Self-Portrait with Palette (Manet)
The self-portrait with palette ( French title Autoportrait à la palette, Portrait de Manet par lui - même, en buste or Manet à la palette ) is a painting by the French painter Édouard Manet. The 83 × 67 cm, painted in oil on canvas image created Manet in 1879. It belongs to the impressionist-influenced his later works. Self-portrait with palette is one of the few pictures of Manet, in which he represented himself. The model for the painting a self-portrait by Diego Velázquez is considered. The painting is privately owned.
Image description
The 83 × 67 cm large painting shows half portrait of the painter Édouard Manet. In this self-portrait as a painter, he turned out to be fashionable Boulevardier against a dark background dar. The pictured wearing a black bowler hat and a brown jacket, a white shirt under it, of which only the collar is visible. The chest section of the suit jacket covered a black silk tie that is secured by a tie pin. On the left, only vaguely depicted hand he holds a long wooden brush with red paint on the bristles, the right hand holds a palette and three other brush. On other accessories will be omitted. The figure is illuminated from the right, causing the formation of shadows arise under the right arm and in the left half of the face. The slightly turned to the left, the left half of the body appearing attitude is also darker than the front right side of the body. The gaze of the painter is directed at the viewer forward.
Since Manet, however, was almost certainly not a lefty, is the image of the painter an image in the form of a laterally inverted representation, as it appears in a mirror image.
Formation and interpretation
As determined by X-ray analysis, Édouard Manet painted his self-portrait with palette, a profile portrait of his wife Suzanne. She was depicted in this image in a similar pose as in the painting Madame Manet at the Piano (1868, Musée d' Orsay ).
The dating of the image goes back to Manet's friend Théodore Duret, who questioned this, Léon Leenhoff, the son of Manet's woman after Manet's death. In addition, Manet used the suit jacket Self-Portrait with Palette also incurred in the 1879 painting At Père Lathuille for the representation of the son of the restaurant owner.
As a model for the self-portrait with palette, the painting Las Meninas is considered from the year 1656 by Diego Velazquez, in which the artist also presents with brush and palette. Here the painter is, however, in the background of his studio, during his model occupies the foreground, the five-year Margarita Teresa of Spain and their servants. Manet took over from the pose of the painter and the art supplies, which he, unlike Velázquez, made himself thematic center of the image. However, at the same time he is active and leaves the design of its surroundings as well as the idea of a nascent painting the viewer's imagination. Manet himself painted the Spanish painter in a studio scene 1865-1870 in a self- portrait of Velasquez ' similar pose.
Usually carried and carry painter at work no nightlife clothing, as these could be contaminated by the oil colors easily. Manet's Self-portrait as a painter in fashionable clothing city has various models. Already Velázquez carries a precious, customary at court clothing in the painting The maids of honor. 1870 sat Manet the painter Henri Fantin -Latour Un atelier aux Batignolles in the painting also as a well-dressed artist model. Even wearing a hat in an interior had a direct model for the representation of a painter. Thus portrayed Pierre- Auguste Renoir 's fellow painter Claude Monet in 1875 with suit and hat. Just as Velázquez by his clothes emphasizes its proximity to the Spanish court, shows Manet's clothing his role as a fashionable and successful Parisian artist, not only in his artistic attitude, but also in his demeanor and appearance completely the model of the ' peintre de la vie moderne corresponds to < Baudelaire
Noticeable in the painting is the unfinished -looking left hand with the brush of the painter. Victor Stoichiţă recognizes here a memorandum of Manet and interprets it as follows: Although it is a act of painting, which is shown here, the painting turns around itself like a whirlwind. After Françoise Cachin this design with the intention of the light and the thoughts on the essential aspects of the picture explain to concentrate. Suzanne Manet, the wife of the artist, but called both this image and the self-portrait with cap (French Autoportrait, 1878 /79) as sketches.
In 1870 created the painter colleague and friend of Manet, a painting entitled Un atelier aux Batignolles, in which he portrayed Manet painting in the round of his friends and admirers. In this painting Manet sitting in front of the easel, the brushes with the right hand leading. Fantin -Latour wanted to bring to the picture outlined in the academic style of painting the seriousness of the work of Manet and the young generation of French artists to express. However, this plan failed and led to ridicule of the central position of Manet in the midst of his admirers, the amusing found its expression in a contemporary cartoon in Le Journal; there Manet was compared to Jesus in the midst of his disciples. More Paintings Henri Fantin- Latour, Manet where shown, were, among others, a portrait from 1867 and the Hommage à Delacroix from 1864, in which he also himself abbildete and gathered other painters of his generation before the portrait Eugène Delacroix.
Henri Fantin- Latour Homage to Delacroix, 1864
Henri Fantin -Latour: Portrait d' Edouard Manet, 1867
Henri Fantin -Latour Un atelier aux Batignolles, 1870
Classification in the complete works
The self-portrait with palette is the only self-portrait by Manet, in which he portrayed himself as an artist. In addition, he still presented itself in other paintings themselves: Fishing (Fr. La pêche 1860 /61), Music in the Tuileries Garden (French Musique aux Tuileries, 1862) and Masked Ball at the Opera ( Bal Masqué à l'Opéra 1873); in these pictures he showed up but not in the foreground, but as part of an overall composition.
