Manet, Baudelaire and Hugo in 1862
2000; Taylor & Francis; Volume: 16; Issue: 2 Linguagem: Inglês
10.1080/02666286.2000.10435679
ISSN1943-2178
Autores Tópico(s)French Literature and Critical Theory
ResumoAbstract The year 1862 proved to be one of the most productive in the artistic career of Edouard Manet. He executed his first large and ambitious works, the Old Musician and Music in the Tuileries, along with paintings of individual figures such as the Young Woman Reclining in a Spanish Costume, the Street Singer, Mille v ... in the Costume of an Espada and Lola de Valence. The year also marked a high point in his creative activity as a printmaker, with numerous etchings and an important lithograph, The Balloon. The period has been seen as a watershed in Manet's career,1 and much critical attention during Manet's time and our own has been brought to bear on the works that the artist executed the year before the Dijeuner sur l'herbe became the succes de scandale at the Salon des Refuses. I want to look at a portrait Manet did in 1862 of Jeanne Duval (Figure 1), the mistress of the poet and art critic Charles Baudelaire, a work that in comparison with other paintings Manet executed during that prolific year has received scant critical attention. This painted sketch is considered unfinished and was exhibited only once in Manet's lifetime at the Galerie Martinet in 1865 under the title Au Divan.2 It was identified as Baudelaire's mistress in the posthumous inventory of Manet's studio in December 1883.
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