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HOME > INVENTORY > MANET > Jeanne (Spring)

MANET, Edouard, Jeanne (Spring)

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 a… [Read biography »]

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Edouard Manet (1832 - 1883), Original Etching, Jeanne (Spring)

MANET, Jeanne (Spring)

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MANET, Jeanne (Spring) (thumbnail 1)MANET, Jeanne (Spring) (thumbnail 2)
Artist: Manet, Edouard (1832 - 1883)
Title: Jeanne (Spring)
Medium: Original Etching
Image Size: 6 1/4 in x 4 3/8 in (15.88 cm x 11.13 cm)
Sheet Size: 19 7/8 in x 14 3/8 in (50.5 cm x 36.53 cm)
Framed Size: 29 in x 26 1/2 in (73.66 cm x 67.31 cm)
Edition: From the 4th state, 1905 Strolin edition, prior to the plate cancellation
Condition: This work is in great condition - a dark black impression with distinct plate mark
Price 
:

Item# 2084
$1,700


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Description:

Representing one of the four seasons, this realistic portrait expresses the life and beauty Manet saw in the female figure.  Full of intricate line work and deep tones, this work is an elegantly composed combination of line and form.

Originally created in 1882, this etching is from the 4th state, dating the printing to 1905, published by Strölin.

Interpreted from an original oil exhibited at the Salon of 1882, this work is an expression of Spring as interpreted through the female form.  With her parasol resting on her shoulder, Jeanne stands in profile and dressed in elegant fashions of the 19th century.  The suggestion of vegetation surrounding the figure is created by a flurry of line work, while the contrasting darks of the figure make her stand out from the intricate lines in the background.  Jean Laran and Georges Le Bas stated of the original painting, “The little rebellious face, emerging from the cream bonnet fringed with lace and trimmed with roses and daises and velvet bows was everywhere admired.  It was ‘a bouquet,’ a ‘very perfume for the eyes.’ (Laran and Le Bas, 91)

Catalogue Raisonné & COA:
It 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, Edouard Manet The Graphic Work: A Catalogue Raisonné, 1990,listed as cat no 88 on pages 258-260.
2) Gronberg, T.A., Manet: A Retrospective, 1990, listed as colourplate 65 on page 198.
3) Laran, Jean and Le Bas, George, Edouard Manet, 1912, original painting from which this work is based listed as plate XLVI on page 93 with a discussion on pages 91-92.
4) Melot, Michel, The Impressionist Print, 1996, listed as plate 74 on page 66.
5) Melot, Michel, Antony Griffiths, Richard S. Field, André Béguin, Prints: History of an Art, 1981, original drawing, etching, and painting listed on pg 110.

About the Framing:
Conservation framed with archival materials and museum quality, this work is set in an ornate Spanish style black and gold frame.  The circular forms of the moulding enhance the intricate line work in this piece.  The tones created when light reflects off the frame enhances the contrast within this print.  Completed with white linen wrapped mattes and a matching gold inner fillet, this work is set behind an archival Plexiglas® cover.
 

Style: Impresionist
 

Biography of Edouard Manet

Edouard ManetEdouard 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 Manet’s 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 (see p. 37), 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.