Only the resultant about the same time self-portrait with skull cap, a full portrait is understood as another real self-portrait. It now hangs in the Bridgestone Museum of Art in Tokyo. The temporal proximity of the two paintings suggests a direct relationship between them, they are interpreted as corresponding to two stages of a business process. In the first image, the self-portrait with palette, the act of painting itself is shown, recognizable by the active and foregrounded gesture of the painter. The all- portrait shows the artist, however, a significant distance to the viewer. After Éric Darragon it seems as take the painter distance to judge his painting.
After Manet's death, the two pictures hung on either side of 1877 created the painting Jean-Baptiste Faure in the role of Hamlet. Stoichiţă draws from this arrangement, the conclusion that the choice of the Spanish action painting should develop a new parallel to Velázquez, the statement of a placement in addition to the presentation role Faure, however, as Hamlet might be that with the self-portraits Manet in the role of Manet should be shown .. After Juliet Wilson - Bareau the images were but probably not as arranged by Manet himself; it is rather assumed that Léon Leenhoff left frame the pictures and then hung on both sides of the Faure - painting.
Music in the Tuileries Gardens, 1862
Masked Ball at the Opera, 1873
Jean -Baptiste Faure in the role of Hamlet, 1877
Fishing (detail), Manet and his future wife Suzanne
Music in the Tuileries Gardens (detail)
Masked Ball at the Opera (detail), Manet is the man with the blond beard
When Pere Lathuille, 1879, almost simultaneous use of the suit jacket
Reception
In the meaning, the painting was very often considered to be of high artistic value. The critic Étienne Moreau- Nélaton wrote in 1926, mutatis mutandis: This work as well as the other test is spoiled by a certain coldness. Too much fire guides the hand, she paints here so free that the painter is impossible to seriously focus on yourself as a subject. On the other hand, stressed Theodore Reff 1982, the importance of the decision Manet, with two self-portraits to approach the climax of his career, a genre he had hitherto never tried. In particular, the unique clothing, in both cases, a fashionable suit, press from that saw Manet as part of the contemporary and modern life, after Théodore Duret he belonged to the Parisian celebrities and was well aware of this.
Wilson Bareau provides an alternative explanation for the emergence of self-portraits. After Adolphe Tabarant the contemporary Théodore Duret Léon Leenhoff interviewed after the date on which Manet learned from his syphilis disease. Leenhoff was in response to the 1879, which is explainable that Manet, who otherwise has never worked in his life to a self-portrait, this year has two images of this genre painted. Obviously he wanted, because he now had his own mortality in mind to deal again with himself.
Provenance
The self-portrait with palette was not sold to Manet's lifetime, and went to his death in the possession of his widow, Suzanne over. In the estate auction in 1884, both self- portraits, however, were not auctioned, Manet's wife wanted probably until 1897 part with them on the advice of Antonin Proust, who made a presentation in a letter dated 10 May 1897 that neither Jean -Baptiste Faure still Auguste Pellerin were interested in the pictures.
On February 2, 1899 Suzanne Manet bequeathed the pictures of their sister Martina Leenhoff, probably to her so you can help out of financial trouble. In the same year Madame Manet and Proust again tried to sell the two images were interested the German art dealer Hermann Paechter and the Frenchman Ambroise Vollard. Paechter received both images in the same year at a price of 6,000 francs for the self-portrait with cap and only 1,000 francs for the self-portrait with palette. In the exhibition catalog of Théodore Duret from 1902, the image appeared but as a possession of Pellerin.
Shortly thereafter, the self-portrait went with caps to Max Linde in Lübeck, the ophthalmologist Edvard Munch. Possibly the Norwegian painter Munch was inspired by this portrait to own full- portraits, which he made at the beginning of the 20th century, among others, his psychiatrist Daniel Jacobson (1909 ) and arrived in style and mood of the image near Manet.
In May 1910, the self-portrait with palette popped up in an exhibition at the Galerie Georges Petit in Paris and was declared as a loan from the Marquis Etienne de Ganay widow. A month later it was shown together with all formerly owned by Pellerin Manet pictures at an exhibition of the gallery owner Paul Durand -Ruel, Bernheim- Jeune and Paul Cassirer. Pellerin, however, had probably already sold his collection to the traders, the self-portrait with palette beforehand to Madame de Ganay, and together with him they wanted to fully show the former collection Pellerin. Madame de Ganay had the painting even in the 1920s, but in 1931 it belonged to the Berlin banker and president of the Darmstadt and National Bank Jakob Goldschmidt. Goldschmidt emigrated in 1936, together with the collection to New York City and died there in 1955. In 1958 J. Summers bought the painting for 65,000 pounds sterling.
Later, the collector couple John and Frances L. Loeb acquired from New York the picture for 176,800 U.S. dollars. At the auction of the collection Loeb on 12 May 1997 at Christie's the painting for 18.7 million dollars went to an anonymous bidder first. At the time, this was the second highest ever paid for a Manet price. As a new owner of the casino owner Steve Wynn announced a short time later to see who exhibited the picture in subsequent years in its hotels Bellagio and Wynn Las Vegas. Since March 2005, it was part of the collection of Steven A. Cohen. Cohen delivered the painting in 2010 at Sotheby's auction for a, in its London branch, it was sold at auction on June 22 of the year for 22.4 million pounds in the New York art dealer Franck Giraud. The amount realized is the highest ever paid for a work of art Manet's price.
Copy
The nephew of the artist, Edouard Vibert (1867-1899), made shortly before his death at a number of copies of various Manet paintings for Madame Manet as a reminder of the pictures that had to sell it after the artist's death. Around the turn of the century to the 20th century immersed in the art trade on a copy of the self-portrait with palette, which was attributed to him.