EDOUARD MANET (1832 Paris 1883) La femme aux chiens. Circa 1862. Oil on canvas. Signed lower right by the artists widow: Manet. 96 × 74 cm. Provenance: - Estate of the artist. - Auction H?tel Drouot, sale of the Manet estate, Paris, 4.2.–5.2.1884, lot 74. - Camentron collection, Paris, acquired at the above auction, until 1902. - J.J. Gowan, Edinburgh. - Francis Ginn Mills, USA, acquired in 1948. - John MacCamish, USA, acquired in 1967. - Galerie Hirschl & Adler, New York, acquired in 1970. - Private collection USA. - Auction Phillips, London, 25.6.2001, lot 11. - Probably English collection, acquired in 2010. - Auction Sothebys, London, 4.2.2016, lot 407. - Private collection Europe. Exhibited: - Cleveland 1929, French Art since eighteen hundred, Cleveland Museum of Art, 1929. - New York 1948, Manet, Wildenstein & Co., no. 4 (with label on the reverse). - Houston 1960, From Gauguin to Gorki, Museum of Fine Arts, 20.10.–11.12.1960, no. 36. - Hamburg 2016, Manet - Sehen. Der Blick der Moderne, Hamburger Kunsthalle, 27.5.–4.9.2016, no. 12 (with ill. cat. p. 117). Literature: - Denis Rouart und Daniel Wildenstein: Edouard Manet, Catalogue raisonné, Paris 1975, vol. 1, no. 49 (with ill.). - Théodore Duret: Histoire dEdouard Manet et de son ?uvre, Paris 1902, no. 14 - Julius Meier-Graefe: Edouard Manet, Munich 1912 (with ill. p. 27). - étienne Moreau-Nélaton: Manet raconté par lui-même, Paris 1926, vol. 3, no. 15. - Paul Jamot, Georges Wildenstein und Marie-Louise Bataille: Manet, Paris 1932, vol. 1, no. 31 (with. ill. vol. 3, no. 51). - Alfred M. Frankfurter: Manet, First American Retrospective, in: Art News, 20.4.1937, p. 14. - Alphonse Tabarant: Manet et ses ?uvres, Paris 1947, no. 23 (with ill. p. 602). - Merete Bodelsen: Early Impressionist Sales 1874–1894 in the Light of some unpublished Procès-verbaux, in: The Burlington Magazine, June 1968, no. 74. - Denis Rouart und Sandra Orienti: Tout l?uvre peint dEdouard Manet, Paris 1970, no. 14. - Fran?oise Cachin: Manet, London 1990, no. 12 (with ill. p. 148). The looted paintings by Spanish masters that had been brought to France during the Napoleonic Wars, as well as Napoleon IIIs marriage to Eugènie de Montijo from Spain, led to a veritable Spanish vogue. Louis-Philippe, the “Citizen King”, was particularly fond of Spanish art and exhibited his collection as Galerie Espagnole in the Louvre in Paris between 1838 and 1848. It stands to reason that Edouard Manet, who often visited the Louvre with his brothers and uncle during his childhood and youth, was familiar with these paintings. The highlight of this infatuation with all things Spanish were guest performances by a troupe of Spanish dancers from the Teatro Real de Madrid in the early 1860s, which Manet also enthusiastically attended. Spanish motifs had already found their way into Manets painting by the end of the 1850s, and were intensified subsequent to the visit by the Spanish dancers. The identity of the sitter of "La Femme aux chiens" is unknown however, based on her appearance and clothing, it is likely that she was a Spanish lady who had travelled to Paris with the troupe’s entourage. This early portrait of a mysterious lady aligns with a series of portraits that Manet repeatedly took up throughout his career. Manet was particularly influenced by Diego Velasquez and Francisco de Goya, whose paintings he studied in the Louvre and whose influence is also clearly seen in the present work. In this portrait, Manet concentrated on a detailed depiction of the sitters facial features, which are confidently rendered with taut eyebrows, reddish cheeks and lips, and an intense gaze. In her right hand she holds her two dogs on a short leash. The background is merely suggested, while to her left a baby carriage with a shadowy person alludes to motherhood. By constantly embellishing his portraits with references to the contemporary lives of his sitters, Manet masterfully captured their vivid and intimate characters, and thus successfully transformed this enduring medium into a snapshot of daily life. EDOUARD MANET (1832 Paris 1883) La femme aux chiens. Um 1862. ?l auf Leinwand. Unten rechts von der Witwe des Künstlers signiert: Manet. 