Kunst," July 2–September 25, 1938, no. Havemeyer Collection," March 10–November 2, 1930, no. "Exposition des œuvres de Édouard Manet," January 6–28, 1884, no. ![]()
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