Édouard ManetFrankrig, 1832–1883Masked Ball at the Opera
Kan det ses?
Ja, udstillet nu
Hvor er »Masked Ball at the Opera« i dag? National Gallery of Art, Sal 89 · Vestbygningen, hovedetagen, Washington, D.C. Ja, udstillet nu. Kontrolleret 29. september 2026.
Lukket· åbner i morgen kl. 10.00
Udstillet for publikum.
- Kontrolleret
- Uændret siden
- Kilde
- Museet
Om maleriet
Masked Ball at the Opera House (French - Bal masqué à l'opéra) is a painting by Édouard Manet, produced in spring 1873. It is now in the National Gallery of Art, in Washington, D.C., to which it was offered by Mrs. H. Havemayer in 1982.
The artist made his preparatory sketches for it from life at an opera house at 12 rue Le Peletier in the 9th arrondissement of Paris - this building was reduced to rubble by a fire later that year. He then produced the painting in his studio on rue d'Amsterdam, to which he had moved shortly before. Its subject is reminiscent of the same artist's Music in the Tuileries (1863) - several of his friends posed for both works in his studio, notably the art collector Hecht and the composer Emmanuel Chabrier for Ball.
Læs videre
Stéphane Mallarmé commented "In the picture, the masks are no more than a break from the several tons of fresh bouquets, the possible monotony of the background of black clothes". It was adjudged to be too naturalist and so was refused by the 1874 Paris Salon. It later belonged to the famous opera singer Jean-Baptiste Faure, a major collector of Manet's works. He owned it until he was 67.
Oplysninger
- Inventarnummer
- 1982.75.1
Hvad det viser
I kataloget
Kilder
- National Gallery of Art
- Billede: National Gallery of Art — Museum open access
Imens i livet hos Édouard Manet
Hele livet1870s
Refuses to exhibit with the Impressionists
Although his own work influenced and anticipated the Impressionist style, Manet resisted involvement in Impressionist exhibitions: he did not wish to be seen as the representative of a group identity and held that modern artists should seek to exhibit at the Salon.
1871
Manet's name on the Commune's Fédération des artistes
In his absence his friends added his name to the Paris Commune's “Fédération des artistes”; he himself stayed out of politics and perhaps returned to the city only after the “bloody week” — in a letter to Berthe Morisot of 10 June he writes that they had come back a few days earlier.
1871
Oloron and Bordeaux: letters to Bracquemond
In January 1871 Manet travelled to Oloron-Sainte-Marie in the Pyrenees and then visited Bordeaux, the provisional seat of the National Assembly, where Émile Zola showed him the sights. On 18 March he wrote to Félix Bracquemond that he had never imagined France could be represented by such doddering old fools.
1873
“Le Bon Bock”: a huge success
In his new studio in 1873 Manet painted “Le Bon Bock”, which became famous: for the first time in almost fifteen years he had a huge success, yet he did not turn into a fashionable, opportunistic painter.
1874
“The Railway”: ridicule at the Salon of 1874
“The Railway”, painted in 1873, puzzled visitors and critics at the Salon of 1874: its subject seemed baffling, its composition incoherent and its execution sketchy; caricaturists ridiculed it, and only later was it recognised as a symbol of modernity. The model was Victorine Meurent, for the last time.
1874
Morisot marries Manet's brother
In 1874 Berthe Morisot married Manet's brother Eugène and became his sister-in-law; it has been speculated that there was a repressed love between Manet and Morisot, exemplified by the numerous portraits he made of her before her marriage.