96 × 74 cm. Provenienz: - Nachlass des Künstlers. - Auktion H?tel Drouot, Nachlassauktion, Paris, 4.2.–5.2.1884, Los 74. - Sammlung Camentron, Paris, an obiger Auktion erworben, bis mindestens 1902. - J.J. Gowan, Edinburgh. - Francis Ginn Mills, USA, 1948 erworben. - John MacCamish, USA, 1967 erworben. - Galerie Hirschl & Adler, New York, 1970 erworben. - Privatsammlung USA. - Auktion Phillips, London, 25.6.2001, Los 11. - wohl englischer Besitz, 2010 erworben. - Auktion Sothebys, London, 4.2.2016, Los 407. - Europ?ische Privatsammlung. Ausstellungen: - Cleveland 1929, French Art since eighteen hundred, Cleveland Museum of Art, 1929. - New York 1948, Manet, Wildenstein & Co., Nr. 4 (verso mit Etikett). - Houston 1960, From Gauguin to Gorki, Museum of Fine Arts, 20.10.–11.12.1960, Nr. 36. - Hamburg 2016, Manet - Sehen. Der Blick der Moderne, Hamburger Kunsthalle, 27.5.–4.9.2016, Nr. 12 (mit Abb. im Ausst. Kat.). Literatur: - Denis Rouart und Daniel Wildenstein: Edouard Manet, Catalogue raisonné, Paris 1975, Bd. 1, Nr. 49 (mit Abb.). - Théodore Duret: Histoire dEdouard Manet et de son ?uvre, Paris 1902, Nr. 14 - Julius Meier-Graefe: Edouard Manet, München 1912 (mit Abb. S. 27). - étienne Moreau-Nélaton: Manet raconté par lui-même, Paris 1926, Bd. 3, Nr. 15. - Paul Jamot, Georges Wildenstein und Marie-Louise Bataille: Manet, Paris 1932, Bd. 1, Nr. 31 (mit Abb. im Bd. 3 Nr. 51). - Alfred M. Frankfurter: Manet, First American Retrospective, in: Art News, 20.4.1937, S. 14. - Alphonse Tabarant: Manet et ses ?uvres, Paris 1947, Nr. 23 (mit Abb. S. 602). - Merete Bodelsen: Early Impressionist Sales 1874–1894 in the Light of some unpublished Procès-verbaux, in: The Burlington Magazine, Juni 1968, Nr. 74. - Denis Rouart und Sandra Orienti: Tout l?uvre peint dEdouard Manet, Paris 1970, Nr. 14. - Fran??oise Cachin: Manet, London 1990, Nr. 12 (mit Abb. S. 148). **im Zuge der Napoleonischen Kriege importierten Gem?lde spanischer Meister,**als Beutekunst nach Frankreich gelangen und**Heirat Napoleons III., mit der spanischen Eugènie de Montijo, führen zu einem regelrechten Spanien-Trend. Der Bürgerk?nig Louis-Philippe, der von der spanischen Kunst besonders angetan ist, stellt seine Sammlung als Galerie Espagnole zwischen 1838 und 1848 im Pariser Louvre aus. So liegt es nahe, dass Edouard Manet, der w?hrend seiner Kindheit und Jugend zusammen mit Brüdern und Onkel oft den Louvre besucht, diese Gem?lde kennt. Der H?hepunkt dieser Begeisterung für alles Spanische stellen**zu Beginn der 1860er-Jahre stattfindenden Gastspiele einer T?nzergruppe des Teatro Real de Madrid dar, denen auch Manet begeisternd beiwohnt. Spanische Motive finden bereits Ende der 1850er-Jahre den Weg in**Malerei Manets und werden schliesslich durch den Besuch der spanischen T?nzer intensiviert. Um wen es sich bei "La femme aux chiens" handelt, bleibt ungekl?rt, doch ist es aufgrund des Aussehens und der Kleidung der Dargestellten wahrscheinlich, dass es sich um eine spanische Dame handelt,**zusammen mit der Entourage der T?nzergruppe nach Paris gereist ist. Das frühe Portr?t dieser mysteri?sen Dame reiht sich in eine Reihe von Bildnissen ein,**er im Laufe seiner Karriere immer wieder aufgreift. Besonders beeinflusst wird Manet dabei von Diego Velasquez und Francisco de Goya, deren Bilder er im Louvre studiert und deren Einfluss auch in dem vorliegenden Gem?lde stark erkennbar ist. Manet konzentriert sich hier auf**detailgetreue Darstellung der Gesichtszüge der Portr?tierten,**er mit starken Augenbrauen, r?tlichen Wangen und Lippen und einem intensiven Blick, selbstbewusst darstellt. In der rechten Hand h?lt sie an einer kurzen Leine ihre zwei Hunde. Der Hintergrund ist nur angedeutet, w?hrend zur Linken der Frau ein Kinderwagen mit einer schemenhaften Person auf**Mutterschaft hindeutet. Indem Manet seine Portr?ts stets mit Bezügen zum zeitgen?ssischen Leben schmückt, versteht er es meisterhaft, den lebendigen und intimen Charakter seiner Portr?tierten wiederzugeben. Auf diese Weise schafft er es, dieses dauerhafte Medium in eine allt?gliche Momentaufnahme zu verwandeln.notes:*
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