Nana (painting)

Nana is a painting by Édouard Manet. It was created in 1877 and shows a young woman half-dressed in her boudoir stands and lipstick before a mirror. Model was the actress Henriette Hauser.

Description

In the center of the painting, an interior scene in the boudoir, is a young woman shown in a full page view. Your body is aligned to the left, facing the head and in particular her glance to the viewer. Dress it with a frilly blue corsage, a white petticoat, blue stockings with flower applications and high-heeled shoes. In her right hand she holds a powder puff, in the left a lipstick. Before her, in the left side, there is a make-up mirror with dreifüßigem, wrought iron stand and two candlesticks with integrated down -fired, unlit candle. Behind her there is a sofa in the Louis Philippe style with gold frame brown and burgundy red upholstery. It fills a large part of the middle image space. Two big pillows, decorated in white and green, show behind the view of the woman, the left side of this sofa and take the lines of their clothes on. On the right side of the cabinet, cut from the screen, sits a man dressed in black tuxedo suit, white shirt and cylinder. He holds a walking stick across his left, on the right leg whipped. He Tägt a hanging mustache, his gaze is to the left, addressed to the woman passing by. The background of the painting is dominated by a blue screen wallpaper showing a standing by the water, Ibis and is trimmed with strips from the otherwise brown colored background. The left edge of the picture is with other Einrichtungsgeständen of the boudoir, cut off a chair with a blue and white garment, behind a table in the same Baroque style as the sofa. Then again, there is a flower pot with a flowering plant. The image segmentation is determined by the clear lines of a horizontal line between picture and wallpaper rooms, as well as the normal of the mirror stand.

Before the Mirror

The image is directly related to the year before -completed paintings of Manet Before the Mirror, which shows a woman seen from behind in front of a mirror and has similarities in colors and clothing of the woman. This painting is in contrast to the embodiment of Nana created sketchy and with coarse brush stroke.

Reaction to criticism

Although already 14 years earlier revolted Manet's Olympia tempers in Paris, Nana was a new scandal. It is therefore not surprising that the Salon de Paris also forbade her from entering and Manet placed them on their own in a showcase of the house Giroux on the Boulevard des Capucines. But there she was, unsurprisingly, as in Paris, although all knew what was happening in frivolous salons to name it drastically pictorially, however, was still considered as a taboo. What the magazine Tintamarre claimed that Manet's Nana is namely inspired by Zola's Nana, but is at best true half because Zola's famous novel about a self-destructive cocotte, which depends on men as well as she plays with their desires, appeared in the first print until two years after Manet's Nana counter looked at the Boulevard des Capucines through the shop window of the assembled sensationalism. After all, Zola had the slayer (L' Assommoir ) his Nana a chapter, so you despite existing doubts may assume that, Manet's Nana Nana as well as the means not just by chance from Zola's literary thought. While some but as often indignant in view of Impressionist paintings, others were quite enthusiastic. Martold for example, wrote about Verewiger their eras. He counted until 1877 for the current century of which only two: one had written and was Balzac, the other he saw Manet.

Provenance

Until the death Manet's 1883 painting remained in the possession of the artist. In the following year it reached at the auction of his works for 3000 francs in the collection of Dr. Albert Robin, who was a friend of Manet. He sold the image later to the art dealer Paul Durand- Ruel, who sold it for 15,000 francs to the collector Henri Garnier. 1894 Durand-Ruel bought the painting for 9,000 francs back. This sold the Nana then for 20,000 francs to the margarine manufacturers Auguste Pellerin. 1910 came the picture of the Berlin art dealer Paul Cassirer 150,000 Mark in the collection of the Hamburg banker Theodore Behrens. By his widow, the Hamburger Kunsthalle acquired the painting in 1924.