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Email to FriendEdouard Manet, Grabado Aguatinta, La Convalescente (The Convalescent), c.1876-80  |
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| Artista: | Manet, Edouard (1832 - 1883) |
|---|---|
| Título: | La Convalescente (The Convalescent), c.1876-80 |
| Referencia: | Harris 85 |
| Medio: | Grabado Aguatinta |
| Dimensiones del Ilustración: | 5 in x 4 in (12.7 cm x 10.2 cm) |
| Dimensiones del Papel: | 9 3/4 in x 6 1/8 in (24.8 cm x 15.6 cm) |
| Dimensiones del Marco: | 20 in x 19 in (51 cm x 48 cm) |
| Edición: | From the unsigned, undated 1884 Bazire edition; a 3rd state impression of 3 |
| Condición: | Beautiful, bold impression with burr and inky plate edges with selective wiping; with large margins and in very good condition. |
| Precio: Artículo# 2420 | Vendido. Please visit the rest of our Manet fine art collection |
| Descripción Histórica: | |
|---|---|
Created in 1876-80, this etching and aquatint is from the 3rd state of 3, unsigned and undated from the 1884 Bazire edition. This work has very large margins and printed on a fine, laid paper; a bold impression with selective wiping, inky plate edges, and evidence of burr throughout. According to J. Harris (1990), “A source for the image might be Rembrandt’s etching of Saskia in her sickbed, which has a somewhat similar motif and handling. Manet first sketched the figure in chalk in the same dimensions as the etched plate. The woman pictured might well be Mme. Edouard Manet, as the features bear quite a strong resemblance to some portraits which Manet painted of his wife in the 1870s. In some respects this print resembles Manet’s earliest etchings in its freedom and boldness of linear treatment. However, it cannot really be confused with prints of the early 1860s, for it exhibits a far greater linear control and economy of modeling. The conception is related in spirit to the wash drawings which Manet was doing for his transfer lithographs of the 1870s. Active lines convey a sense of atmosphere and motion. The absence of lines elsewhere provides a feeling of air and insubstantiality of solid form” (250). Illustrated In: About The Framing: |
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Edouard Manet biografía
Edouard 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, 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.
